Mallard tries to go upstairs, she has to make sure no one will follow her, like a small child being tailed by an over protective parent or a babysitter.
Once upstairs Mrs. Mallard closes the door, and by doing so symbolically shuts out her old life. In the room "there stood, facing the open window, a comfortable, roomy armchair- (Chopin 177). Mrs. Mallard sinks into the armchair, and is enveloped in thoughts of her new life. She is able to breathe easier now that there is an open window in front of her, and she grows more and more comfortable in the roomy armchair, and "into this she sank [ ]- (Chopin 177). She sits with her head resting on the cushion, but still feels "pressed down by physical exhaustion that haunted her body and seemed to reach into her soul- (Chopin 177). Despite the fact that she possesses a new found freedom, Mrs. Mallard seems to be tormented by past memories, for "she had loved him "sometimes- (Chopin 178), but she also wants to celebrate her freedom, for there "would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature- (Chopin 178). Through phrases such as these the author helps relay the time period the story takes place in. The strong feminist undertone and sense of undeveloped talent, even noted when describing the character's " [ ] fair, calm face, whose lines bespoke repression and even a certain strength [ ]- (Chopin 177), seem to date the piece to the early 1900's or late 1800's, to a time where change was inevitable for survival.
As well as the feminist undertones present in the piece, in the street below the window, there is a "peddler crying his wares- (Chopin 177). Even though he is useful in helping to date the story, this peddler has another function as well. He serves as potential for the main character. Beyond the solitary armchair and the room with a closed door, there is through the newly opened window a world that Mrs.
