It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

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Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.

It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message.

She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her.

There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.

She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves. There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window.

She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.

She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to possess her, and she was striving to beat it back with her will — as powerless as her two white slender hands would have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body. She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial.

She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome. There would be no one to live for her during those coming years; she would live for herself. 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. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.

And yet she had loved him — sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!

"Free! Body and soul free!" she kept whispering.

Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. "Louise, open the door! I beg, open the door — you will make yourself ill. What are you doing, Louise? For heaven's sake open the door."

"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window. Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.

She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended the stairs. Richards stood waiting for them at the bottom.

Someone was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him from the view of his wife.

But Richards was too late.

When the doctors came they said she had died of heart disease — of the joy that kills.

Ride of Her Life In “The Story of an Hour” (1894), Kate Chopin presents a woman in the last hour of her life and the emotional and psychological changes that occur upon hearing of her husbands’ death. Chopin sends the protagonist, Mrs. Mallard, on a roller coaster of emotional up’s and down’s, and self-actualizing psychological hairpin turns, which is all set in motion by the news of her husband’s death. This extreme “joy ride” comes to an abrupt and ultimately final halt for Mrs. Mallard when she sees her husband walk through the door unscathed. Chopin ends her short story ambiguously with the death of Mrs. Mallard, imploring her reader to determine the true cause of her death. The story beginnings with Chopin informing the…show more content…
Mallard’s suppressed self that she has endured in the formalities of her life (1). Chopin continues to express how afflicted Mrs. Mallard is with her struggle to come to terms with her current state of emotions and her vision of self by describing Mrs. Mallard’s “dull eyes, whose gaze was fixed away off yonder on one of those patches of blue sky.” While Chopin depicts Mrs. Mallard’s glance as not being one of reflection “but rather indicated a suspension of intelligent thought,” it can be inferred that Mrs. Mallard is processing her self-being not on a rational level but more on her emotional stimuli. Mrs. Mallard’s roller coaster continues to climb to the peak as she begins to feel “something coming to her”, she does so “fearfully”, as she is not clear on what “it” is that is coming. In her article Jamil indicates, “The ‘it’ that [Mrs. Mallard] feels emerging from nature is the vision, or perception, of [Mrs. Mallard’s] freedom, which occurs through [Mrs. Mallard’s] aroused emotions” (217). Chopin thoughtfully deduces that Mrs. Mallard’s actualization of self is “too subtle and elusive” to be grasped with rational thought and that “it” can only be initially “felt” intuitively and then “it” can be processed emotionally (1). As Mrs. Mallard begins to acknowledge what

Every person has the right to be and feel free. They have the right to be independent and live how they want to. In Kate Chopin’s, “The Story of an Hour,” it discusses the death of Mrs. Mallard’s husband and her freedom. Chopin starts off the story by having Mr. Mallard die in a train crash, leaving Mrs. Mallard devastated. Instead of feeling sadness or grief, Mrs. Mallard actually feels free. To show this, Chopin uses a variety of literary terms in this story, but several are more of a focus than others. Chopin successful uses vivid imagery, point of view, and irony that gives a different view of marriage that is not usually viewed as such.
Chopin uses many examples of imagery, point of view, and irony, throughout the story, to create an unexpecting
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Throughout the story, she uses detailed passages to describe how Mrs. Mallard feels about her husband and his death. Chopin uses scenic and beautiful words to describe the way Mrs. Mallard is feeling after the news of her husband’s death. “She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant song which someone was singing reached her faintly and countless sparrows were twittering in the eaves. There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window”(Page 498). This use of imagery allows the readers to picture how Mrs. Mallard feels and how she looks at life now. Chopin also uses other passages to describe, in detail, how Mrs. Mallard looks, after all, this chaos. “She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought (Page 498). This use of imagery allows the reader to grasp a full picture, in their minds, of what she looks…show more content…
The use of irony helps show the reader that what is always expected to happen, is not always the case. It also helps the readers see something in the story that the characters do not see. Chopin uses many examples, throughout the story, to show irony.” She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and spread her arms out to them in welcome” (cite). Mrs. Mallard’s husband has died, but instead of being sad, she is actually happy. She feels is she now free and can independently without her