It is the male voice that privileges the rational, the practical, and the observable. It imposes controls on the female narrator and dictates how she is to perceive and talk about the world. Treichler Gilman expresses this patriarchal oppression, and lack of control through symbolism throughout the story.
The first major symbol Gilman utilizes is the yellow wallpaper itself; Gilman repeatedly emphasizes the wallpaper and how the narrator responds to it.
By daylight she is subdued, quiet. It is the fancy pattern that keeps her so still. Gilman employs the symbol of the wallpaper to show the lack of freedom the narrator has. The bed is unmoving, just as the narrator is; she attempts to move the bed, and the bed is steadfast— mirroring the activity of the narrator. Within the story, the narrator constantly mentions windows, beginning in a positive light and slowly morphing into a negative light.
The window initially is a happy, joyful thing within the room; it allows access to a small chunk of freedom. However, as the story progresses, she then begins to hate the barred windows because they allow her to see things she cannot have. The window is her access to freedom; however, being barred and unescapable, it also symbolizes her oppression, her lack of free will, and her unreceived liberation. Using the symbolism and imagery of the wallpaper, the nailed-down bed, and the barred windows, Gilman creates a strong theme within the story, and reveals the importance of female freedom and identity.
The story begins with a third person omniscient narrator stating that Mrs. Mallard immediately weeps, as one expects, and then quietly goes to her den to be alone. Mallard revels in this new-found freedom, little knowing that she would soon be startled dead by her husband walking through the front door. The first major symbol within the story is the heart troubles Mrs.
“The Story of an Hour” - Kate Chopin's voice against patriarchy
Mallard experiences, specifically referring to the heart itself. Her physical heart troubles in life symbolize her emotional turmoil in her marriage. It is likely that Mrs. Mallard herself is a symbol within the story, as well. She represents women within this time frame— trapped in marriage and unable to find happiness within it, constantly battling the thoughts of society vs. Upon returning to her den to collect her thoughts, Mrs. After sinking into this arm-chair, her revelation begins— she can be free.
This arm-chair symbolizes rest from the societal expectations of marriage, she can find solace in this arm-chair just as she will find in life. Chopin also utilizes rich imagery to express Mrs. While in her study, Mrs. She weeps for a short period of time; however, contrary to societal expectations, she begins to enjoy this time in her study.
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The narrator says:. She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was int he air. In the street below a peddler was crying his wares. The notes of distant song which someone was singing reached her faintly, and countless sparrows were twittering in the eaves. Chopin Chopin is making a direct correlation between the new spring day and her new quivering, awakening life.
Mallard will have— just as a Spring day is often a fresh start, or the start of something new, Mrs. These are images of happiness; the blue patches of sky reveal her new, happy life peaking through the oppression of her marriage. By then:. There would be no one to live for her 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 the right to impose a private will upon a fellow-creature.
Kate Chopins Short Stories Archives - Literature Essay Samples
A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination. Mallard, near the end of the story, is undoubtedly free.
She is chanting of freedom, she is quivering with freedom, she has finally been released from the chains of marriage— the constant struggle between loving a spouse or being complacent with a spouse. As Josephine kneels at the door, she hears Mrs. Mallard crying, little knowing it is not because she is weeping for her husband, but because she is enthralled with new-found liberation.
Body and soul free! In lieu with Toth, Chopin makes it clear that Mrs. Mallard is absolutely reveling in her new-found solitude; there is nothing but hope and joy of her new life ahead of her. Louisa Mallard dies instantly. The seclusion of each protagonist from society in an effort to pursue her female individuality is interrupted by a female minor character who convinces the protagonist to suppress those emotions. Chopin accomplishes this by establishing atmosphere in each story, then introducing the female minor character as an atmospheric disturbance.
Her objective is to demonstrate how minor characters, who reconcile with social constructs, affect the atmosphere in which the protagonists are situated. In each story, the protagonist is afflicted with an internal turmoil that is incited when the protagonist attempts to challenge the social restrictions of gender. Furthermore, Chopin situates each protagonist in an atmosphere which conveys the influence of the social construct of gender on each protagonist.
Minor characters also play an important role. Evidently, in both short stories, Chopin develops the internal turmoil of the female protagonist due to the constraints of gender that society imposes upon her. Female writers constantly try to negotiate their identities in a society that exalts male opinion.
Immediately, a critique of marriage arises, and we are forced to examine how women are oppressed, either by patriarchy or by stereotypes placed on them as mothers and nurturers. It is evident that both stories serve to highlight the plight of women, though it remains arguable whether a solution is proposed.
The conclusions, as such, do not seem to empower women, but suggests a futility of fighting against patriarchy.
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Besides, her transcendence — if it is interpreted as such — is temporary, for she might be placed in an asylum for further treatment. Consumerism too, is only a temporary relief for Mrs. The fact that both women are married is an important consideration in this analysis. Marriage inscribes patriarchy into the narrative, because it forces the identity of wife and husband onto the characters.
Immediately, stereotypes of each label are being invoked: the wife is submissive, caring and sacrificial while the husband is aggressive, clinical and egocentric. In both stories, the women are silenced and powerless in their marriage. For Mrs. Sommers, her desires are usually repressed, and the story describes what happens when she succumbs to her desire. Sommers is the embodiment of the perfect wife, with her children as her source of pride and excitement. Her life also exemplifies the life of all women who become housewives and devote their lives to their family because that is expected of them.
In both stories, the protagonists devise their own ways of escaping patriarchy. We are offered insight of her struggles to construct an identity that is not imposed by society. Elaine Showalter recognizes that writing is a powerful tool of expression for the feminists, even if they continue to do so within a patriarchal culture Belsey and Moore 6 , and this is exactly what Gilman tries to show in her short story.
As the figure becomes clearer, she becomes quieter and her husband sees this reticence as an indication of her improved wellbeing. This suggests a fallacy of the privileged male, medical observation and potentially undermines it as the patriarchal voice is revealed as disempowering for females. Sommers, she experiences momentary respite as she indulges in consumerism. When the story sees Mrs. However, I opine that she is suggesting that financial independence is the key to freedom.
The story starts by painting a picture of Mrs. Sommers had known before she had ever thought of being Mrs. Unlike the females of Jane Austen who saw marriage as a solution to future stability and happiness, Gilman and Chopin foreground marriage as stifling and regressive. Her approach merges the solutions of Chopin and Gilman, and implies that women have to be sufficient, thus not depending on the patriarch, before their writing can be taken seriously as a collective female voice.
John fainting in the end is evidence of the vulnerability of his ego. That both stories end inconclusively connotes the ability for women to embody contradictions and ambiguity. This, in my opinion, is what makes women different from men. It is impractical to compete with males on their platform, because it only supports the binaries that patriarchy upholds. Both stories highlight the oppression of women through the male institution as epitomized by marriage. The inconclusive resolution of both stories hints at possibilities for change.
Both stories criticize marriage, and portray it as oppressive and disempowering for the female. For the texts to be interpreted correctly as a critique of marriage and patriarchy, it is crucial to examine the seemingly arbitrary endings that hint at the futility of resistance. The central difference that celebrates women is her ability to embody the binaries that patriarchy asserts. By embodying it, not only does she appropriate it, she displaces patriarchy and exposes its vulnerability.
- Reward Yourself?
- The story of an hour by.
- Salt Meets Wound (Oberon Modern Plays).
The Feminist Reader. London: Macmillan Press Ltd, Ford, Karen. Jacobus, Mary.