The Forbidden Joy of Independence in “The Story of an Hour” — Literary Analysis Essay

Marriage regulates obligations and social rights, with almost all functions of marriage being achieved by alternative mechanisms other than marriage in a different society. The idea that marriage was developed to protect or oppress women is probably incorrect. They suggest that marriage was meant to organize daily life activities, for childbearing and sexual relations, and afterward, it evolved into a vehicle for creating community networks, a means to consolidate wealth and transition property (Mohameed, 6). However, critics view marriage as oppressive to women, arguing that it maintains social stereotypes that are oppressive, especially to women. In 1894, Kate Chopin published her short story ‘The Story of an Hour’, where she presents marriage as an oppressive vehicle for both men and women. This paper will examine the theme of ‘the forbidden joy of independence’ in ‘The Story of an Hour’ and why even though the marriage may be oppressive to both partners, it is mainly an oppressive vehicle for women.

‘The Story of an Hour’ is a short story that explores a series of emotions that the main character experiences. Louise Mallard, the main character, learns about her husband’s death caused by a train accident. His sister informs her carefully that since Mrs. Mallard has heart problems, the news had to be delivered gently to minimize the incidence of health problems. Mrs. Mallard is devastated by the news of her husband’s passing, and she proceeds to lock herself in her room to mourn; however, she develops feelings of excitement, concluding that the death of her husband means freedom for her, a free body and soul (Abdullah, 9). In the end, Mr. Mallard appears at the doorstep as he was not involved in the accident, which is followed by his wife’s death. The doctors claimed that she died of a heart disease of joy that kills.

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          Mrs. Mallard believes that marriage is oppressive to both partners. According to Abdullah (2019), Mrs. Mallard does not hint that her husband ever mistreated her, noting that ‘she would weep again when she saw the kind, tender hands folded in death’ (Chopin, 1). She continues to admit that she liked her husband at some point. Abdullah explains that the author does not intend to admit to the public if Mrs. Mallard was mistreated. The author only focuses on the inner desire for freedom, with the wife’s main point of view. It is very unconventional for a woman to desire freedom over family, especially in the 19th century, when family values were vital. Mrs. Mallard explains that “there would be no powerful will bending her in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow creature” (Chopin, 1). During the period the book was written, marriage was a vital tool for both men and women, and it came with respect. However, in a patriarchal society, women were often oppressed, having to stay home and care for the family while men went to work. Thus marriage often became an obstacle to women who dreamt of achieving more than getting married. Mrs. Mallard even states that the intention of exerting another person’s will, although not bad, should be considered a crime.

Mrs. Mallard believes her husband’s death is releasing her from oppression. The author does not specify how the main character was oppressed but concludes that marriage stifles both partners. Her thoughts open us to the oppressive nature of marriage as it denies individuals independence. The forbidden fruit of independence is served to Mrs. Mallard under a special trade-off; the death of her husband. She sees her new world of freedom as her lifeline noting, “…that would belong to her absolutely. And she opened and spread her arms out to them in welcome” (Chopin, 1). She is consumed by emotions and continues to pray for a longer life, “she breathed a quick prayer that life might be long” (Chopin, 2). When her husband returns, his presence snatches away this newfound freedom, and her life fades away with it.

The story presents the dichotomy between grief and happiness. The main character spends a significant amount of time crying about the death of her husband or contemplating crying. According to Abdullah (2019), the author uses symbolism in the story, with crying used to represent Louise’s married life, which was now about to end as she would be a widow. The news of her husband’s death led her to cry due to grief; however, in her room, the mourning shifts to a physical and emotional reflex, where she imagines crying over her husband’s body. How she perceives Mr. Mallard’s death is based on emotions rather than rationality. She lacked emotions before her husband’s death and feared a long life; “It was only yesterday she had thought with a shudder that life might be long” (Chopin, 2). Although we are not told, based on Mrs. Mallard’s thoughts, it is particularly correct to believe that her husband repressed her by denying her freedom. In the beginning, she tries to repress her joy because it is a period of grief, but she finally acknowledges the freedom she would enjoy without her husband; “she was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will.” Thus, her will for freedom superseded her love for her husband (Chopin, 2).

Furthermore, the author withholds the protagonist’s first name until paragraph sixteen, “Louise, open the door!…” (Chopin, 2). According to Mohameed (2022), this can be understood as a deliberate move that indicated her husband’s death. Louise lacked her identity and individuality, as she was just Mrs. Brently Mallard, an appendage attached to the identity of her husband. Therefore, her sister calling her out allows her to reclaim her freedom and identity. We also learn that Louise has a heart problem that makes an announcement of Mr. Millard’s death dangerous. The family understood that a person with such a condition would not handle the news well; however, Louise understood that her husband’s death opened up a new beginning for her, claiming “she saw beyond that bitter moment” (Chopin, 2). There is no precise diagnosis of her death; therefore, one can conclude that the sight of her husband killed her. She was shocked after realizing that her new freedom was short-lived, and her heart could not take it. Ironically, the doctors concluded she died of excessive joy from losing her happiness.

Marriage is oppressive to both patterns, but women seem to suffer more. Louise represents the women in marriages that have lost their identity and independence, and her insignificant moment of freedom ignited immense happiness that resulted in her death. Therefore, while marriage oppresses both parties, it takes more from women.

Works Cited

Abdullah Alajlan, Lama. “The Awakening of Female Consciousness in Kate Chopin’s the Story of an Hour (1894) and Charlotte Perkins Gilman’s the Yellow Wallpaper (1892).” Alajlan, LA, & Aljohani, F.(2019). The Awakening of Female Consciousness in Kate Chopin’s The Story of an Hour (1894) and Charlotte Perkins Gilman’s The Yellow Wallpaper (1892). Arab World English Journal for Translation & Literary Studies 3.3 (2019): 123-139.

Chopin, Kate. The story of an hour. Joe Books Ltd, 2018.

Mohameed, Muneba Khalaf. “Kate Chopin’s Portrait of a Wife as a Free Woman in The Story of an Hour.” Journal of Al-Farahidi’s Arts 14.50| Second Part (2022).