Respond to a Reading: Kate Chopin, “The Story of an Hour”
Read the short story “The Story of an Hour” below and respond to the questions in the margin. When you are done, “submit” your response.
Kate Chopin
Kate Chopin was born in St. Louis. Her father died when she was four, and she was raised by her Creole mother’s family. In 1870 she married Oscar Chopin, a cotton broker. They lived in Louisiana, first in New Orleans and then on a large plantation among the French-speaking Acadians. Upon her husband’s death, Chopin tried to run his business herself but in 1884 decided to return to her mother’s home in St. Louis.
Friends encouraged her to write, and when she was nearly forty years old she published her first novel, At Fault (1890). Her stories began to appear in Century and Harper’s Magazine, and two collections followed: Bayou Folk (1894) and A Night in Arcadie (1897). Her last major work, the novel The Awakening (1899), is her masterpiece, but its sympathetic treatment of adultery shocked reviewers and readers throughout America. In St. Louis the novel was taken out of the libraries, and Chopin was denied membership in the St. Louis Fine Arts Club. When her third collection of stories was rejected by her publishers at the end of 1899, Chopin felt herself a literary outcast; she wrote very little in the last years of her life.
What affronted the genteel readers of the 1890s was Chopin’s attempt to write frankly about women’s emotions in their relations with men, children, and their own sexuality. After her mother’s death in 1885, she stopped being a practicing Catholic and accepted the Darwinian view of human evolution. Seeking God in nature rather than through the Church, Chopin wrote freely on the subjects of sex and love, but she said she sadly learned that for American authors, “the limitations imposed upon their art by their environment hamper a full and spontaneous expression.”
Chopin’s work was rediscovered in the 1960s, and a third collection of stories A Vocation and a Voice was published posthumously in 1991.
After only a brief resistance, Mrs. Mallard succumbs to the feeling of freedom that accompanies her husband’s death. Does her acceptance of this feeling come across as a surprise plot event? Why or why not?
How would the story be changed if Mrs. Mallard was more critical of herself for thinking these thoughts of freedom?
A story’s theme is typically solidified in the falling action portion of its plot. This short story has a very brief but powerful resolution. What theme is established after this resolution? Explain your answer.
The Story of an Hour
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.
1
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.
2
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.
3
Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his gripsack and umbrella. He had been far from the scene of 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 joy that kills.