Category: The Story Of An Hour

Constructing fictional worlds for characters, authors reflect particular moral, ethical, and social rules of proper behavior in the world. Hence, the heroes are expected to follow these rules. However, when some characters violate the expectations, the complication of the plot follows.

Depending on the narrator’s reflections on the norms of the world, some characters are “punished” for their transgression of ethical, moral, and social norms, some are not.

The “punishment” of the character, however, does not necessarily testify to the narrator’s support of the expected behavior standards pointing out a conflict between the author and the society in regards to ethical, moral, and social values. Comparison of The Story of an Hour by Kate Chopin and The Birthmark by Nathaniel Hawthorne reveals the difference in the narrative’s attitude to the moral order in their fictional world.

When Hawthorne describes his fictional world The Birthmark, he refers to “comparatively recent discovery of electricity and other kindred mysteries of Nature” (12). Besides, he chooses “a man of science” Aylmer who is an “eminent proficient in every branch of natural philosophy” as the main character (Hawthorne 12).

Scientific findings are highly approved and encouraged in the society of that time. However, it is believed that “our great creative Mother, while she amuses us with apparently working in the broadest sunshine, is yet severely careful to keep her own secrets, and, in spite of her pretended openness, shows us nothing but results” (Hawthorne 18).

Hence, the question is posed whether a human should only perceive natural laws, explain them, experiment with them or create as well. Hawthorn believes that Nature “permits us indeed to mar, but seldom to mend, and, like a jealous patentee, on no account to make” (18). It is not a question of capability or knowledge; it is an ethical dilemma.

Besides, moral and social standards of the society disapprove sacrifice of a human to deeper comprehend Nature. Only after his dream Aylmer recognizes “the tyrannizing influence acquired by one idea over his mind, and of the lengths which he might find in his heart to go, for the sake of giving himself peace” (Hawthorne 16).

The birthmark on Georgiana’s cheek represents “fatal flaw of humanity”, and the author poses the question whether Nature created a human as mortal and imperfect or “perfection must be wrought by toil and pain” (Hawthorne 14). Consequently, the moral, social, and ethical dilemma presents a choice: to accept and admire the imperfection of a human or to fight against it at any cost.

Aylmer cannot consent to the human’s imperfection or Nature’s superiority, so he chooses to fight. At first, Georgiana doubts, she thinks it is possible that “the stain goes as deep as life itself” and asks Aylmer, “do we know that there is a possibility, on any terms, of unclasping the firm gripe of this little Hand” (Hawthorne 16). Aylmer, on contrary, is confident in his power reassuring his wife that he is capable “to create a being” (Hawthorne 16). Georgiana is ready to sacrifice herself to satisfy Aylmer’s urge for perfection and submission of Nature.

However, Aylmer is aware of moral, ethical, and social standards of the world. Speaking of power to make “elixir vitae” that can “prolong life”, he reflects on the causes of such experiment, “it would produce a discord in nature” (Hawthorne 21).Georgiana’s reaction reveals a deeper moral, ethical, and social dilemma, though.

She exclaims, “It is terrible to possess such power, or even to dream of possessing it!” (Hawthorne 21) Consequently, Aylmer consciously violates the moral order of the world. Moreover, he realizes and fears his possible defeat explaining to Georgiana that her birthmark is “superficial… With a strength of which I had no previous conception” (Hawthorne 26). Despite all the dangerous consequences, he decides to use the last thing possible.

Eventually, Aylmer managed to defeat his wife’s imperfection. However, when Georgiana wakes up and understands that the birthmark is gone, she feels sorry for Aylmer. She calls him “poor”, but Aylmer minds, “Poor? Nay, richest! Happiest! Most favored!” (Hawthorne 31).

Georgiana dies after saying, “You have aimed loftily!—you have done nobly! Do not repent, that, with so high and pure a feeling, you have rejected the best the earth could offer” (Hawthorne 31). Georgiana’s death was the “punishment” for Aylmer’s consciously transgression of the moral order of the world.

Last passage of the story reveals Hawthorne’s acceptance of moral, social and ethical standards in the world of the text. He speaks of Aylmer ruining “mystery of life”, “the bond by which an angelic spirit kept itself in union with a mortal frame” (Hawthorne 31). Happiness for Hawthorne is the ability to “find the perfect Future in the present” (31). Loneliness and misery are the punishment for failing to recognize it and trying to overmaster Nature at any cost.

Comparison of Hawthorne’s and Chopin’s texts reveals the distinction in their perception and acceptance of the moral order in the world. Moreover, the authors depict marriage and a woman’s role in the society in different way. Hawthorne’s Georgiana fully trusts her husband, loves him and sacrifices herself for his needs. Chopin’s Mrs. Mallard in The Story of an Hour is an entirely different character.

When Kate Chopin describes Louise’s reaction to a loss of her husband, she says, “she did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance” (352). According to the social standards, a married woman’s role in the society lies in serving her family, namely her husband. A loss of a man should paralyze a woman, as she should not even comprehend what life can be without her husband.

However, Chopin describes an inner struggle going on in Louise’s soul. On one hand, Louise experiences a feeling “that was approaching to possess her” but she struggles with it and does not dare to accept or name it (Chopin, 353). Eventually, though, she is “powerless” to fight with that feeling, “when she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: “free, free, free!” (Chopin, 353). Louise’s transgression of moral, ethical, and social rules of the society frightens herself.

The possible explanation of such behavior lies in the fact that Louise did not love her husband. She reflects on her husband, “and yet she had loved him—sometimes. Often she had not. What did it matter!” (Chopin 353). Her reflection represents another rule in the society: marriage is a social need, not an emotional one.

Thus, Louise disowns her emotions, she “did not stop to ask if it were or were not a monstrous joy that held her” but soon she fails to resist her delight (Chopin 353). Furthermore, Louise’s reflections represent the expected social behavior for married couples in the society.

She realizes that “there would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow creature” (Chopin, 353).

Freedom of “body and soul” inspires Louise, “she breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long” (Chopin 354). Hence, Louise violates the moral order of the society when feeling happy because she does not need to surrender her personality, her private wants and urges any more.

Louise’s “punishment” is her husband’s safe return home. She dies immediately after seeing her husband, “when the doctors came they said she had died of heart disease—of joy that kills” (Chopin 354). Therefore, Louise experiences the ultimate “punishment”, death.

