Chillie Labrosse Analysis

Mrs. Mallard finds out that her husband has just died, "she wept at once, with sudden, wild abandonment." The character of Josephine is there to represent her conflict against society. As the story starts up, she as Mrs. Mallard turns to her sister Josephine and weeps in her arms after hearing the sudden news of her husband's death. This is her acknowledging the grief that society expects her to feel. Her openness to Josephine represents the acceptance that came with acting in accordance with what society expected. Mrs. Mallard displays her strength, “When the storm of grief … away to her room alone.” The fact that she does not bring Josephine with her implies the conflict that is about to take place." Josephine is the social norms, assuming that she is weak without her husband by her side. Mrs. Mallard's isolation from this assumption represents that she has strength and can stand on her own. This expected strength is confirmed as Chopin writes, "Josephine was kneeling … lips to the keyhole”, imploring for admission. "Louise, open the door! … before you make yourself ill." The closed door to Josephine shows her decision to close her

The Differences in Josephine and Mrs. Mallard of Kate Chopin's The Story of an Hour

39. O’Brien meticulously incorporates this chapter directly after “Sweetheart of the Song Tra Bong,” to portray the counteracting ideals of the role of women and femininity in both sections. In “Sweetheart of the Song Tra Bong,” the entire chapter is dedicated to discussing Mary Anne’s somewhat bolstering and heartening presence for Mark Fossie. It demonstrates the ideal view of women’s comforting role during the war and how they provided devoted their entire being in making their counterparts happy. In contrast,“Stockings” demonstrates the ideal of how soldiers were still reassured and remedied by women on the homefront who present the bare-minimum effort. This is ideal is exhibited by Henry Dobbins who is consistently alleviated and invigorated by his girlfriend’s stockings, yet in actuality, she hardy demonstrates affection and compassion for Dobbins, eventually ending their

The sense of being “free” and “independent” were nothing more than imaginations. They could have hoped to be things of such, but society has limited them to be caring wives and mothers instead. Mrs. Mallard has been compelled to follow the life course that society has set for her. In a society where holding a specific position in a household is the “norm,” one may tend to live in a hypocritical world full of lies in order to be segregated from society. Louise struggles to endure the confines of society in the 19th century that has limited her individuality. In the story, her sister, Josephine, took great care to tell Louise of her husband’s death. Josephine “veiled hints that revealed in half concealing,” which exemplifies that women were seen as fragile and sentimental in this time period. Furthermore, when Mrs. Mallard isolates herself in a room to deal with her inner emotions, her sister pleads her to come out, insisting that she will make herself ill if she refuses too. The way Josephine presents herself as worrisome and thoughtful portrays that women were

“There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory” (8). Louise Mallard, finally has accepted that she is a widow and that she has freedom and is slightly joyful. If only that had lasted long. “Someone was opening the front door with a latch key. It was Brently Mallard who entered...” (8). Brently Mallard was far from the accident. “He stood amazed at Josephine’s piercing cry; Richards’ quick motion to screen him from his wife.” (8). At that moment, Louise Mallard realized her newly found freedom was gone. “But Richards was too late.” (8). Mrs. Mallard had passed away at the sight of her husband and realizing that her freedom was gone. “When the doctors came they said she had died of heart disease - of joy that kills” (8). As a reader we know that it was actually quite the opposite and Mrs. Mallard died from the fact that her newly found freedom was gone. Imagery is an important part of this scene because the words that Kate Chopin uses and the detail and descriptive words help us to imagine the scene at which this story takes place. Imagery in this scene allows us to visualize Mr. Mallard coming in, with Josephine crying, Richards jumping quickly in front of Mrs. Mallard and Mrs. Mallard

Miss Eckhart longs for Virgie to love her, to show her kindness, but Virgie never does. The story of their relationship is told from another one of Miss Eckhart’s

     Josephine, Mrs. Mallard’s sister is a more traditional character for the particular time period in which this story was written. While she and Mrs. Mallard may not seem so different on the surface, at the heart of the matter she is almost a foil. Josephine expects her sister to make herself sick with grief over the loss of her husband. After all, is not a woman to live but for her husband? Or at least, that was according to most of the thinking at the time. Instead, Mrs. Mallard was “drinking in a very elixir of life” (190). She may have even been more healthy at that moment than she ever had with her husband. A person’s level of happiness has been known to affect health, after all.           

