To Janie a marriage is about a mutual and reciprocal fulfillment that should be filled with love. It seems that throughout the whole narrative, Janie is constantly looking for this type of ideal marriage and love and being at one with nature. In her marriage to Logan Killicks she hopes to find this ideal marriage, “She knew now that marriage did not make love. Janie’s first dream was dead, so she became a woman.”(24). Logan Killicks crushes Janie’s child dream and any hope she had for that perfect marriage and love, so with this new realization, Janie knows that she must become a woman and do away with her childish dreams.
When we admit defeat to these tests we are essentially giving up reason to live, to be happy, to love, and to dream. While failure is miserable and sad, like the news Louise receives, we should not dwell on it but instead build and thrive from it. When Louise’s story turns away from sadness at her husband’s death a light begins to shine in her. She starts feeling free (Chopin, Paragraph 11, 1894). She gets an overwhelming elation to the thought of getting to do what she wants without her husband dictating (Chopin, Paragraph 14, 1894).
Thus, there is irony of her emotions at the realization of her freedom then the discovery of her husband being alive followed by her own death. The plot of “The Story of an Hour” starts with the setting of Mrs. Mallard learning of the death of her husband, her instant grief to the terrible news, and how she handles her emotions. She then makes her way to her room to reflect on her thoughts of what has happened going from grieving to joyful feelings. As she is looking out the window there are signs of spring in the air with fresh start of the tree buds, rain in the air, and the sounds of sparrows and people living outside (Chopin, 1894 as cited in Clugston, 2010). This new beginning of the spring season coincides with Mrs. Mallard’s feelings of freedom from the restraint of being married.
Body and soul free” (169-170). Louise’s celebration of her husband’s death ends when she leaves her bedroom to be with her sister again. Suddenly they hear someone turning a key in the front door and they turn to see Brently Mallard, Louise’s husband. Louise was so shocked of her husband’s arrival that she, having prior heart trouble, has a heart attack brought on by “joy that kills”, or so the doctors said (170). Chopin uses quite a bit of figurative language in her story; two of the best examples are Louise’s heart trouble and the open window in her bedroom.
Firstly, a short story should focus on central characteristics, which tend to reveal themselves through one key event or moment that typically lays bare their essential nature. Compare to “royal beatings”, “The yellow wallpaper” clearly focuses on a single character and several secondary characters are to shed light on the central character. The story of a women’s descent into extremely madness and has been locked in a nursery of a rental isolated estate by her husband who is high standing physician and believes she isn’t sick but temporary nervous depression and request caring. The societal pressure and postpartum depression placed on her and started to imagery of the patterns in the yellow wallpaper and wrote them down.
"What would you have me do that I'm not doing? I thought this new house would make us happy. It would make most people happy, Norah." At this tone, fear rushed through her; she could lose him too. Her foot throbbed, and her head, and she closed her eyes briefly at the thought of the scene she had caused.
“The inexhaustible charm that rose and fell”(120) in Daisy's voice captured everyone she met, and held them close to her heart. She had thought she loved Gatsby with all her heart, but she knew things had to change. After the murder of Myrtle, she had to choose between the man she loved, and the man she would come to love. She had to forget about true love and think about her child's need for her father. Tom said he loved Daisy, but “his sturdy physical egotism no longer nourished his peremptory heart.”(20).
Her closest friends and family come to her to easily break the news of her husband` s recent death. However, the author does not tell us how their marriage was, or what kind of relationship this couple had. By doing this, the author allows the reader to form their own idea and use their imagination to decide how this Mrs. Mallard is going to react. We see this technique used early into the story and we, as readers, are strung along until we hear the woman utter the words “free, free, free” which really throws the reader off the track they expected was going to happen. The rest of the story begins to twist the story to the exact opposite of what the reader was waiting to have happen.
This interpretation was deep, because as I was reading, I could imagine how she was feeling and how they related it to the way the child cries itself to sleep. By the end you could then realize once it was all over, she felt free like she could start living on her own and doing things that she normally wouldn’t do while Mr. Mallard was still alive. The look on her face was nothing less than priceless, when she discovered that her husband had survived. It was almost like she had seen a ghost. All the emotions I was feeling really made it seem like I was actually there, and like I was Mrs. Mallard.
Birth is Nothing, But Death Begun To many people, the presentation of a new child to the world is simply magical, and unsurprisingly, mothers such as Doris Smith agrees that “A baby is God’s way of saying the whole world should move on.” Unfortunately, while that quote appears to have good intentions to it, it also has a dark lining; the world “go[ing] on” may mean the end of a parent’s life, a past fear common among the mothers before the 17th century, including but not limited to poet Anne Bradstreet. In her poem “Before the Birth of One of her Children,” Anne Bradstreet exhibits the explicit sensations that correspond to those of motherly figures of the future and the past. Particularly, these sensations ring true to maternal aspects sourced by family-concerned love and the self. In this case, Bradstreet indicates the aspects of being sentenced death, her religious view to death, and the maternal wishes to care for her family. In modern days, most verses and poems about childbirth can be redundantly spiritual and jovial; however, while birth can bring about new life and thrill, it also presents the possibility of death, which Anne Bradstreet consistently cites in a likely separation of husband and wife.