However, the irony in the description of the “punishment” reveals Chopin’s commentary on the moral order of the society. Not the “joy” killed Louise but the failure of her expectations that transgressed moral, ethical, and social norms of the society. Therefore, Chopin does not accept the supremacy of the moral standards and social institution of marriage that suppresses personality.

Consequently, an analysis of the fictional worlds, its behavior standards, and the way the characters are “punished” for transgressing the moral order reveals the narrator’s reflections on the ethical, moral, and social values of the society.

Works Cited

Chopin, Kate. Southern Literary Studies: Complete Works of Kate Chopin. Baton Rouge, LA: Louisiana State University Press, 1969. ProQuest ebrary.

Hawthorne, Nathaniel. Mosses from an Old Manse. London, UK: ElecBook, 2001. ProQuest ebrary.

Generally, literary experts – namely, authors, poets, and playwrights – create fictional works that reflect the regimes they live in. In other words, most literary fictional works reflect the prevailing socioeconomic and political realities of their creators. Similarly, literary experts may develop fictional works that reflect their personal experiences. Through their works, literary experts thus explore various aspects of their life experiences. By examining the events going on at the time of creating their works, literary experts satisfy the rules of historicism. In addition, literary experts reflect their personal experiences through their works. In other words, historicism has to do with how literary works reflect the reality of the time period in which they are created. Historicism is reflected in Kate Chopin’s The Story of an Hour narrative. To expound, this tale reflects certain aspects of the author’s life experiences. By making the concept of death a central feature in the narrative, Chopin reflects the various deaths that characterized her life. The narrative is about a certain lady’s perplexing response after receiving news of the sudden demise of her husband. The woman’s response indicates an inclination towards feminism. This idea is evident through the woman’s defiant stance towards her husband’s demise. It is as if the lady defies social conventions about female subordination. Toward the close of the 19^th century (1894), when the narrative was authored, the concept of feminism was emerging. This development could have inspired Chopin’s portrayal of the lady. In addition, Chopin mostly grew up in a female-dominated society, hence her inclination to advocate for female empowerment (Jacobus 63). The author was mostly mentored by female characters, an experience that could have inspired her to value female supremacy as is evident in the narrative. All in all, it is clear that Chopin’s The Story of an Hour narrative depicts historicism since it dwells on death as it gravitates towards female empowerment, aspects that were real in the author’s personal life as well as in the society at the time the tale was written.

To illustrate, The Story of an Hour narrative is based on the supposed death of Brentley Mallard – the husband to Louise Mallard – thus reflecting a number of real life deaths that characterized Chopin’s life. In 1855, when the author was just 5 years old, her father died in a rail accident. This death was significant to Chopin. The death is reflected in the narrative through Brentley’s sudden death. Just like Louise – Brentley’s wife – is suddenly made a widow in the narrative, Chopin was made an orphan by her father’s death. Later, death stalked Chopin by claiming her great grandmother to which the great granddaughter had become very close (Toth 22). This real life death is reflected in The Story of an Hour narrative through Brentley’s death that somehow brings grief to Louise – the widow. Afterwards, Chopin felt the sting of death when her half-brother succumbed to typhoid fever. In the tale, Brentley’s death represents the demise of Chopin’s half-brother. Another death, arguably the most devastating, denied Chopin the company of Oscar Chopin – the author’s husband – when Oscar succumbed to malaria in 1882. This demise, which made Chopin a widow at a young age of thirty-two years, marked the turning point of the author’s life as it left her with the responsibility of taking care of the couple’s six children – one daughter and 5 sons (Toth 65). In The Story of an Hour narrative, Louise feels a similar loss after Brentley dies. The foregoing discourse proves that Chopin’s life was characterized by a number of deaths which claimed some of her closest relatives. It can thus be plausibly argued that the concept of death was very real to the author. This idea could explain why Chopin chose to base The Story of an Hour narrative on the supposed demise of Brentley. The horror of losing a close associate thus comes into play through the tale. Such a phenomenon validates the argument that Chopin’s tale has a historical leaning.

In addition, at the time Chopin was writing The Story of an Hour narrative, a wave of feminism was sweeping across the American social and economic landscape. The influence of this historical time period on the author’s ideas and general world view is clearly evident through the characterization of Louise – a woman who has supposedly lost her husband through death. To illustrate, after Louise learns about Brentley’s supposed death, the lady does not seem to view this as a sad or negative event. Instead of descending into a state of weeping, she goes upstairs, sits herself into a comfortable chair, and enters into a reverie of the wonderful time before her. Chopin makes readers to gain access to Louise’s thoughts which indicate that the wife has been suffering under her husband’s dominion. This phenomenon paints a picture of a patriarchal society that seriously subjugates women. For example, Louise is happy that she will be able to live a life of her own. Further, the supposedly widowed lady thinks that marriage should not make mates captives of each other. Instead, she is of the idea that marriage couples should have space to exercise their respective discrete freedoms. Such thoughts demonstrate that Louise eagerly wants to free herself from the yoke imposed on her by the patriarchal social arrangement (Kahle 12). Clearly, the supposed widow’s ideas resonate with the late 19^th century feminist movement that sought to emancipate women. This idea thus proves that Chopin was heavily influenced by the socioeconomic and political developments prevalent in her era as she wrote The Story of an Hour narrative.

Further, the feminist influences that were prevalent during Chopin’s formative years are explicitly depicted through The Story of an Hour narrative. To expound, most of the author’s mentors were women. These ladies – including Chopin’s great grandmother, grandmother, and mother – were thus cardinal reference points for Chopin’s entire life. Further, the author later enrolled at the Academy of the Sacred Heart in Saint Louis where all tutors were ladies (Toth 54). The student’s interaction with her female teachers thus made her to develop an inclination towards female empowerment. Considering that these were Chopin’s formative years, the various female mentors had a profound influence on her life. This idea is vindicated through the author’s characterization of Louise in The Story of an Hour narrative. To illustrate, Louise is a lady who espouses the idea that women can successfully exist without men. The character’s actions and utterances authenticate this contention. It is vital to note that following the alleged death of Brentley, Louise feels as though she has experienced a rebirth. She is of the idea that Brentley’s demise has permitted her access to the elixir of life. Through such musings, Louise demonstrates her feminist convictions; she thinks she can enjoy a life of better quality after Brentley’s demise (Bendixen and Nagel 206). The fact that Louise is not fidgety or agitated also indicates her pessimism; she thinks that her life will be excellent. These are ideas that Chopin derived from the prevailing feminist ideologies of her time. The influence of historical influences on Chopin’s The Story of an Hour narrative is thus clearly evident.

