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Louise Mallards Struggle for Freedom
Kate Chopins The Story of an Hour represents the roles of women
in their Victorian marriages during the nineteenth century. Women ...were
not allowed to be part of the mans world. They were responsible for
Custom writing service can write essays on Louise Mallard's Struggle for freedom
housework, feeding the family, shopping, cooking, psychologically and
materially sustaining the children, and their husband ( Porter 11 ). At a
very young age, women were taught that a woman would get married and
have children; they were born and raised to become wives and mothers.
Women were alive to marry, reproduce, and tend to their husbands needs.
There was a rigid hierarchy with the wife always being subordinate to the
husband, and daughters being subordinate to everyone. The women were
always under the control of the men. Women mostly kept to themselves
and to their homes ( Puz 17 ). Women were often put into a domestic
sphere without being allowed to have an opinion on the matter. Chopins
tone throughout the story realistically looks at the assertive mind of a
young women in the nineteenth century, who prays for her life to be short
because she is being oppressed by her Victorian marriage. Most of the
women who marry have little choice mainly because they have no control
over their education, and many were only taught domestic skills needed in
a marriage. A woman was not expected to work unless she was among the
lower class, and therefore did not have a choice. If a woman did not work
she was expected to look pretty. Many women were married off to a man
who was wealthy, and had a title, so the parents of the woman could
advance their social status. If a woman did receive a divorce, provided that
the law would allow such a thing, the woman would be forced to live the
rest of her life in solitude. Kate Chopins story uses a wide variety of
symbols as well as irony to show how a young woman, Louise Mallard, in a
typical Victorian marriage deals with the news of her late husbands
death, which is very different from the traditional expected response.
Despite Louise Mallards young womanhood, she has a serious
ailment with her heart. Tremendous care has to be taken when breaking
the news of Brentlys death to Mrs. Mallard, for her sister, Josephine, did
not want the news to cause Louises ailment any stress. She did not hear
the story as many women have heard the same, with a paralyzed inability to
accept its significance. She wept at once, with sudden, wild abandonment,
in her sisters arms. When the storm or grief had spent itself she went
away to her room alone ( Chopin 76 ). Mrs. Mallards awkward attitude
after learning about her husbands death is ironic. Both Richards, a family
friend, and Josephine were expecting much more emotion from Louise.
Instead of feeling painful grief, Mrs. Mallard gives a shallow cry and
suddenly dashes upstairs to her room, making sure no one follows her.
Mrs. Mallards initial reaction is not one that many would expect during the
late 180s. A woman was expected to have intense feelings of grief, and
overwhelming sorrow if the man she loved suddenly died. If a woman did
not have any children, then the only person in her life was her husband.
Many women who lose their husbands go into a state of depression, and
feel alone in the world.
With Richards and Josephine believing that Mrs. Mallard is up in her
room overcome with melancholy, Mrs. Mallard is actually beginning to see
her new life take form. She could see the open square before her house
the tops of trees that were all aquiver with the new spring life. The
delicious breath of rain [ is ] in the air ( Chopin 76 ). The open window, the
tree tops with new spring life, and the delicious rain that fills the air all
symbolize Mrs. Mallards new life to come. There [ are ] patches of blue
sky showing here and there... ( Chopin 76 ). She was young, with a fair,
calm face, whose lines bespoke repression and even a certain strength (
Chopin 76 ). Mrs. Mallard is described as a very pretty women, but her face
shows signs of old age due to her repressive marriage, and her heart
condition. ...free, free, free! 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 being ( Chopin 77 ). Mrs. Mallard has a sudden epiphany, and realizes
that she is free from her repressive marriage. She feels so much
exhilaration that the expression in her eyes changes from a ...dull stare...
( Chopin 76 ), to ...keen and bright... ( Chopin 77 ). A woman in a
Victorian marriage was expected to be very fearful and apprehensive about
the days to come once their spouse died. Most women did not have skills
which were useful in the workforce. Therefore a woman had no source of
income, no skills to obtain a job, and no way to care for the children
without any earnings. Women who lose their husbands do not see it as
freedom, but rather a burden even deeper than an oppressive marriage.
4
After Louise realizes the significance of her husbands death, she
feels liberation, and feels that she now has control over her own life.
“What could love, the unsolved mystery, count for in the face of this
possession of self assertion which she suddenly recognizes as the
strongest impulse of her being ( Chopin 77 ). Mrs. Mallard confessions
that she does not hate her husband, but that she often ...[ thinks ] with a
shudder that life might be long ( Chopin 77 ). However, she claims her
newfound liberation by claiming her own self assertion as her strongest
quality in life. Mrs. Mallard began whispering over and over Free! Body
and soul free! ( Chopin 77 ). While Mrs. Mallards sister is outside Louises
bedroom door begging for her to come out, Louises ...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 her
life might be long ( Chopin 77 ). Mrs. Mallard was psyching herself toward
her transition, while Josephine was thinking that Louise is making herself
ill. The irony is that Mrs. Mallard is not making herself ill, but she is
celebrating her upcoming rebirth. A woman in a Victorian marriage would
not have celebrated her own self assertion so readily after the death of her
husband. It was expected that a woman who has lost her husband so
suddenly would feel impotent. The woman had no control over her
husbands death, and the woman was not given a chance to say good-bye
to her husband. If children were involved in the marriage, then the woman
had to explain the tragic event to her children, who might have been
incapable of comprehending the dissolution. The woman would fell
incompetent as a mother because she can not relieve her offsprings
5
anguish, and therefore led the woman to feel helpless.
Louise Mallard is in a repressive Victorian marriage and does not
realize her own positive energy until she gains knowledge of her husbands
death. Mrs. Mallard realizes that she is not living the type of life that makes
her happy, and now that the one entity, her marriage, that is keeping her
from living a long and wonderful life is coming to an end. Although Louise
does not hate her husband, she is accepting his death with immense
pleasure. Mrs. Mallard does not allow Richards or Josephine to know her
genuine feelings towards the news of Brentlys haphazard misfortune, for
she worries of the consequences. Victorian women of the nineteenth
century would have been more concerned with the death of their husband
over themselves. The women would express tremendous grief, fear, and
helplessness in such a situation. Mrs. Mallards reaction is far from the
expected norm. She barely shows any grief in the presence of Josephine
and Richards, and when she ascends to her room alone she shows even
less grief. Louise has feelings of joy, and excitement due to her newfound
freedom.
Works Cited
Chopin, Kate. “The Story of an Hour.” The Harbrace Anthology of Short
Fiction. rd ed. Stott et al Ed. Toronto Nelson Thomas, 00. 76-78.
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Dyer, W. Wayne. “What is Freedom?” Pulling Your Own Strings. New
York Harper Collins, 14. -7.
Gorham, Deborah. The Victorian Girl and the Feminine Ideal. London
Croom Helm Ltd., 18.
Porter, Marilyn. Home, Work and Class Consciousness. Great Britain
Manchester University Press, 18.
Puz, K. Susan. U.S. Womens Herstory (1865-10). August 6, 17.
January , 00. http//www.csupomona.edu/~skpuz/vhst0/
Projects/wmhst/whevess.html.
.
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