Introduction: Feminine Freedom in “The Story of an Hour”
It is not surprising that Kate Chopin, who was surrounded by female characters more than the male members of her family throughout her life, has portrayed such a strong character illustrating feminine freedom in “The Story of an Hour.” Page Skaggs highlights this fact in his book about her, emphasizing that her exposure to more female characters influenced her projection of feminism in her fiction. However, the calm attitude inherited from her father, as noted in her short stories, is notably absent (17).
While the character of Mrs. Louise might not strongly prompt critics to label Kate Chopin as a pioneer of American woman feminism, it does exhibit traces of independence, freedom, and a desire to break free from patriarchal domination. “The Story of an Hour” appears to be Chopin’s initial attempt to explore feminist themes. The concept of feminism can be traced back to Nathaniel Hawthorne, who depicted feminist characters in his short stories and novel, “The Scarlet Letter,” as mentioned by Nina Baym in her book, “Feminism and American Literary History: Essays” (36). Although the theory of feminism, involving the projection of female characters, dates back to Greek and Roman civilizations, it gained prominence in American literature primarily through the works of Nathaniel Hawthorne. However, it is essential to define the term itself before engaging in a discussion of the story within the framework of this literary theory.
Feminism and Feminine Freedom in “The Story of an Hour”
Regarding the term feminism, the online Merriam-Webster Dictionary asserts that it was first used in 1895 by an anonymous critic, defining it as “the theory of the political, economic, and social equality of the sexes,” advocating for women’s rights and interests (“Feminism”). This concept represents a movement across literature, politics, and society, emphasizing equal rights for women in comparison to men. Mary Eagleton, in her book “Feminist Literary Criticism,” explains that the objective of feminist literary theory is to analyze and elucidate a piece of fiction or poetry in terms of its role in portraying female characters and addressing female rights (63).
Examining “The Story of an Hour” in light of these definitions reveals that Kate Chopin depicts Mrs. Louise as suppressed by her husband, seeing his death as an opportunity to break free from his dominance. For instance, the act of Louise rising and opening the door to her sister’s importunities suggests that she perceives her sister as prodding her about her past life, a part of herself she wishes to forget (Chopin pr. 20). This portrayal reflects a strong assertion of female independence throughout the story. Indeed, signs of feminism are evident in “The Story of an Hour,” unveiling the oppressive nature of marriage, unspoken male dominance in society, entrenched social traditions, and other barriers as key factors contributing to the feminine desire for autonomy and freedom, with hints of postmodern feminism also present.
Marriage and Feminine Freedom in “The Story of an Hour”
When examining the portrayal of the bond of marriage in “The Story of an Hour,” it might not be explicitly clear whether Kate Chopin presents a traditional or oppressive marriage. However, a notable indication of marital repression emerges in the lines, “She was young, with a fair, calm face, whose lines bespoke repression” (Chopin pr. 8). These lines unmistakably convey the sense of repression within the institution of marriage, even though Chopin initially depicts Mrs. Louise as a loving and loyal wife.
Further insight into the oppressive nature of the marital bond surfaces when Mrs. Louise confesses, “she had loved him – sometimes. Often she had not” (pr. 15). This revelation suggests that there were moments in her marriage when she did not feel love for Brently. Robert Evans, in “Literary Contexts in Short Stories: Kate Chopin’s ‘The Story of An Hour,'” emphasizes the story’s essential honesty, particularly when Louise admits that her feelings for Brently become less important than the prospect of a bright future and freedom (Robert). Evans implies that Mrs. Louise recognizes her ability to live without her husband and seizes the opportunity to assert her identity after his death, leading to her sudden happiness.
The pleasure Mrs. Louise experiences in her newfound freedom becomes evident as any form of prodding, even from her sister, disrupts her pleasurable stupor, making her feel as though it is anathema. This reaction suggests that she relishes the freedom from the oppressive bond of marriage.
Oppressive Marriage and Feminine Freedom in “The Story of an Hour”
Another piece of evidence supporting the oppressive nature of the marital bond is Mrs. Louise’s “wild abandonment” regarding the significance of the event that has transpired in her life (Chopin pr. 3). This abandonment suggests that she hasn’t grasped the full significance yet; her initial response is purely emotional. It implies that one hour is insufficient for a complete realization of the impact of Brently’s death. However, this brief time is enough for self-reflection, as Selina Jamil suggests in her paper, “Emotions in THE STORY OF AN HOUR,” noting that observing the world through emotions provides a powerful and heightened awareness compared to mere rational observation (220).