In summary, through her The Story of an Hour narrative, Chopin proves that she was influenced by her life experiences as well as historical events such as the late 19^thcentury feminist movement. To illustrate, the narrative revolves around the death of Brentley, thus reflecting the many deaths that characterized Chopin’s life. While aged 5 years, Chopin lost her father. Afterwards, the author went through the deaths of her great grandmother, her half-brother, as well as her husband. Further, the author indicates that Louise is a woman who ardently desires to break free from male domination. Consequently, Louise celebrates Brentley’s death. The supposedly widowed lady depicts behaviors that clearly belie the seriousness of the incident. This view is representative of the feminist wave that was prevalent at the time Chopin authored the narrative. In addition, the female influences of the author during her formative years are evident through the dispositions of Louise. The allegedly widowed lady does not significantly flinch after receiving news of her husband’s demise. This idea is reflective of the fact that most of Chopin’s mentors were women. The author thus holds that women can successfully live without men. The influence of historical happenings on the authors’ life is thus clearly evident through The Story of an Hour tale.

Works Cited

Bendixen, Alfred and Nagel, James. A Companion to the American Short Story. Hoboken, NJ: John Wiley and Sons, 2010. Print.

Jacobus, Lee Alfred. Literature. Toronto, Canada: Pearson Education Canada, 1996. Print.

Kahle, Antje. First Wave of Feminism in Politics and Literature. Munich, Germany: GRIN Verlag, 2010. Print.

Toth, Emily. Unveiling Kate Chopin. Jackson, MS: University Press of Mississippi, 1999. Print.

For centuries, the idea of human isolation and solitude has been considered a phenomenon that poisons a human being, as the sense of belonging to a community and family is frequently considered a pillar of society’s creation and thriving. Over the years, the premise has been modified, making isolation a process necessary to come to terms with one’s true self. However, the perception of such a self-discovery remains different for women and men. Thus, men who embark on a journey of solitude are regarded as mysterious and secretive, whereas isolated women are labeled by others as anti-social.

The story of Kate Chopin perfectly demonstrates how in the 19th century, the idea of marriage was portrayed as a notion opposite of human isolation for a woman regardless of her stance on that relationship. In The story of an hour, the author presents to a recipient the story of Mrs. Mallard reflecting on the news of her husband’s death, a tragedy that, in fact, never happened. Her surroundings rightfully expect Mrs. Mallard to be appalled by the message, as the woman stormed out after the news was broken (Chopin, 1894). However, with the first minutes of shock passing by, Mrs. Mallard “was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will–as powerless as her two white slender hands would have been” (Chopin, 1894, para. 10). Instead of killing her from within, the horrifying news of her husband’s death fulfilled her with a bewildered feeling of freedom and solitude she subconsciously longed for all her life.

It was the news about her husband being alive that eventually killed the woman. Hence, the sudden realization of losing solitude and peace was more for Mrs. Mallard to bear as compared to losing her spouse in an accident. Thus, in the story by Kate Chopin, the journey of human isolation is not a downside but an epitome of human life, freedom, and the feeling of self-worth.

Reference

Chopin, K. (1894). The story of an hour [E-text]. Web.

The Girl

“The Girl,” a short tale by Jamaican Kincaid, explores a girl’s bond with her mother. It demonstrates that in most situations, the mother tries to dictate what conduct is acceptable for women (Rabea & Nusaiba). She expects and demands that the girl behaves in this manner. The mother gives a lot of advice on what to do, including what to prepare, what to do in the house, and what to do outside the house. The girl’s mother also gives her advice on what she should and should not do. For instance, the mother instructs the girl not to go bareheaded as the sun rises (Kincaid).

These mandated types of behavior clearly limit the girl’s options. Some information might potentially be harmful to the girl. For example, a mother may instruct a daughter on how to make homemade abortion drugs, which may be harmful to the girl’s health (Kincaid). In general, the girl is restricted in practically every manner by her mother’s domineering demeanor. The narrative emphasizes the importance of family bonds in influencing one’s actions (Rabea & Nusaiba). The mother embodies the belief that women should be confined to the house while men are capable of going anywhere they choose. This circumstance re-creates in the daughter the type of gender prejudice that the mother experienced, most likely when she was younger (Jayasree). Kincaid’s “Girl” of Jamaica eloquently depicts some of society’s difficulties and how parents may pass discrimination within generations.

The Story of an Hour

The feminist literary criticism is based on American novelist Kate Chopin’s “Story of an Hour” (Paudel). The loss of Mrs. Mallard’s husband is a watershed moment in her life since she had been her husband’s property up to that point (Chopin). Brentley Mallard’s death is Louise Mallard’s rite of passage into a new, liberated existence. Mrs. Mallard is not only horrified when she learns of her husband’s death, but she is also not as stunned as most people are when they learn of the loss of a close family or acquaintance.

Mrs. Mallard is first terrified by the prospect of becoming free, as it is not something she is used to or what society accepts. Yet, as the ecstasy grows stronger and gives her a sense of imminent independence, she begins to comprehend what it is to have power in her life (Paudel). She now feels powerful and capable of making her own decisions, something she never felt in her marriage.

Louise descends the stairs after only a few minutes of delight, only to be slain downstairs when she realizes Brentley Mallard is not dead. She is no longer free, as she was only moments ago, and is once again tied by the ties of matrimony (Hu). Louise Mallard, having experienced the beauty of freedom before Brentley’s illusory death, is unable to continue living the life she lived before Brentley’s illusory death (Hu). She had to die because she could not live till Brentley Mallard died, knowing she would never have that amazing sensation of freedom again.

Discussion

Both stories are, to some extent, an indictment of the gross mistreatment of women in the male-dominated society. The different perspectives shown in the stories represent how deep the underrepresentation of women was rooted while reflecting the notion of women’s struggle for being recognized and the ability to live the life they want. In “The Girl,” the mistreatment is caused by the generational transfer of the ingrained attitudes towards women, which is simply projected onto the daughter without any justification. Kate Chopin looks at the issue from a different angle, mainly from the institute of marriage, which is equated to being similar to husband’s clothing. The sense of freedom, once tasted by Mrs. Mallard is, shows how significant was the discovery of liberation that after she is not able to live under marriage circumstances.

