The Woman in the story "The Story of an Hour" and the woman in the drama Trifles go through a comparable chain of emotional states. There is a direct relationship between their psychological condition and their marriage. What's more, both share a common ground with the perceived or actual death of each husband being the catalyst for change in their emotional states. They both go through a sad, happy, and final sad phase. All of there sad phases are a direct result of marriage, both happy are a direct result of the end or supposed end of marriage, but the way they return to sadness is slightly different. With so much in common, it is evident that the authors are using a similar technique involving emotional inversion. .
In "The Story of an Hour" Mrs. Mallard, the protagonist's, sadness is evidenced by her reaction to losing her husband. We understand that Mrs. Mallard was sad with the state of the marriage it's self. The fact that she makes comments like: "free, free, free!" "Free! Body and soul free!" leave no doubt that she is much happier in the absence of marriage. By default and common sense, we know she must have been sad or in the least not as happy as she is now (out of marriage), while in the marriage. Her sadness is intensified while she grieves the loss of her husband. .
In the play "Trifles" the protagonist, Mrs. Wright, also has a sad stage. This character's sad stage is blatant. Her husband cuts her off from all contact with the outside world. They also never have children so she never has company. Mrs. Hale, a character in the story, actually says, " She used to sing. He killed that, too." (She is Mrs. Wright. He is Mr. Wright) Her husband, throughout his time with her, hacked away at everything that was happy and carefree about her, reducing Mrs. Wright to nothing more that a sad old woman, with no contacts.
The happy period associated with "The Story of an Hour" follows the end of Mrs.
Kate Chopin's "The Story of an Hour", is very similar to Glaspell's story. The story of an hour shows how women has their own choice to do whatever their want. ... Trifles later shows that Mrs. ... Trifles reveals many of Mrs. ... The house itself represent Mrs.Wright and her husband story. ...
"Trifles," a one-act play by Susan Glaspell, is a simple story of little things. Trifles are defined as "things of little value or importance." ... The Story of an Hour by Kate Chopin was one of these writings. In this story, the protagonist Mrs. ... Hale in Trifles also shows support for this notion. ...
"He is stark mad whoever says that he hath been in love an hour," this not because love is gone or "decayed" in an hour, or because it is impossible. No it is because within that hour love "devours" you, and destroys a lover's heart even faster. ... He then says that once a heart falls into love's hands it loses all value ("What a trifle is a heart, if once love's hands it come!"). Trifle can either mean something unimportant or little value, or to play or toy with something (trifle with one's affections). ... Donne uses images to set the tone, and ends all three with a...
"Although a fog rolled over the city in the small hours, the early part of the night was cloudless, and the lane [. . .] was brilliantly lit by the full moon"(26). ... "The old gentleman took a step back with the air of one very much surprised and a trifle hurt; and at that Mr. ... Throughout the story, Stevenson proves that a conflict between good and evil exists. ... Stevenson makes conflicting transitions through out the story, as he incorporates contrasting images to show a struggle between good and evil. ...
In the Story a character named Young Goodman Brown is faced with what most consider to be life's inevitable journey; a journey which consists of two paths, one which is corrupted by evil but is rewarded with knowledge or the other path which is based solely on faith. The story tells of Goodman Brown's experiences, both mental and physical while on his journey, later showing how Goodman Brown's view of life and the people around him have left him very gloomy. In the beginning of the story, Goodman Brown is feeling that he is impure compared to his wife and the rest of his comm...
The reader learns about the greed of the saloonkeeper and that to trifle with him will result in even more problems. ... Sometimes Jurgis had his hours cut dramatically without warning, and his wages would then plummet. ... His political boss tells him to work as a scab, and due to Jurgis's experience at the plant and the scarcity of senior employees, "his hour [arrives] - he [is] to be a boss!" ... Here is the place in which Sinclair hijacks his own story, as the latter chapters are devoted almost exclusively to political speeches. ...
All of his stories are those of persons whom some crime, or misunderstood virtue, or misfortune, has set by themselves, or in a worse companionship of solitude (Symons 1597). ... A scarlet letter "A" is permanently placed on her dress to symbolize her adultery, and she is made to stand on the scaffold with her baby for several hours of public humiliation. ... That but a trifle, when a woman knows the world. ... Hawthorne teaches us many lessons throughout the story. ...
This attitude is what eventually leads him to a state of loneliness and remorse towards the end of the story. ... The first woman of importance in the story is Paula Legendre, described as a dark serious beauty'. ... He is aware that he was insincere to her, as if he regarded love as a trifle game and women as puppets with whom he toyed with to gain their simple, emotional love. ... The second woman of importance in the story is Dolly Karger, a flapper with whom he had an affair. ... "After a while he left me, and within an hour he was walking up and down the deck with her, talking to...
The criticism in Willa Cather's story of "Paul's Case" has two critics with different interpretations of what Paul represents in the story. ... While he thinks that he is dapper and winning in his outfit, the reader is informed how Paul is seen by everyone else, "His clothes were trifle out-grown and the tan velvet on the collar of his open overcoat was frayed and worn Paul was tall for his age and very thin, with high, cramped shoulders and a narrow chest" (67). ... "He spent more than an hour in dressing, watching every stage of his toilet carefully in the mirror. ... Paul's ...