During this introspective moment, Mrs. Louise fully recognizes her emotional response, realizing her own self. It dawns on her that the bond of marriage has become unshackled before her. It is only natural for her to acknowledge her newfound independence, an awareness she might not have achieved in the presence of her husband. This is because the oppressive bond of marriage, experienced during times when she did not love her husband, didn’t afford her the opportunity to engage with the natural events occurring around her, such as the quivering tops of the trees, the breath of fresh rain, the crying of the peddler, the distant song, and the patches of the blue sky (Chopin pr. 5-6). Her emotional response to these natural occurrences signifies her newfound awareness, a perspective hindered by the oppressive bond of marriage during times when love for her husband was absent.
Patriarchy in Feminine Freedom in “The Story of an Hour”
The dominance of male members in society during that time may have been subtle and imperceptible. The final scene featuring Brently’s appearance at the doorstep holds critical significance, with Mark Cunningham addressing critics who view it as having a patriarchal impact on the feminine psyche. Cunningham challenges this assumption, asserting that there is no concrete evidence to suggest that the return of patriarchal domination directly causes her death. Instead, he argues that the story portrays the position of women in late nineteenth-century American society as so bleak that any attempt to break free from the life-denying limitations of patriarchal society is inherently destructive (49).
This perspective underscores the idea that all limitations and avenues in society were determined by male members. Any alternative attempt by Louise to break free might have resulted in harm to herself. Thus, it is crucial to consider that during that time, patriarchal domination was so entrenched that breaking the limitation of living without a husband and enjoying solitude in one’s room, especially for a married woman, seemed nearly impossible. The shattered illusion, upon seeing Brently by the end of the story, reinforces Louise’s realization that the fulfillment she briefly experienced in his supposed permanent absence was not truly attained.
Patriarchal Structure and Feminine Freedom in “The Story of an Hour”
The patriarchal social structure of that time placed women in subservient positions to men in all aspects. Louise Mallard is not portrayed as a working woman; instead, Brently Mallard is depicted as the breadwinner, employed in the railway industry. This detail is significant, emphasizing that he holds a dominant role in the family and has considerable influence over family affairs. It indicates that Mrs. Louise would have been left in a subservient position to Brently, contributing to the oppression she experienced in their marriage. This is evident when she instructs her sister Josephine to “Go away,” emphasizing, “I am not making myself ill” (pr. 18). It underscores her desire to assert her individuality by being alone. However, she is unaware that the independence from male domination that she has gained may be short-lived. Mark Cunningham argues that “her position would be defined as that of a widow, so any current freedom is based on her relation to the past” and not the present (57). Cunningham suggests that patriarchal domination is so deeply ingrained that a woman cannot easily cast off these shackles even after the death of her husband. Even a woman’s future freedom is contingent on the roles and attitudes of men in society.
Social Traditions and Feminine Freedom in “The Story of an Hour”
Concerning social traditions in “The Story of an Hour,” explicit references to these traditions are not overt, except when there is an opportunity to inform the lady in question. It could be inferred that there might be a tradition suggesting that a widow should be informed by her sister, explaining Josephine’s presence. However, it is evident that the story is set during the industrial age when traditions are rapidly evolving. For instance, there is no clear familial connection between Richards and Josephine, indicating a societal shift where strangers of different genders can interact.
The influence of social traditions is also evident in the changes brought about by the industrial age, specifically through the introduction of the railway. This technological advancement has altered the traditional mourning process, with news of accidents becoming more commonplace. Mourning occurs before the arrival of the deceased’s body, leading the widow to assume newfound freedom and independence. Her anticipation of something coming to her, described as “fearfully,” suggests that she has harbored such aspirations in her heart, possibly freedom from social traditions (pr. 9). In essence, it becomes apparent that the woman’s experience of freedom is intertwined with her departure from established social norms.
Conventions and Feminine Freedom in “The Story of an Hour”
The story subtly suggests that men play a role in creating and upholding social traditions. While it is not explicitly stated that Mrs. Louise Mallard did not follow these traditions, the arrival of her sister and her husband’s friend indicates that she adheres to traditional norms. She does not go out herself to gather information, reinforcing the idea of her as a traditional woman.