Works Cited

Chopin, Kate. The story of an hour. Joe Books Ltd, 2018.

Hu, Aihua. “The Story of an Hour: Mrs. Mallard’s ethically tragic song.” ANQ: A Quarterly Journal of Short Articles, Notes and Reviews (2020): 1-7.

Jayasree, K. “Linguistic-Literary Camouflage in Jamaica Kincaid’s” Girl”. IUP Journal of English Studies 13.2 (2018).

Kincaid, Jamaica. Girl. San Francisco Examiner, 1991.

Paudel, Kishor. “Existential Angst in Kate Chopin’s The Story of an Hour.” NCC Journal 4.1 (2019): 97-99.

Rabea, Reem Ahmad, and Nusaiba Adel Almahameed. “Genre Crossing in Jamaica Kincaid’s ‘Girl’: From Short Fiction to Poetry.” Advances in Language and Literary Studies 9.3 (2018): 157-165.

Introduction

Unfortunately, oppression of women is a severe and extended process that was especially active in the 1890s. A number of famous American writers of those years used their talent of choosing the right words to describe how women and men may oppress each other and deprive their beloved ones of freedom. A short writing “A Story of an Hour,” created by Kate Chopin in 1894, touches on the topic of unhappiness during the marriage.

A woman named Louise Mallard is informed of her husband’s tragic death. While trying to process this information and understand her own feelings, the woman wants to be alone in her room. Unexpectedly, instead of continuing mourning and grieving, Louise meets with another feeling – freedom. While knowing that she will miss her husband, the woman also feels relieved that she will not have to live with him for years – she is now free. However, when she learns that her husband is actually alive, she dies, as noted by the doctors, “of heart disease–of the joy that kills” (Chopin). It is possible to say that the story evokes strange emotions and leaves an ambiguous impression, making one think about the connections between love, marriage, happiness, and freedom.

External and Internal Conflict

In “The Story of an Hour,” there is both internal and external conflict. The essence of the latter is in the opposition of a person to society and its norms. Chopin refers to one of “the numerous paradoxes against which the woman had to survive in the American society in the 19^th century” – imposed roles and stereotypes (Kusi and Zetang-Jua 2). When finally feeling free, Louise joyfully realized that “there would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature” (Chopin). Thus, it is evident that the conflict discussed in the short story is between the society that wants males and females to follow their roles and real people who are tired of stereotypes and taken freedom.

Further, the second conflict in “The Story of an Hour” is the internal struggle and confusion of Louise. It is challenging for her to understand and accept the duality of her feelings. On the one hand, her husband loved her and never treated her badly, which is why it is difficult to name her marriage unhappy. On the other hand, being someone’s spouse deprived the woman of her right to make decisions and live in the way she wanted. Mrs. Mallard is simultaneously relieved and overwhelmed by the terrible news and tries to decide whether her new freedom or old happiness is greater:

And yet she had loved him – sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!

“Free! Body and soul free!” she kept whispering… (Chopin)

This is probably why Louise dies when her husband returns home. The woman has already accepted her new happiness, has imagined and loved living alone, and the great news of her spouse being alive makes it impossible for her to return to reality.

Physical and Cultural Setting

The setting in the story is also essential for understanding the conflict and main idea. As mentioned above, the story takes action in the 19^th century when many roles and stereotypes were imposed on both males and females (Jassam and Jassam 2). Such a circumstance weighs on Louise, not allowing her to understand that she is being oppressed (Yazgı 148), but these societal norms do not seem to bother her sister and husband’s friend (Chopin). The physical setting in the story is the Mallards’ house. It is a neutral territory where Louise is both happy and safe, but her freedom is somewhere else, behind the window. Finally, the time in the story is limited – all events take one hour, and the author shows how much a character’s feelings and life, in general, can change in such a small amount of time.

Literary Devices

As with most literary works, this short story is filled with numerous language devices that add to the ambiguity and power of “The Story of an Hour.” To begin with, it is essential to discuss repetition since, as noticed by Hu, it is “replete with repetition of words, phrases, structures, ideas, and themes” (1). Among many other examples, the window in Louise’s room is selected to prove the point of this paragraph. There are three sentences in which the window is mentioned in a similar form: “There stood, facing the open window, a comfortable, roomy armchair,” “There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window,” and “she was drinking in a very elixir of life through that open window” (Chopin). According to Hu, the repetition in these fragments is used to portray Mrs. Mallard as a vivid woman who suddenly changes her mind (3). Therefore, this literary device is needed to allow the readers better understand Louise.

Another language device in this short story is symbolism, and it is also discussed in the example of the window and the doors in Mrs. Mallard’s house. When trying to process the news and imagine her future life, she is looking precisely out the window and realizes her freedom, feels being “body and soul free” (Chopin). The window is the symbol of liberty, life, and uncommon happiness for Louise. At the same time, the doors in their house symbolize the past and death as they provide no escape from stereotypes, oppression, and unhappy marriage. When Mrs. Mallard locks herself in her room, the closed door is a symbol of the past she has left behind; however, opening the door for her sister means that Louise returns to her past and is going to meet her death. It is also interesting that, for Mr. Mallard, the front door that he enters actually symbolizes life, so this is a dual symbolism – if her husband is alive, Louise has to die to be free.

Conclusion

To draw a conclusion, one may say that “The Story of an Hour” is indeed rather ambiguous writing that leaves the reader with confusing emotions. Is it correct to consider Louise’s death as the final escape from oppression and unhappy marriage? Was it possible for her to live happily with her husband, who loved and admired her? These are the questions I have after reading the story. The opposition between death and life, social norms and self-perception, and marriage and freedom make this story, written in just a few paragraphs, unique in terms of feminist literature.

Works Cited

Chopin, Kate. “The Story of an Hour.”Virginia Commonwealth University, 1894.

Hu, Aihua. “The Art of Repetition in ‘The Story of an Hour’.” A Quarterly Journal of Short Articles, Notes and Reviews, 2020, pp. 1-6.

Jassam, Aseel Hatif, and Hadeel Hatif Jassam. “Kate Chopin’s “The Story of an Hour”: A Feminist Discourse of a Married Woman Reclaiming Her Lost Female Identity.” Social Sciences International Research Journal, vol. 6, no. 1, 2020, pp. 1-5.

