Textual Analysis of Narratives
The Story of an Hour; Kate Chopin 1894
Life is full
of surprises and irony, the thing that was well illustrated in “The Story of an
Hour”. The story by the American author Kate Chopin is a mainstay of the
feminist literary study. Originally published in 1894, the short story of
approximately a thousand words documents the complicated and ironic reaction of
a woman upon her husband’s false death and even after walking in all safe and
sound, in a time where Americans were highly influenced by the construction of
a good woman reflected by the Victorian lifestyle back in England. In her
story, Kate Chopin also tried to display the limitations of the patriarchal
system and even marriage towards women in the nineteenth century.
From the
outset, Louise Mallard was introduced as a married, weak woman who is receiving
Brently Mallard’s death, her husband, from her sister Josephine and her
husband’s friend; Richards. The latter go gently on her “in broken
sentences, veiled hints that revealed in half concealing” (4-5) as they
assume the news is going to be devastating to Louise and threatens her fragile heart.
From a one hands, Josephine and Richards provides a better demonstration of
society over widows-simply a child that should be taken care of. The heart
trouble, on the other hand, indicates a breakdown in the fundamental structure
of communities which is marriage as it is the core and root of any society.
Thus, Mrs. Mallard’s illness represents a typical 19th century woman
who is entrapped between her desires and the societal expectations from a good
married woman. Unexpectedly, only when she is alone in her room Luoise feels
overwhelmed with epiphany and a sudden revelation as her consciousness
retrieves the thought of freedom and a comfortable happiness. This is
symbolically represented via “the open window” (16) in her room as a gate to her new life that she looks
through and being able to be in harmony and recognize the rebirth of nature
after the harsh winter “with the new spring life” (20). She can see “patches
of blue sky” (24) and even can hear “a distant song which someone was
singing” (22) and thus all her senses came back to life again without any
restriction in a revealing moment realizing she is finally free from the fact
of marriage when “she said it over and over under her breath: free, free,
free”. (44-45). Hence, Louise is content as she looks forward to “years to
come that would belong to her absolutely” which reflects her new self-possessed
life independently without any patriarchal reflection. Nevertheless, the same
physical description of excitement is displayed together with a feeling of
guilt as an internal conflict in a paradoxical exposition “monstrous joy”
(48) and the use of the third narrator or omission narration.
However, Brently
Mallard enters the house opening the door with “latchkey” (82) as a
proof of the patriarchy system where he belongs to the open space and get in
and out whenever he wants unlike Mrs. Mallard who is blocked within the closed
space before that front door. Alive and well unaware of what happened, Brently
as usual got in “composedly carrying a grip-sack and umbrella” (83-84). Alas,
Luoise’s “feverish triumph” (78) and her walking down the stairs as “Godess
of victory” (79) vanish and get assassinated right away.
Eventually,
Luoise dies. When the doctors determine that Luoise “died of heart
disease-of joy that kills” (89-90), one directly notices the explicit
verbal irony. It seems that Luoise died because of her loss of the cherished,
new found freedom but not because of joy over her husband’s survival.