The author portrays a sad portrait of marriage, well Louise Mallard seems to had been struggling with her relationship but in my alternate conclusion I tried to show some other side of Mr. Mallard that was not very well portrayed by Chopin. The end of

Through the use of Symbolism, the reader can detect that once the news of her husband’s death settles, she is somehow renewed into her own individual person. Chopin adds, “And yet she had loved him—sometimes”, to indicate that sometimes her husband made their marriage not so lovable, that sometimes she was greatly unhappy, and that sometimes she loved him, and that itself says that she did not fully ever love him and that the marriage in which she was bestowed was never was she deserved. “What could love, the unsolved mystery count for in face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!”, Chopin exclaims, as she shows just how much Mrs.Mallard is beaming at the thought of her freedom. The author uses “unsolved mystery” to indicate that love is something she has never found, but uses “the strongest impulse of her being” as the epitome of Mrs. Mallard’s life. After Mrs. Mallard’s sister is calling out to her, “What are you doing Louise?

Happiness built on an illusion can only last so long. In the story, Miss Brill's happiness is shattered by a single chance remark when the young couple who she has cast as the hero and herione in her "play" casually insult her. "'Why does she come here at all--who wants her? Why doesn't she keep her silly old mug at home?" (138). The story does not tell us Miss Brill's personal reactions to this remark; instead, the point of view shifts so that we observe her actions as she goes home. However, these actions are enough to illustrate that her self-view has been destroyed. The first example of her change in perspective is when she fails to go into the bakery, the usual climax to the Sunday park visit. "But today she passed the baker's by, climbed the stairs, went into the little dark room--her room like a cupboard--and sat down on the red

Chopin reveals the forbidden joy of independence through Mrs. Mallard’s realization of the endless possibilities of her newfound independence that enlivens and excites her. It is obvious that as reading through the story, Chopin uses a lot of symbolism to describe Louise’s feelings and the thoughts in her mind. The

Louise Mallard is a very intelligent woman and she knows exactly how a lady should act but everything she feel and think is the complete opposite. When Josephine, Mrs. Mallard sister, told Mrs. Mallard that Brently, her husband, has died she busted out in an intense cry because she knew that was how she was supposed to react. Her reaction shows that she is devastated by the news she just heard. Mrs. Mallard know she should mourn the death of her husband but in some way she feels “free”. “When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under the breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes” (Chopin lines 30-31). Mrs. Mallard is bothered by the death of her husband but her thoughts that are portrayed says differently. “She did

The characters in the story are Josephine – Louise Mallard's sister, Richards – Brently Mallard 's friend and the one who informed Mrs. Mallard about her husband's death, Brently Mallard – Mrs. Mallard's presumed dead husband, and Mrs. Mallard – a woman who seems to be in deep physical and emotional suffering. She is not only “afflicted with a heart trouble” (Chopin par. 1), but it seems that she is also suffering from a

“There would be no one to live for during those coming years. There would be no powerful will bending hers”. She conclusively apprehends the word “free”. Because she was free now that her husband was no longer there. Free to do what she wants, free to choose, free to decide what she wants to. However, never did she love him to have the fluidity to be content of the loss of her husband. “Yet she had loved him—sometimes. Often she had not.” We could note that Mrs. Mallard and her husband did not have a good relationship. Furthermore, “what could love count for in the face od this possession of self-assertion.” Thus, the realization of her freedom of her self-importance was worth that the hegemony that love apply upon couples. Love appears as a restrain, an abandon of liberty and autonomy in the eyes of Mrs. Mallard. And, she was free of love by the death of her husband. Suddenly, the call of Josephine “Louise open the door” resound as a call into the reality---. But she was ascertained that she was not dreaming and her new asset was real and eternal. She was a “goddess of Victory”. Nevertheless, the reality had not said its last word in its purpose to awake her. While Mrs. Mallard and Josephine came down, “Someone was opening the front door.” “It was Brently Mallard who entered”, appeared in front of them back from the dead. Seeing the one who was at the origin of her pain all those year, presenting as a ghost who

In the late eighteeth century, notions of modesty and propriety meant that there were few ways in which sexuality could be discussed openly in a social setting. Gothic narrative served as an outlet. In Victorian Supernatural fiction, the anxieties surrounding homosexuality is a very prominent theme. However, due to the cultural status of homosexuality as taboo, the subject is heavily veiled in literature. In John Mead Faulkner's `The Lost Stradivarius,' the story appears to be about a young man's obsession with a wonderful musical instrument and a particular piece of music. Through carefully disguised metaphor's, the story conveys pertinent information regarding the reception of homosexuality in England during the Victorian period.