Introduction to Freedom in “The Story of an Hour”
Women’s freedom in “The Story of an Hour” is a hot debate. It is also surprising that Kate Chopin who was surrounded by female characters more than the male members of her family in her entire life has come up with such a strong character in her fiction. Due to presentation of Mrs. Louise Mallard has been termed a strong feminist of the 19th century. Peggy Skaggs states this fact in her book about her that Kate Chopin was in the middle of female characters – the reason that she has projected feminism and freedom in “The Story of an Hour” and other stories. However, the calm attitude that she has inherited from her father could not find a trace in her short stories (Skaggs 17). Although the character of Mrs. Louise could hardly prompt the critics to label Kate Chopin a forerunner American woman feminist, it has some traces of independence, freedom, and desire for unshackling the patriarchal domination, that “The Story of an Hour” seems Chopin’s first attempt to project feminism (Skaggs 17).
Feminism and Women’s Freedom in “The Story of an Hour”
In fact, feminism could be traced back to Nathaniel Hawthorne, who has projected feministic characters in his short stories and novel, The Scarlet Letter, as stated by Nina Baym in her book, Feminism and American Literary History: Essays (36). As far as the theory of feminism is concerned, if the criterion is to project female characters, it goes as far back as the Greek and Roman civilizations. However, in American literature, it emerges mostly in the fiction of Nathaniel Hawthorne, but the term itself needs a clear definition before debating the story in the light of this literary theory. Where the feminism term is concerned, the online Merriam- Webster Dictionary claims that it was first used in 1895 by some anonymous critic, as “the theory of the political, economic, and social equality of the sexes” asserting women ‘s rights and interests (“Feminism”). This explains that feminism is a movement in literature, politics, or society. It asserts that women should have rights equal to men. In this connection, Mary Eagleton explains in her book, Feminist Literary Criticism, that the objective of feminist theory in literature is to appreciate and explain a piece of fiction or poetry regarding its role in projecting female characters and female rights (63). It becomes clear that women’s freedom in “The Story of an Hour” means projecting Mrs. Louise as having faced oppression in her marriage bond with her husband that following his death she sees it an opportunity to shed his domination. For example, when, “She arose … and opened the door to her”, this rising and opening the door suggests suggest that she is rather thinking of her sister as prodding her about her past life that she wants to forget (Chopin pr. 20). Her movement here is the projection of a female assertion Kate Chopin demonstrates everywhere in this story. In fact, freedom in “The Story of an Hour,” presents the issues of the oppressive bond of marriage, unspoken patriarchal domination, social traditions, and some other social barriers as the major reasons for the feminine desire for independence and freedom though some signs of postmodern feminism could also be traced.
Marriage Bond and Freedom in “The Story of an Hour”
Where the presentation of the bond of marriage in “The Story of an Hour” is concerned, it is not very much clear from the story. Her presentation of the life of Brently and Mrs. Louise rather shows that Kate Chopin has a very traditional view of marriage. However, the lines in the story, “She was young, with fair, calm face, whose lines bespoke repression” clarifies the “repression” of marriage, as the word “repression” is highly suggestive of this fact (Chopin pr. 8). She has certainly gone through the repression of marriage in the story, though Chopin is showing her here as a loving and loyal wife. The next hint about the bond of marriage as oppressive comes when Mrs. Louise confesses that although “she had loved him – sometimes. Often she had not” (pr. 15). It means that there have been times in her marriage when she had felt that she did not love Brently. In this connection, Robert Evans has commented on this fact in “Literary Contexts in Short Stories: Kate Chopin’s ‘The Story of An Hour.’” He argues, “The essential honesty of the story (often a trait of Chopin’s best writing) continues when Louise concedes that although she had usually loved Brently, often she had not. Her feelings for Brently, however, suddenly seem less important than the prospect of her bright future of freedom” (Robert). By this, he means that Mrs. Louise has realized that she can live without her husband, and now she finds the opportunity for her to assert her being after his death. Therefore, she suddenly becomes happy. That is why a prodding from any other person to alert her to come out of her pleasurable stupor, even from her sister, seems her an anathema. It is because she is enjoying this freedom from the bond of oppressive marriage. And it is clear from her silent utterance of free and enjoyment of nature outside the window which show freedom in “The Story of an Hour”.