Kusi, David Toh, and Zetang-Jua, Amandine Ankainkom. “Aesthetic Significance and Biographical Signposting: Kate Chopin’s “The Story of an Hour” and the Release of Patriarchal Grief.” International Journal of Integrative Humanism, vol. 12, no. 1, 2020, pp. 1-9.

Yazgı, Cihan. “Tragic Elements and Discourse-Time in ‘The Story of an Hour’.” The Explicator, vol. 78, no. 3-4, 2020, pp. 147-152.

The Storm and The Story of an Hour illustrate the viewpoints of women’s restriction in marriage. The two stories have a number of similarities and dissimilarities. As such, the leading casts in the two stories are women. The women try to discover their liberation from the male dominated society. In doing so, they experience triumphant and tragic events. The paper below compares and contrasts two short stories with the aim of expressing the themes of marriage’s restriction on women.

In the two short stories, Calixta and Louise play the key characters. Both women are married and are not happy with their family roles. Through the two women’s experiences, the author illustrate on the theme of restriction in marriage. The women desire to attain their independence. The Storm centers on the theme of women’s sexual liberation. Chopin writes,” Calixta’s first free breath ever since she was married restored the pleasing freedom of her maiden days” (The Storm 563). The above imply that Calixta current life is miserable. In contrast, The Story of an Hour focuses on the effects of restrictive marriages on women. In the short story, immediately Louise hears the news about the death of her spouse she learns that she is more self-reliant. Chopin indicates that Louise murmurs, “Free, free, free” (The Story of an Hour 556). The above indicate that Louise perceives life without her husband as a freedom.

A different element the author utilizes in the two writings is tone. In the writings, Chopin presents somber and sympathetic tones. The tone in The Storm is sympathetic. The author states, “Calixta is a slightly fuller of figure compared to when she was some few years ago” (The Storm 558). In the paragraph, Chopin shows that before Calixta got married, she was healthier and happier. The author asserts that she is a woman of vivacious character (The Storm 559). Through the above illustrations, the author emphasizes about women’s sufferings in marriage using imagery. The stylistic device enables the readers to visualize the sufferings in their minds. On the other hand, The Story of an Hour’s tone is somber. The characters’ experiences in the short story are gloomy. Chopin illustrates that following Mallard’s death “Josephine notifies Louise of the terrible news” (The Story of an Hour 556). Thereafter, Louise locks herself indoors to mourn the death of her spouse.

The settings of the two short stories are distinctive. In the writings, the author assesses the women’s perceptions and roles about marriages. Through the analysis, Chopin accuses the society for its continuous close mindedness in an age that considers morality as a feature. She notes, “The society was agreeable” (The Storm 563). Similarly, she comes up with outlooks that are more rational between the females and males of her time. The Story of an Hour transpires in a period where men dominate their marriages. Chopin writes that after the death of Mallard “Louise would live for herself” (The Story of an Hour 556). During this period, females have no legal or fiscal rights. The death of her husband leads to her liberation.

Additional element utilized in the short stories is irony. The Storm illustrates irony in the effect of the extramarital relationship between Calixta and Alcee. The author illustrates a situational irony contrary to the reader’s expectation. At the beginning of the short story, the reader postulates that the two characters will never separate (The Storm 557). Similarly, after the two characters engage in extramarital affairs, the reader expects their relationship with their partners would deteriorate. However, at the end of the short story Calixta and Alcee’s relationship with their spouses enhances. The story ends on a positive mood despite the challenges experienced by the characters. Chopin illustrates, “So the storm ended and everybody was contented” (The Storm 563). In The Story of an Hour, it is ironical for the author to illustrate that Mr. Mallard is dead. Notably, the news spread by Richard and Louise’s sister about the dead of Mallard are not factual. At the end of the short story, it is ironical to note that Louise dies at the sight of her husband whom she had earlier presumed to be dead. Chopin writes, “When the medics arrived they said Louise had died of heart disease” (The Story of an Hour 556).

Another element used in the two short stories is allusions. In the two short stories, the author presents a number of characters from different settings and background. Despite the fact that the two short stories are from different settings, the reader should note that they have similar themes. Following Mallard’s death, Chopin states that Louise “recognized the strongest impulse of her being” (The Story of an Hour 556). Similarly, Chopin indicates that over time Calixta “had been broken with passion” (The Storm 560). As such, in the writings the themes of marriage restrictions on women are prominent. In The awakening, Chopin presents the unconventional views on sexuality and femininity with the dominant societal perceptions. In chapter six, Edna came to terms with the above perceptions when she recognizes individual roles (The awakening 113). The author expresses allusion through the characters’ experiences in the writings by more often calling the themes without explicitly mentioning them.

Works Cited

Chopin, Kate. The awakening. Charlottesville, Va.: University of Virginia Library, 1997. Print.

—. “The Storm.” The Norton anthology of American literature. 8th ed.Ed. Nina Baym. New York: W.W. Norton, 2012. 557-563. Print.

—. “The Story of an Hour.” The Norton anthology of American literature. 8th ed.Ed. Nina Baym. New York: W.W.Norton, 2012. 555-556. Print.

Edwards, Bradley C.. “Kate Chopin in the Twenty-First Century: New Critical Essays.” American Literary Realism 43.1 (2010): 89-91. Print.

Introduction

In her short stories such as “The Storm” or “The Story of an Hour”, Kate Chopin was undoubtedly interested in presenting more to her audience than simple stories regarding simple country folk for her reader’s entertainment. Although there is little room in a short story for the full development of several individuals, significant insights regarding the multiple emotions of characters can often become very well developed by the careful use of phrases or actions. With the judicious application of only very meaningful phrases and language, the author is able to relate a specific event while providing the reader with a complex understanding of two individual characters who are trapped within the same social constraints and react quite differently.

Main body

In “The Storm”, the major part of the story is the activities of Calixta and Alcee, the main protagonist, and one of her neighbors who was caught out when the storm arrived, which are described in full detail. As it is revealed through the dialogue and the action described, Calixta once had a relationship with Alcee. This earlier relationship is predominantly shown through Alcee’s emotions and impressions.