Mark Cunningham’s comments on social traditions and systems are crucial in this context. He highlights the unfortunate reality that women have been unable to establish their own system, leading to the situation where “The female self will have gained autonomy only to find that she has no life to lead” (53). Cunningham implies that women can truly lead autonomous lives only when they have the ability to create their own systems. In “The Story of an Hour,” Mrs. Louise Mallard fails to create her own system. Her joy in feeling independent exists only in her dreams, and the problem lies in the fact that dreams often remain unrealized. The arrival of “Someone… opening the front door with a latchkey” signifies that this someone is always a man. This suggests that wherever Louise may go, she will inevitably encounter men who have constructed every system, including norms of consolation, conveying messages, and homecoming—such as Brently’s return at the end, ultimately causing her death.
Barriers and Feminine Freedom in “The Story of an Hour”
Despite the numerous barriers, the desire for independence among women remains alive, representing a continuous and unyielding struggle from which they cannot shy away. Every woman aspires for freedom, autonomy, and independence, regardless of the circumstances at home. Although reasons for their failure may persist, the longing for independence and freedom persists unwaveringly.
In the context of “The Story of an Hour,” a nuanced distinction arises between independence and freedom. Independence implies the ability to think, act, and do as one pleases in the complete absence of a patriarchal world. On the other hand, freedom conveys a partially liberated existence, where the influence of men can intrude at any time. In Louise Mallard’s case, she is experiencing a sense of freedom, evident in the passage where she oscillates between loving and not loving her husband. The passage culminates with the word ‘free,’ as she declares, “Body and soul free,” capturing a fleeting sensation of freedom but not true independence (Chopin pr. 6).
Scott Johnson identifies implicit meanings in the story, including dependence, freedom, indifference, and love, emphasizing the dual structure present throughout the narrative without explicitly categorizing it as either freedom or independence (“Appendix: Applications: Diverse Responses to Kate Chopin’s ‘The Story of an Hour'” 285). While Louise desires freedom for both her soul and body, it remains unclear whether this equates to independence—a permanent state of freedom where she possesses the will to come and go as she pleases. The turning of the latchkey at the story’s end suggests an impending constraint, leading to her death. This implies that even if freedom is transitory, it holds significant meaning for her.
Independence and Feminine Freedom in “The Story of an Hour”
Independence is indeed one of the themes in the story, but it doesn’t encompass the entire theme. Louise Mallard seems to envision something in the long run, as suggested by the mention of “patches of the blue sky” (Chopin pr. 6). The blue sky implies distance, indicating that she has a considerable amount of life ahead of her. This sentiment becomes more apparent when she exhibits a sense of relief. Happiness often prompts individuals to engage in spontaneous actions, as seen when “she abandoned herself a little, and a whispered word escaped her slightly parted lips” (pr. 13). This suggests that she was previously confined to certain limitations from which she is now free.
Additionally, the passage indicates her love for her husband and the likelihood that she would weep upon seeing his dead body again. This could be interpreted as a sign of her gaining independence from something oppressive. The long-term nature of this independence is emphasized in the statement, “But she saw beyond the bitter moment a long process of years to come that would belong to her absolutely” (pr. 13). This sense of possession influences her desires, making it clear that she envisions the long years of her life as something within her complete control.
Feminine Desire and Feminine Freedom in “The Story of an Hour”
“The Story of an Hour” undeniably captures the qualities of feminine desire for the freedom of the soul and body, the wish to escape patriarchal dominance, and the yearning to overcome social and other barriers, solidifying its status as a representative story of feminism. However, the narrative delves into more aspects beyond just the freedom and independence of women.
The article exploring diverse responses, “Appendix: Applications: Diverse Responses to Kate Chopin’s ‘The Story of an Hour,'” highlights various facets of modern and post-modern feminism, including self, gender, the power of sexuality, and recognition. Quoting Kathleen B. Durrer, the article notes that Mrs. Mallard’s physical tiredness serves as evidence of a lifelong battle in her mind. Durrer suggests a conflict between “the id, the ego, and the superego,” asserting that Mrs. Mallard has led a sexually repressed life, and her reaction to her husband’s death implies a lack of sexual passion in her marriage (276). Durrer even speculates that the death of her husband may have triggered an internal battle in her unconscious mind, where her id might have found pleasure in Brently’s death while her superego could have been appalled. The ego, in this scenario, would attempt to mediate between the conflicting forces (277). However, the text does not provide substantial evidence to support the existence of such a mental conflict in Mrs. Mallard’s mind.
