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Essay / Research Paper Abstract
A 3 page essay that examines Chopin's nineteenth century short story. Chopin's "The Story of an Hour" (1894) is one of the most anthologized short stories in American literature and numerous students have "grappled" with the story's implications as to gender in nineteenth century American society (Deneau 210). Modern readers debate as whether Louise, Chopin's protagonist, is "a normal, understandable, sympathetic women" or if is she "an egocentric, selfish monster or anomaly" (Deneau 210). This question cannot be reasonably considered outside the restrictive gender stereotyping of that era. When the modern reader understands the nature of Victorian society from a woman's standpoint, it becomes possible to see that Louise is not a monster. She loves her husband, but just as one can be fond of one's jailer, it is nevertheless pleasant to be let out of jail. Bibliography lists 3 sources.
Page Count:
3 pages (~225 words per page)
File: D0_khkcshag.rtf
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Unformatted sample text from the term paper:
the storys implications as to gender in nineteenth century American society (Deneau 210). Modern readers debate as whether Louise, Chopins protagonist, is "a normal, understandable, sympathetic women" or if is
she "an egocentric, selfish monster or anomaly" (Deneau 210). This question cannot be reasonably considered outside the restrictive gender stereotyping of that era. When the modern reader understands the nature
of Victorian society from a womans standpoint, it becomes possible to see that Louise is not a monster. She loves her husband, but just as one can be fond
of ones jailer, it is nevertheless pleasant to be let out of jail. The basic parameters of the story of are quite simple. Louise Mallard, a woman with a
weak heart, learns that her husband has died in a train accident. On hearing this news, Louise "wept at once, with sudden, wild abandonment, in her sisters arms" (Chopin).
Upset and grieving, she retires to her room, where, slowly, another emotion creeps over Louise, and she experiences a sense of exaltation in her newly defined freedom. "She said it
over and over under her breath: free, free, free!" (Chopin). Even in her pleasure at this sense of freedom, Louise knows that "she would weep again when she saw
the kind, tender hands folded in death; the face that never looked save with love upon her" (Chopin). But beyond this bitterness, Louise sees "a long procession of years to
come that would belong to her absolutely" (Chopin). Emerging from her room, Louise sees that someone is opening the front door. It is her husband, who was "far from the
scene of accident" (Chopin). The shock is too much for Louises heart and she immediately suffers a fatal attack. Modern readers find it hard to believe that Louise
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