The first accidental physical contact between the two dredges up these memories and the reasons why the two of them are not married now. “In Assumption he had kissed her and kissed and kissed her; until his sense would well nigh fail, and to save her he would resort to a desperate flight. If she was not an immaculate dove in those days, she was still inviolate; a passionate creature whose very defenselessness had made her defense, against which his honor forbade him to prevail” (Chopin, 1898). This suggests that Alcee fled before he and Calixta could consummate their love affair and satisfy old desires regardless of what her feelings were on the matter.

It is presumably for this reason that Calixta was less than fully satisfied with her marriage, always wondering if her first love would have been better. Although she is trapped in a marriage with Bobinot and now has a fine son who she is proud of, the marriage is not equal, which was illustrated at the beginning of the story when Bobinot and Bibi become stuck at the store by the storm and Bobinot nervously attempts to find something for Calixta that will appease her for the trouble he knows he’ll have caused. This indicates that the home life is less than happy although there are no overt signs of significant marital distress.

This same sense of being trapped in a less-than-passionate marriage is explored in “The Story of an Hour.” This story begins by detailing the special care that was taken in trying to inform Mrs. Louise Mallard of the death of her husband because of her weak heart. Her reaction to the news is remarked as somewhat surprising but takes on greater significance later in the story. “She wept at once, with sudden, wild abandonment, in her sister’s arms” (Chopin, 1897: 3).

From this point, much of the physical action of the story stops as Louise retires to her room alone and sits in a chair looking out the window. Far from feeling her life was now over because her husband is dead, Louise begins to see her life as a just beginning because she will finally have a chance to make some of her own decisions. That her marriage was a relatively enforced concession to the social requirements of the time is evidenced in her thoughts as she considers the loss of her husband. “And yet she had loved him – sometimes. Often she had not. What did it matter?” (Chopin, 1897: 3).

As Louise recognizes the “subtle and elusive” something “creeping out of the sky” as freedom, Chopin shows her beginning to come to life in a way that has never before been recognized as a part of her spirit. “The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body” (Chopin) as she whispered the word ‘free’ over and over again.

Louise quickly accepts her new status as a widow, free to do as she pleases without any of the constraints of father, husband, or poverty to keep her from choosing her own actions in a day. “There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature” (Chopin).

This same sense of freedom is experienced to some degree by Calixta in “The Storm” as she and Alcee finally satisfy their long-suspended passions. For each, this passion is expressed in terms of a passion never before felt and probably never to be felt again, but reveling in the experience. “Her firm elastic flesh that was knowing for the first time its birthright, was like a creamy lily that the sun invites to contribute its breath and perfume to the undying life of the world. The generous abundance of her passion, without guile or trickery, was like a white flame which penetrated and found response in depths of his own sensuous nature that had never yet been reached” (Chopin, 1898).

Comparisons can be made between the blinding white flash of the lightning outside and the blinding whiteness of Calixta in this moment of a passionate embrace. The comparison between her inner spirit and the outer environment is not to be ignored, not only as they affect her life, but also as they have bearing upon the lives of so many others. As Calixta and Alcee finish their love-making, the storm outside passes away, thundering in the distance for other people to fear and leaving Calixta’s world fresh and new.

However, both women are eventually brought back into the constraining reality of Victorian society by the end of the story. As the storm passes overhead, Calixta and Alcee are spent and begin setting everything back to rights again. Alcee writes a loving letter to his wife that she might stay on vacation for a while with the children if she wishes, reinforcing the idea that women’s movements were completely dictated by the desires of her husband while Calixta returns to her household chores as she awaits the arrival of Bobinot and Bibi.

These two are surprised by the warm welcome they receive and spend a happy and exuberant evening around the dinner table as Calixta throws herself back into her consigned role as housewife and mother. While Calixta was able to enjoy a temporary escape from the curious half-life of women of the Victorian age and then return, Louise from “The Story of an Hour” is given a different ending. Having accepted that she is free as birds, Chopin shows Louise fully coming to life through the activities of the ‘weak’ heart that is now suddenly pushing warm blood strongly through her previously constricted veins. “Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own.

She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long” (Chopin). However, the realization that her husband is still alive and healthy, thus placing her back within the confined role of the housewife, is more than her system can bear. Having tasted what it meant to be free, if only for a moment, the sight of her husband walking in the front door alive and well immediately conjured up the memory of her nearly lifeless status before the news arrived that he was dead. Louise’s physical death thus stands as a symbol of the spiritual death most women experience through their social atmosphere.

Conclusion

Through such an analysis, it can be seen how a short story with limited space for character development can still manage to present a complicated individual and an intense look at the social customs of a given time. While “The Storm” only comprises the short space of a passing storm, the implications of the storm and which storm (atmospheric or human) are the storm of the title remain concepts to be discussed in great detail, not only for the characters involved but for those reading the story, those living in the time of authorship and those experiencing it from the perspective of a century in the future.

In the same way, “The Story of an Hour” suggests a very short span of time elapsing during the duration of the story yet a great deal of character development occurs as Louise first realizes the weight of her fetters and the weightlessness of freedom with their release in the form of her widowhood and then collapses under the weight of their equally sudden return on the discovery of her continued married (conceived as a slave) state. In both stories, Chopin hammers home the unnatural and oppressed state of women in her time and urges social change for a happier society overall.

Works Cited

Chopin, Kate. “The Storm.” 1898. Web.

Chopin, Kate. “The Story of an Hour.” (1897). Printed in Mercury Reader. Melanie Rubens. Boston, MA: Pearson Custom Publishing.

Introduction

The ‘Story of an Hour’ forms part of the captivating literary chef-d’oeuvres of Kate Chopin, capturing not only the reader’s mind but also his/her emotions. The story is rich in the message, with every word strategically fixed and heavily laden with meaning. Louise, the story’s hero and an epitome of married people, reveals that, though misconceived by many as dominated by love and joy, marriage is slavery by itself, and virtually all married couples cry of oppression and hunger for freedom. According to Chopin, marriage is one oppressive institution that deprives each of the parties of the ever-needed joy of independence.