Mrs. Louis Mallard and Freedom in “The Story of an Hour”
Another evidence, in this connection, is her “wild abandonment” regarding the significance of the event, which has taken place in her life (Chopin pr. 3). This significant event is the death of her husband, Brently. Abandonment shows that she has not guessed the significance, while her initial response is just emotional. This realization of the fact of her husband’s death shows that one hour is not enough to fully realize the significance of the death of Brently. However, thes time is enough to make a person feel about his / her own self and the surroundings as Selina Jamil suggests in her paper, “Emotions in THE STORY OF AN HOUR.” She argues that to “simply observe the world through one’s rational faculty is nowhere near as powerful as observing with the vibrant, vigorous, acute and heightened awareness that emotions make it possible” (220). She fully realizes her emotional response at this point that she is now in her own self. The fact is that she has found the bond of marriage unshackled before her at this point. She realizes her independence, she might never have realized in the presence of her husband, which is quite natural here. The reason is that she would not have the opportunity to respond to the natural events taking place around her such as the tops of the trees quivering, the breath of the fresh rain, the crying of the peddler, the distance song, and the patches of the blue sky (Chopin pr. 5-6). Her emotional response to these natural happenings shows that she has become aware while the oppressed bond of marriage, at times when she did not love her husband, has not allowed her to look into these happenings.
Patriarchy and Freedom in “The Story of an Hour”
Also, the domination of the male members in society was perhaps imperceptible at that time. In this connection, the final scene of the appearance of Brently at the doorstep is critical but Mark Cunningham states referring to most of the critics as having commented on its patriarchal impact on the feminine psyche, as an assumption, for there is no other evidence, he claims, to suggest that it is really the return of the patriarchal domination that causes her death. However, he argues that “the story portrays the position of women in late nineteenth-century American society as so bleak that the attempt to break from the life-denying limitations of patriarchal society is itself destructive” (49). This fact of a patriarchal society clarifies that all limitations and avenues of the society were the subjects of the male members. Had she done any other attempt to come out of this, she might have harmed herself. Therefore, it is important to assume that at that time patriarchal domination was strong that breaking the limitation of having no husband and enjoying alone in one’s room, for a married woman, seems an impossibility which when broken could have taken the life of Louise Brently. In other words, when she sees Brently by the end of the story, she realizes that she has not found the fulfillment that she has just realized in his supposed permanent absence.
Another point is the position, which the patriarchal social setup of that time offers to women. Women were subservient to men in every respect. Louise Mallard is not shown as a working lady. Brently Mallard is working in the railway, a point that cannot be missed in that he is the breadwinner of the family and obviously has a big say in the family affairs due to his position. The fact that she is financially and socially subservient to him shows that it definitely has degraded her position. This is the cause of the oppression that she suffered in this marriage bond that she has been left to play second fiddle to Brently, though she is not habitual of being subservient as she ordered her sister Josephine to “Go, away” adding, “I am not making myself ill” (pr. 18). She wants to realize her being by staying alone. However, she does not know that the independence from the male domination that she has won naturally may not live long. This independence could be limited and isolated, as 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). What he means is that this patriarchal domination is so complete and overwhelming that a woman cannot shed off these shackles of her own will. She has to stay within these limits set by men even after the death of a husband. Even the future freedom of women is dependent on the role and attitudes of men, for they have the final say in the affairs of widows whether they are to stay at home or not.
As far as social traditions with reference to freedom in “The Story of an Hour” are concerned, there are no obvious references to these traditions except when there is an opportunity to inform the lady in question. There could be a tradition that the widow should be informed by her sister, the reason that Josephine comes to her. But it is the industrial age when traditions were changing fast. For example, there is no connection between Richards and Josephine, for no relation is clear in the story about them. However, their arrival together shows that society has come to the point where an unfamiliar male could meet an unfamiliar female. Another importance of social tradition is the change that industry is bringing. The railway has brought this change that now accidents are common. Mourning has taken place before the arrival of the dead body and the widow has assumed that she is now free and independent. She is experiencing the arrival of this freedom in her body, “There was something come to her and she was waiting for it, fearfully” where the word “fearfully” is highly suggestive, for it tells that she has already harbored such ambitions in her heart (pr. 9). It could be no other than freedom from the social traditions. In fact, it is a woman’s failure to follow the tradition of keeping herself confined within the limits of mourning instead of shedding these limits so fast.
