Oppression: An Uncommon View Of Marriage In Today’s Society

Oppression: An Uncommon View of Marriage In today’s society, marriage could be defined as “the legally recognized union of two people as partners in a personal relationship†and is a union often shared between people of all races and sexualities. However, this has not always been this case. Ideas about marriage have evolved over time, and society’s views over what is acceptable in marriages has changed tremendously. In the past, marriages were a cornerstone of societal structure, with the bond between a single man and woman serving as a means for the establishment of wealth and status. These marriages often shared common traits, including similar racial and socioeconomic backgrounds between spouses, the presence of the woman as a homemaker, and the belief that marriage was a bond meant to last for life.

However, these situations often led to marriages that were a byproduct of a rigid societal structure rather than an expression of love. As a result, dissatisfaction and divorce became central issues. Today, divorce is more frequently considered than in the past, as societal views have shifted to see it as an acceptable solution to unhappy marriages. In Kate Chopin's “The Story of an Hour,” the author offers a critique of society suggesting that marriage can be oppressive, using literary devices such as simile, diction, imagery, and juxtaposition to convey this message.

In “The Story of an Hour,” Chopin employs similes to deepen the reader's understanding of her central theme—that marriage often functions as an oppressive institution. For example, she describes Mrs. Mallard’s tears as "a sob shook her, as a child who has cried itself to sleep and continues to sob in its dreams." This simile compares Mrs. Mallard’s tears to a child's ongoing sobs, implying that her outward display of grief is abnormal and a reflection of her suppressed feelings. The societal expectation that she should mourn her husband's death, despite her inner relief, underscores the oppressive nature of societal gender roles and marital expectations.

Chopin also utilizes diction effectively to emphasize her critique of marriage. One notable example appears when she writes, “There was something coming to her… What was it? She did not know…But she felt it, creeping out of the sky, reaching toward her…” The choice of words like “creeping” conveys a sense of lurking, restrained emotion that breaks free of societal constraints. The hesitation and uncertainty in Mrs. Mallard’s feelings illustrate her internal conflict—she is simultaneously aware of her grief and her sense of newfound freedom. The diction underscores the suppressed desires that society has often denied women, making her feelings seem both forbidden and inevitable.

Imagery plays a crucial role in illustrating Mrs. Mallard’s awakening to her own independence. Chopin describes her sensation of joy as “out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.” This vivid imagery appeals to multiple senses, painting a scene of sensory awakening that symbolizes mental and emotional liberation from the oppressive bonds of marriage. The sensory details of sights, smells, and sounds emphasize the contrast between her life with her husband and her new experience of personal freedom. The imagery thus not only creates a visual and emotional picture but also symbolizes her psychological emancipation from societal expectations.

Juxtaposition is another key literary device Chopin employs to communicate her critique of marriage. After hearing of her husband’s death, Mrs. Mallard observes “trees that were all aquiver with the new spring life” and “the delicious breath of rain in the air,” symbolizing renewal and rebirth following oppression. The juxtaposition of death and spring life suggests that the end of her marriage signifies a new beginning, highlighting the oppressive nature of her union. Furthermore, Chopin contrasts her previous desire to “shudder” at the thought of a long life with her current wish for life to be “long,” illustrating her transformation in perspective. This stark contrast manifests her internal liberation and the oppressive constraints that once limited her.

Moreover, Chopin’s widespread use of symbols and symbols’ juxtaposition demonstrates the story’s thematic richness. The open window through which Mrs. Mallard looks signifies her newfound freedom and the possibilities of independent life. The vibrant spring imagery correlates with growth, renewal, and the rebirth of her personal identity. Conversely, the death of her husband initially appears as a tragic event but later reveals itself as a release from societal and marital restrictions. These literary devices work synergistically to reinforce the idea that marriage can be oppressive, especially when societal expectations override personal happiness and autonomy.

In conclusion, Kate Chopin’s “The Story of an Hour” masterfully employs simile, diction, imagery, and juxtaposition to critique the oppressive nature of marriage, especially within the societal context of her time. Her depiction of Mrs. Mallard’s emotional evolution from grief to elated freedom suggests that the societal institution of marriage can serve as a form of social and personal imprisonment. By illustrating these themes through vivid literary techniques, Chopin encourages readers to question the traditional roles and expectations placed upon women and highlights the importance of personal autonomy and emotional fulfillment. This story remains a powerful commentary on the societal constraints that continue to influence perceptions of marriage and individual happiness today.

References

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