The Joy That Kills or a Female in the Nineteenth-Century Society Essay

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At present, women occupy high posts and even become the leaders of countries, being elected in terms of general elections. Several decades ago, females did not enjoy such rights or had so many opportunities to realize themselves. The short story “The Story of an Hour” by Kate Chopin unveils the role women played in American society in the nineteenth century. One of the central themes of the story is the conflict between self and society and the ways available to females to resolve it.

In a very short story, the author manages to describe the essence of married women’s lives in the USA at the end of the nineteenth and the beginning of the twentieth centuries. The protagonist, who has been told about her husband’s death, gradually understands that there will “be no one to live for” and “no powerful will bending hers” (Chopin par. 12). Women who lived in nineteenth-century society could only play a role of a happy wife to a wise husband. Females were supposed to be submissive, supporting, and loving. All women had to sustain this world order and be happy, or rather, seem absolutely delighted with their lives. Mrs. Mallard is one such female performing her role even in a moment of crisis. Notably, the protagonist does not display her true feelings to her sister, or other people, including herself. She is too afraid of her bold dreams of being free from the bondage of married life.

Mrs. Mallard needs some time to acknowledge her true feelings and be courageous enough to accept them. The dreams of the protagonist suggest that western society could tolerate a free woman with one condition. This woman has to be a widow to be free and live the life she wants, of course, within quite definite boundaries. Only a widow could “whisper” to herself, “Body and soul free” (Chopin par. 14). Suppressed women could feel free after their husbands’ death, although they still had to perform a role of a mourning wife. This was a low price for freedom and happiness, and they played the role willingly as they were finally free. Until then, a married woman was afraid to act freely or even dream about freedom due to the norms suppressing females’ will.

Notably, the author emphasized that there was no place for an emancipated woman in the American society of the nineteenth century. Once Mrs. Mallard acknowledges her new status and her freedom, she becomes a newly born empowered and proud creature. She feels in complete control of her life with “a feverish triumph in her eyes” (Chopin par. 18). However, such an emancipated woman can hardly remain a good wife in American society. There is no place for a truly free female who happens to be married. Mrs. Mallard dies the next moment she understands that she is still imprisoned. Once she feels the joy of being freed, she cannot endure suppression any more. The only way out from the prison of marriage is death for a female of the nineteenth century. A truly free person cannot perform the role assigned by society.

In conclusion, it is necessary to note that Kate Chopin illustrates the life of a woman in the American society of the nineteenth century. The author shows the way females had to play their roles of good wives being suppressed and unhappy. At that, no one except widows had the privilege of becoming free, at least to a certain extent. Moreover, only a limited number of women acknowledged their internal freedom and had the courage to enjoy it, while thousands remained suppressed by societal norms. The ones who wanted complete freedom and happiness had the only option, death.

Work Cited

Chopin, Kate. English Department, Virginia Commonwealth University, n. d.

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"The Joy That Kills or a Female in the Nineteenth-Century Society." IvyPanda, 13 July 2022, ivypanda.com/essays/the-joy-that-kills-or-a-female-in-the-nineteenth-century-society/.

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IvyPanda. 2022. "The Joy That Kills or a Female in the Nineteenth-Century Society." July 13, 2022. https://ivypanda.com/essays/the-joy-that-kills-or-a-female-in-the-nineteenth-century-society/.

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