Social Norms and Freedom in “The Story of an Hour”
Another side of the traditions is that men create them. The story does not mention that she has not followed them, but the arrival of her sister and the friend of her husband shows that she is a traditional woman, as she cannot go out now to get the information by herself. In this connection, the comments of Mark Cunningham are very important. He is of the view that social traditions create social systems, and it is a sorry affair that “women have been unable to create a system of their own” adding that, “The female self will have gained autonomy only to find that she has no life to lead” (53). In this connection, he means that women would lead their autonomous lives only if they are able to create their own system. Regarding freedom in “The Story of an Hour”, Mrs. Louise Mallard fails to create her own system. She is only feeling the joy of being independent in her dreams. And the problem is that dreams seldom become realities. They often stay dreams. There was “Someone…opening the front door with a latchkey” (pr. 24). That someone is always a man, which means that wherever Louise may go, she would have to face the men who have created every system, including norms of consolation over a loss, conveying of a message or not conveying, and homecoming, as Brently comes at the end and causes her death.
Despite all these barriers women’s desire for independence is always alive. It is a continuous struggle from which she cannot shy away curbing her freedom in”The Story of an Hour”. Whatever the situation at home may be, every woman vies for freedom, autonomy, and independence. Although reasons for her failure are always there, the desire for independence and freedom never dies. However, there is a slight difference in independence and freedom in “The Story of an Hour”. Independence means that she is able to think, act and do whatever she wants in the total absence of a patriarchal world. However, freedom means a partly free world where a man can step in at any moment. In the case of Louise Mallard, she is just feeling freedom. The passage clarifies that she has shown that sometimes she loved her husband but sometimes not. The passage ends with the word “free” where she says “Body and soul free”, a transitory feeling of freedom, but of course no independence (Chopin pr. 6). However, Scott Johnson has termed the implicit meanings as dependence, freedom, indifference, love and several others saying that such dual structure exists throughout the story, not clearly saying that this is freedom or independence (285). Although it is clear that she wants freedom for her soul as well as body, it is unclear that this is akin to independence which means a permanent state of freedom where she has the will to come and go anywhere. Yet, the turning of the latchkey at the end of the story suggests that something is coming to shackle her again which leads to her death. This means that even if freedom is transitory, it means a lot to her.
However, as far as independence is concerned, it is also one of the several themes of the stories, but not the whole theme. She is seeing something in the long run, as the “patches of the blue sky” suggest (Chopin pr. 6). In fact, the blue sky suggests a distance, and distance means that she has a long life ahead of her to live. Her demonstration of relief shows this fact. The fact is that when a person is happy, he does wild things such as “When she abandoned herself a little whispered word escaped her slightly parted lips”, which shows that earlier she was restricted to some area from where she is now free (pr. 13). Also, it is clear from this passage that she loves her husband and that whenever she has the chance to see his dead body again, she would weep again. Therefore, it is also a sign that she is seeing her independence from something oppressive, and this is long-term independence as is clear from the story, “But she saw beyond the bitter moment a long process of years to come that would belong to her absolutely” (pr. 13). The sense of possession makes a person desire or not desire something. Even time is on her side, and the long years of her life seem that they are just in her possession.
All these qualities of feminine desire for freedom in “The Story of an Hour” about soul and body, the wish to come out of the patriarchal dominance, and the want to remove social and other barriers have made the story a representative story of feminism. Yet, there is more to tell besides the freedom and independence of women. The article about the collection of different responses, “Appendix: Applications: Diverse Responses to Kate Chopin’s “The Story of an Hour” shows different facets of modern and post-modern feminism which include self, gender, power of sexuality, and recognition. Quoting Kathleen B. Durrer, the article says that the physical tiredness of Mrs. Mallard is an evidence that she has gone through a lifelong battle in her mind. The article further says that she is going through a conflict between “the id, the ego, and the superego” adding that “she has led a sexually repressed life” and that “Her reaction to her husband’s death may imply that marriage did not abound in sexual passion” (276). Kathleen Durrer even goes too far in saying that the death of her husband even “touched off an internal battle in her unconscious mind”, adding that her id might have been enjoying this pleasure of Brently’s death that her superego could have been appalled. Therefore, there is a possibility that her ego could have attempted to mediate between the two (277). But there is not much evidence in the text in this connection to show that there is a such mental conflict going on in her mind.
