Irony in the Story of an Hour

¶ … Irony in the Story of an Hour by Kate Chopin

Kate Chopin uses the element of irony in her short story The Story of an Hour to emphasis the repressive role that marriage plays in a woman's life. The protagonist, Louise Mallard, is caught between the social expectations and moral obligations to love the man she married, and her desire for independence. This dramatic tension is manifested when Louise hears of the unexpected death of her husband, Brently, from her sister Josephine and her husband's friend Richards. Though the reader would expect Louise to be heartbroken at the news of her husband's demise, she is in fact elated by what she imagines to be the ramifications of the event.

Discussion

An indication of the author's view on marriage can be ascertained through the description of the view from the open window in Louise's bedroom. Even though she has just been informed of Brently's death she notices "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 window" (13). While the clouds may be interpreted as the troubles that may pile up at the sudden loss of her husband, the patches of blue sky indicate hope and clear sailing in the future. Furthermore it is significant that the window faces west, this is the direction of new beginnings, especially in the context of 1894 (the year the story was written) when the idea of manifest destiny was still fresh and it was believed that in America one could always pick-up and go in that direction for a new start. Finally, the open window represents freedom. As Louise sits in front of the window looking out she becomes overwhelmed with the implications of Brently's passing and despite a conscience understanding that her feelings are wrong she is unable to suppress them and keeps whispering under her breath free, free, free. The irony is not lost that at the end of the story she is freed of the oppression she feels is put upon her by being married…only not as she imagined.

Chopin lets the reader know in the first sentence that Louise has heart trouble. This is significant as we find the condition is both literal and figurative. During the course of the story it is revealed that Louise is not in love with her husband. She views her marriage as a prison where she is condemned to live "…in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature" (14). Even though Louise portrays her husband as kind and loving she experiences a feeling of euphoria at the news of his death. One may assume that is due the author's view of the oppressive nature of the institution of marriage as no specific event is ever mentioned. The previous quote also suggests Chopin feels this oppression is generated from both partners. The irony in this is that her figurative heart trouble stems from her reluctance to trade her independence for intimacy.

Chopin describes Louise as she sat in her bedroom, "…young, with a fair, calm face, whose lines bespoke repression and even a certain strength… whose gazes fixed away off yonder on one of those patches of blue sky" (13). Even the tops of the trees in the open square outside the window before her house "…were all aquiver with new spring life" (13). These are another reference to Louise's anticipation of a new beginning. Concerning Louise's feelings for Brently Chopin tells us "… yet she had loved him -- sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!" (14). These sentiments clearly indicate the lack of compassionate feelings Louise has for her husband. Clearly they are not those of a woman whose has given her heart to her marriage.

Chopin delineates Louise's inner most feelings and thoughts about a husbandless future; "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" (14), and, "… 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" (14). Ironically, these days of liberation would never come to pass.