Story Summary/Analysis

Chopin qualifies in presenting the aforementioned message through the way he strategically allocates different roles to his different characters. The story opens with Louise Mallard, suffering from heart trouble. News about the death of her husband arises and owing to her heart problem, carefulness is vital for the one to deliver the news to her. Josephine, her sister does the task and Richard is revealed as having learned of the death from a newspaper office. Louise begins to cry and resolves to go upstairs to stay alone. The reader expects to see her sickness become worse following the bad news but hers is a cover of some joy within her since she expects a lot of positive change as a result of her husband’s unexpected demise. Alone in the room, she looks through an open window, seeing trees and experiencing the smell of coming rain. The words “open window” symbolize how she now will be connected to the world, free of the slavery of marriage. Moreover, trees and rain imply a good environment that awaits her. Ironically, as she imagines the coming days without her husband, joy fills her as she sees “…a long procession of years to come that would belong to her absolutely…and spreads her arms out to them in welcome” (Chopin 5). Responding to Josephine’s request, Mallard and Josephine walk downstairs, only for her to die upon unexpectedly seeing her husband. The reader can conclude that the death comes from her surprise and dismay, as she imagines how her previous feelings and expectations will never happen. According to Chopin, independence is a prohibited joy privately imagined by married couples.

Independence

Chopin succeeds in revealing independence as a forbidden pleasure experienced privately by married people; for instance, when the news of the death of Brently reaches Louise, she violently reacts and mourns as obviously expected of her. However, as she goes upstairs to mourn alone, she imagines her future independent life and feels excited and inspired as a result. Despite the excitement, she decides to suppress the joyful feeling to “beat it up with her will” (Chopin 7), a reaction that indicates how needed, yet prohibited the joy is. More so, the joy that she recognizes is so overwhelming that “She said it over and over under her breath: …free, free, and free” (Chopin 6). Her life as a married woman could not avail this feeling. In fact, she prays for longer life so that she can get a chance of experiencing more of this freedom. However, the unexpected return of her husband deprives her, not only of the prohibited joy but also of her life. As Chopin reveals, marriage is an oppressive institution.

Oppression

Oppression dominates most marriages although the victims never disclose, as does Louise. To drive this point home, Chopin writes that Louise can testify of her husband’s love and kindness; notwithstanding, that the joy that comes following the news about the death of her husband proves the existence of oppression in their marriage. According to her, her husband’s death is a relief rather than a disaster. In fact, she even reveals that both parties oppress one another. On one occasion, she says, “I oppressed Brently just as much as he oppressed me” (Chopin 4), thus showing how the two parties participate in the oppression.

Conclusion

Conversant with the institution of marriage, Chopin successfully brings to light the life of married couples. Louise, an epitome of married people, reveals the forbidden joy of independence that the couple imagines privately. The issue of oppression stands out clearly in Chopin’s works. Therefore, it suffices to infer that marriage is a challenging engagement that requires a lot of patience and understanding.

Works Cited

Chopin, Kate. The Story of an Hour. Britain: Great Neck Publishing, 2006. Print.

Introduction

“The story of an hour” by Kate Chopin is an outstanding narrative because it is amazing and full of emotions. In this story the authors describes how Mrs. Mallard who is the main character suffers a heart problem and how her husband dies, when presented with the horrific news about the death of her husband Mrs. Mallard goes to a state of emotional breakdown but which she eventually recovers from.

However, after her recovery she begins to feel freedom of soul as Chopin describes her state (15) which is a benefit since it relieves her of her husband memories. This story is typical of daily events of death in the society and I will therefore recommend it since it reflects an important theme in the society. In this paper I will discuss more reasons why this paper will relate well with readers of our magazine.

Discussion

Foremost, I have chosen this fiction story because it is quite entertaining and not to mention it is full of conflicting emotions which shock the reader and will therefore be entertaining to read. As one reads the story, one is completely attached to it because it relates on the everyday occurrences in the society and all through the reader is entertained by the author’s humor in the paper and archetypal imagination.

Secondly, this particular fiction story is full of surprises and imagination (Chopin 5). As the reader goes through the story, one can clearly see the images of what is happening because of the detailed imagery depicted by the author in the story; it is these imageries that triggers the reader’s conflicting emotions.

In fact, as one reads the story a person is amazed by different events that leave one with imaginations because of the suspense created by the author such as in the way that one is left wondering what could have been the cause of Mrs. Mallard death towards the end of the story. This is a classical example of suspense in a story that leaves the reader yearning for more (Beam 29).

Additionally, this fictional story is very educative; as much as the story is full of emotions its educative value is well elaborated throughout. The readers will therefore also be enlightened about so many things as they read this particular fiction story especially in the sequence of the events that eventually leads to emotional breakdown. Therefore, this fiction story is a good work of art because it provides the reader with the understanding of the role of women in the society.

Moreover, this fictional story is also full of visual effects (Hood). One aspect that makes this fictional story to be outstanding is the fact that readers will feel as if they are watching the events unfold. The way the events have been described by the author makes the readers to visualize the whole story and this helps to make them understand it and be more entertained.

For instance, when Mrs. Mallard is told about her husband’s death, she immediately locks herself in the house to mourn his death; this presents a strong visual effect to the reader. Finally, “The story of an hour” has been written in simple English and has great diction which means that majority of the readers will understand and enjoy it. The events in the story have been described very well and in very simple and straightforward vocabulary.

Conclusion

Many readers concurs that “The story of an hour” is an amazing fiction story and a quality work of fiction. This particular fictional story appears real because of the way it reflects our society today; as such, readers will be able to relate with the story which will help them to understand our society better; all the more reasons why it should be run in the magazine.

Works Cited

Beam, Piper. Flight from tomorrow: Science fiction stories. Boston: Wildside Press LLC. 2006. Print.

Chopin, Kate. The story of an hour. California: Perfection learning. 2000. Print.

Hood, Davies. Creative Writer, 2009. Web.