Sexuality and Feminine Freedom in “The Story of an Hour”
In examining modern signs of sexuality within the text, certain terms do suggest a presence of these themes. The article, “Appendix: Applications: Diverse Responses to Kate Chopin’s ‘The Story of an Hour,'” quotes Freudian scholar Barbara Larson, who contends that almost all the words associated with Mrs. Louise Mallard carry connotations of feminine sexuality, particularly terms like “sank,” “pressed down,” “her body,” “reached into her soul,” and “physical exhaustion.” However, Larson notes that this portrayal is passive and implies domination, suggesting patriarchal dominance, which contradicts the ideals of modern feminism (277). Two other Freudians, Lara Bridger and Geni Williams, are quoted in the article suggesting interpretations related to a violent “release of primal energy” after the prolonged repression of married life and the cessation of adrenaline, leading to exhaustion (277).
Despite these interpretations by modern feminists, the truth is that the text itself does not provide substantial evidence in this context. While certain words or phrases may hint at such interpretations, the overall ambiguity in the story allows for varied readings, leaving room for the possibility that these interpretations may hold some truth.
Mrs. Mallard and Feminine Freedom in “The Story of an Hour”
In short, “The Story of an Hour” exhibits a remarkably progressive approach compared to the era in which it was written. It unmistakably reflects a feminist perspective from a female writer who may have desired to attain freedom, despite having spent most of her life in a female-dominated environment—a contradiction often observed in writers. The signs of feminism emanate clearly from the character of Mrs. Mallard, who not only expresses a sudden release of emotions but also conveys a newfound sense of freedom, anticipating a long life ahead for her to relish. This liberation is portrayed in contrast to the unspoken dominance of the male setup, where men have constructed systems to keep women subservient to them. The story vividly illustrates Mrs. Mallard’s experience when informed about her husband’s death, emphasizing the necessity of a male presence.
Moreover, the narrative depicts the theme of freedom from social traditions and norms, evident in the presence of Richards, the movement of a latchkey in the door, and the unconventional manner in which she learns about her husband’s demise. These elements contribute to the story embodying feminist qualities. Some critics have also explored postmodern feminist aspects, suggesting mental conflicts between Mrs. Mallard’s id, ego, and superego, as well as speculating on the release of repressed sexuality in her jubilation at Brently’s death. However, these interpretations lack substantial support from the text, relying on isolated words and phrases.
Regardless, the story effectively portrays the repression of women in conjugal life, male domination, and societal traditions, firmly aligning with feminist ideals and garnering textual support. One certainty is that “The Story of an Hour” initiated a feminist movement during a time when addressing such themes was considered almost taboo. Kate Chopin’s bold exploration of these aspects of women’s lives set a precedent, with no other female writer at the time delving into these themes as vigorously as she did.
Works Cited: Feminine Freedom in “The Story of an Hour”
- “Appendix: Applications: Diverse Responses to Kate Chopin’s “The Story of an Hour.” Short Fiction: A Critical Companion (1997): 271-295. Humanities Source. Web. 30 May 2023.
- Baym, Nina. Feminism and American Literary History: Essays. New Jersey. Rutgers University Press. 1992. Print. pp. 35-36.
- Cunningham, Mark. “The Autonomous Female Self and The Death of Louise Mallard in Kate Chopin’s “Story Of An Hour”.” English Language Notes 42.1 (2004): 48-55. Humanities Source. Web. 30 May 2023.
- Eagleton, Mary. Feminist Literary Criticism. New York.Taylor & Francis, 2014. Print. pp. 63.
- Evans, Robert C. “Literary Contexts In Short Stories: Kate Chopin’s “The Story Of An Hour.” Literary Contexts In Short Stories: Kate Chopin’s ‘The Story Of An Hour’ (2006): 1. Literary Reference Center Plus. Web. 30 May 2023.
- “Feminism.” Merriam-Webster Online. Merriam-Webster, n.d. Web. 30 May 2023.
- Jamil, S. Selina. “Emotions In The Story Of An Hour.” Explicator 67.3 (2009): 215. MasterFILE Premier. Web. 30 May 2023.
- Skaggs, Peggy. Kate Chopin. The University of Michigan. Twayne Publishers. 1985. Print. pp. 17.
Relevant Questions about Feminine Freedom in “The Story of an Hour”
- How does the character of Louise Mallard in “The Story of an Hour” express and explore the theme of feminine freedom in response to the news of her husband’s death?
- In what ways does Kate Chopin use Louise’s moments of solitude and contemplation to underscore the notion of “Feminine Freedom in “The Story of an Hour,” within the societal constraints of the late 19th century?
- How does the story portray the contrast between societal expectations for women and Louise’s internal desire for autonomy, and how does this exploration of “Feminine Freedom in “The Story of an Hour”” contribute to the overall theme of the narrative?