However, as far as the modern sign of sexuality is concerned, some terms suggest that it is present showing freedom in “The Story of an Hour”. In this connection, the article, “Appendix: Applications: Diverse Responses to Kate Chopin’s “The Story of an Hour” quotes a Freudian Barbara Larson who suggests that almost all the words associated with Mrs. Louise Mallard are suggestive of feminine sexuality, “especially, “sank”, “pressed down”, “her body”, “reached into her soul”, and “physical exhaustion.” (277). She adds that this “is passive and implies domination” by which she means patriarchal domination, an entirely contradictory approach of modern feminism (277). The article quotes two other Freudians, Lara Bridger, and Geni Williams respectively that it could be a violent “release of primal energy” after long repression of married life, and that it seems that “the adrenaline has stopped pumping through her body and exhaustion has sent in”(277). Whatever interpretation modern feminists may offer; the truth is that the text does not offer much evidence in this connection except for some words or phrases though some ambiguity could support this aspect of the story that these interpretations might be true.
Conclusion
In short, women’s freedom in “The Story of an Hour” has been much more advanced than the actual age in which it was written. If compared with that age, it is clearly a feminist approach of a female writer who might have wished to win freedom though she lived most of her life in an environment dominated by females, a contradiction often found in writers. The signs of feminism are clear from the character of Mrs. Mallard who not only expresses a sudden release of emotions as she expresses a newly won sense of freedom feeling that now long life is ahead for her to enjoy. She also is enjoying this freedom from the unspoken domination of the male setup where men have created systems for women to stay subservient to them. This she has experienced when Richards comes to inform her about the death of her husband though Josephine is with him. The presence of a male member is necessary.
There is also a sign of freedom in “The Story of an Hour” from social traditions and other social norms such as the presence of Richards, the moving of a latchkey in the hole in the door, and the way she is told about the death of her husband. This leads the story to show having all the qualities of feminism. Along with it, some critics have also traced some postmodern feministic aspects of having mental conflict between her id and ego and superego and even release of repressed sexuality in the form of jubilation that she expresses on the death of Brently. Some have gone too far in interpretations suggesting that it could be that her repressed sexual passions became free after the death of her husband or that she must have led a repressed sexual life, but these claims find not much support from the text itself. In fact, all these interpretations require much textual support which in these cases comprises only some words and single phrases and not much. Other than this, all other qualities of propagating or showing women’s repression from conjugal life, male domination, social setup, and social traditions against feminism are very much present with full-textual support. One thing is certain that “The Story of an Hour” started a feminist movement at that time when it was considered almost a taboo, and no any female writer has touched these aspects of women’s lives in such a vigorous way as Kate Chopin has done.
Works Cited
- “Appendix: Applications: Diverse Responses to Kate Chopin’s “The Story of an Hour.” Short Fiction: A Critical Companion (1997): 271-295. Humanities Source. Web. Accessed 30 May 2016.
- 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 ‘The Story of an Hour’.” English Language Notes 42.1 (2004): 48-55. Humanities Source. Web. Accessed 30 May 2016.
- 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. Accessed 30 May 2016.
- “Feminism.” Merriam-Webster Online. Merriam-Webster, n.d. Web. 30 May 2016.
- Jamil, S. Selina. “Emotions In the Story Of An Hour.” Explicator 67.3 (2009): 215. MasterFILE Premier. Web. Accessed 30 May 2016.
- Skaggs, Peggy. Kate Chopin. The University of Michigan. Twayne Publishers. 1985. Print.
Relevant Questions about Freedom in “The Story of an Hour”
- How does the theme of freedom in “The Story of an Hour” by Kate Chopin reflect the protagonist’s inner desires and the constraints of her time?
- In what ways does Kate Chopin use the concept of freedom in “The Story of an Hour” to convey a feminist message about women’s roles in society during the late 19th century?
- Can the concept of freedom in “The Story of an Hour” be seen as a symbol of liberation from societal expectations, and how does it contribute to the story’s overall message about gender and autonomy?