Author, playwrights, and poets use their various literary works to convey certain important messages to audiences. As such, these works normally demonstrate confluence about how the literary experts construct certain concepts such as themes. The portrayal of such themes necessitates literary experts to describe certain characters in specific ways. Applying the aforementioned concepts to Susan Glaspell’s Trifles play and Kate Chopin’s The Story of an Hour narrative enables one to notice certain similarities. For one, the two literary works dwell on the theme of female subordination and the negative consequences of this practice. Through The Story of an Hour, Chopin shows that Louise Mallard is harmfully subordinated by Brently – her husband – through various unkind acts. Likewise, Glaspell uses Trifles to demonstrate that John Wright – Minnie Wright’s husband – oppresses his wife via certain rude acts. The two works are also similar in that they prove that female subordination is not only harmful to women but also oppressive to men. In Trifles, John’s oppressive stance makes the wife so much depressed that she kills the husband. Likewise, Brently’s oppression of Louise makes the wife so cynical that she demonstrates indifference to the husband’s supposed death. As they build the 2 works, the literary experts describe 2 opposing characters who represent either the female or male views in their respective patriarchal chauvinistic societies. In Trifles, Minnie represents the female side of this gender tussle. Louise is representative of the female gender in Chopin’s narrative. In Trifles, Mrs. Hale and Mrs. Peter also come in to support Minnie’s quest to escape John’s chauvinistic bondage. All in all, Chopin’s The Story of an Hour narrative and Glaspell’s Trifles play are similar in that they both describe the negative effects of their female protagonist’s oppression under chauvinistic males.

To illustrate, the theme of female subordination plays out in The Story of an Hour through Louise’s confession that Brently’s supposed death indicates freedom for the wife. Louise demonstrates this disposition when she thinks that thanks to Brently’s supposed demise, she will be able to live her own life. Such weighty thoughts point out that Louise has been suffering under her husband’s yoke of male supremacy. She confirms these premises by indicating that Brently has been imposing his will upon Louise against her wishes. The theme of the oppression of women by me thus clearly plays out.

Likewise, Glaspell’s Trifles play brings the theme of female oppression to the fore through the conversation that Mrs. Peters and Mrs. Hale have as they stand in Minnie’s kitchen. The 2 women make observations that indicate that Minnie’s life has been bleak owing to her husband’s rude manners. Various things in Minnie’s kitchen are clearly out of order, thus reflecting the depressed woman’s tattered emotional situation. For example, the housewife has left her tabletop half clean, some bread lies outside its holding box, some fruit preserves are spoilt, and the Canary cage is empty. These conditions allude to Minnie’s incomplete life with John. Viewers are made to learn that the husband prefers to spend time outside the home rather than stay with his wife. John is even argued to be bad company. Minnie’s loneliness is compounded by the fact that she is childless. The aforementioned circumstances thus bring the theme of female oppression into sharp focus.

In line with the above-mentioned theme, Glaspell’s Trifles play shows that the habit of men subjecting their female companions to oppression usually harms both the females and the males. This concept is exhibited through the antagonistic stance adopted by Mrs. Peters and Mrs. Hale about attempts by the men to investigate the cause of John’s death. After being irked by the County Attorney’s statement that ‘kitchen things’ amount to nothing, the women decide to side with Minnie. The County Attorney’s chauvinistic viewpoint disparages women and their domestic roles. The women thus decide to hide the discovery of the dead Canary from the men, with Mrs. Hale confiscating the corpse. Should they make the men aware of the bird, the 2 ladies would assist their male counterparts in resolving John’s murder. Mrs. Peters and Mrs. Hale are however motivated by their disdain for the men’s self-importance; they thus conceal this significant discovery. These 2 ladies’ standpoint coincides with Minnie’s views which prompt her to murder John by strangling him. The husband thus loses his life on account of his unkindness towards his wife. Female suppression is thus shown to be disadvantageous to both women and men.

Likewise, men’s oppression of women is proven to be detrimental to both genders through Louise’s desperate search for freedom from Brently which eliminates her affection towards her husband. To illustrate, Louise does not show the usual remorse when she learns that her husband is dead. Instead, she behaves as though she has received news of something that should facilitate her relaxation. Her decision of settling in a comfortable chair that overlooks the beautiful scenery through an open window alludes to Louise’s contentment with Brently’s death. The supposedly widowed wife even confesses to feeling a sense of release that indicates a future satisfying life. These sentiments prove that Louise has been so much emotionally and psychologically battered by Brently’s excesses that she covertly rejoices in the husband’s death. In this regard, Brently’s oppressive rudeness towards his wife is shown to have erased any fondness the woman ever had for the husband. As such, Brently is denied the requisite mourning by a beloved wife that he desires after he supposedly dies. Instead, the husband’s alleged death comes as a pleasurable occurrence to the wife. The foregoing events thus confirm that the habit of men oppressing their women is counterproductive as it harms both the females as well as the males.

In addition, Chopin’s narrative shows that Louise is struggling to free herself from the yoke of male oppression that her husband has imposed onto the wife. This concept plays out at the instance when Louise owns up that she does not love her husband. Instead, she merely pretends to adore her husband. She proves her dissatisfaction with Brently’s controlling manners by reasoning that she has found a way to exercise her right to self-assertion now that her husband has died (Chopin, 2000). More importantly, Louise whispers that she is now wholly free, thus proving that Brently has been curtailing her freedom. This desperate quest for freedom confirms the oppression that Louise has endured under Brently.

Similarly, in Glaspell’s Trifles, Minnie makes a desperate attempt to be free from John’s oppressive domination by strangling the husband. The husband has habitually been antagonistic to the wife as is evident through his act of killing the Canary. This bird not only keeps the woman company but is also a sign of her freedom. The husband’s action of getting rid of this precious creature thus prompts Minnie to do the unthinkable – she pounces on a sleeping John and strangles him to death. It can thus be plausibly argued that John’s cruel act motivates Minnie to undertake the ultimate quest for freedom. She kills the husband. The profile of a woman who desperately tries to free herself from the oppressive yoke of her husband thus plays out.

In summary, Glaspell’s Trifles play has several similarities with Chopin’s The Story of an Hour narrative based on certain elements such as characterization and themes. Firstly, the 2 works clearly demonstrate that they explore the themes of female subordination and the related consequences through their description of the female protagonists’ woes. Minnie’s oppression in Trifles causes harm to both John as well as herself. Likewise, Brently’s suppression of Louise in Chopin’s narrative is counterproductive; it harms both genders. In addition, both works create the profiles of female protagonists who determinedly strive to break free from their respective husbands’ oppression. Such protagonists are matched with resolute chauvinist husbands who offend and suppress their wives. Trifles’ John is a representation of an oppressive chauvinist. Ultimately, the oppressed female characters are forced to undertake desperate measures in a bid to be free from the oppression of their husbands. In the Story of an Hour’s Louise chooses to rejoice in Brently’s – her husband’s – demise while Trifles’ Minnie kills John – her husband.

Reference

Chopin, K. (2000). The story of an hour. Logan, IA: Perfection Learning.