'The Story of an Hour & a Sorrowful Woman\r'

'â€Å"A pitiful Woman” & â€Å"The boloney of an hour” The lugubriousness and unhappiness flourished by some(prenominal) of the married women in â€Å"A pitiful Woman” and â€Å"The theme of an second” shows that marriage does non al bearings bring the distinctive ending of most fairy tales. Thus existence living happily ever so after. It is evident that two of these women feel trapped in their marriages as numerous anformer(a)(prenominal) deal feel today. Growing up with eight sisters I have also seen this contact of entrapment in the demesne as well. In both of these stories the women display such(prenominal) a lack of love towards their spouses and in fact in â€Å"The Story of an Hour” it seems as though Mrs.\r\nM anyard never really love her spouse and is the happiest for the hour that she thinks her conserve is gone. The woman in â€Å"A elegiac Woman” is never squelched with her marriage and life and feels tr apped as well. The erratic thing is that both of these women end up dead and do not find a room to get help or to get show up of the marriages. The authors of these two stories Kate Chopin and Gail Goodwin both tie the unhappiness of these women to the bureau in which indian lodge impacts ones marriage.\r\nFirst of all, through the settings of their stories, both of the authors suggested that tender expectations be the real causes of their protagonists’ deaths. In â€Å"A Sorrowful Woman,” the nameless protagonist has what seems to be such a desir fitted life. She has a â€Å"dur equal to(p), receptive, gentle” save and a â€Å"tender golden three” password (189) â€Å"He was attuned to her; he mum such things” (189). This program line leads one to believe that her husband always understood her. It also seems that he is willing to sacrifice his m for her and their family.\r\nMrs. Mallard in â€Å"The Story of an Hour” is in a simi lar environment. K straightawaying that she has heart trouble, â€Å" capital care was taken to break to her as softly as possible the news of her husband’s death” (18). By setting up such nice environments where the two protagonists have it off, the authors keep readers outside from the position that their protagonists’ deaths are the result of bad treatment. It is the force of genial expectations rigid upon the women that locked them in the jail of marriage and that at persistent last lead them to death.\r\nIt becomes evident while reading both of these stories that both of the female protagonists in the two stories hold water very unsatisfactory have intercourses. Mrs. Mallard in â€Å"The Story of an Hour” seems to feel trapped in her aver marriage. â€Å"She was young, with a fair, calm face, whose lines bespoke repression and even original strength” (19) tells us that her marriage has taken everything away from the young woman emot ionally. â€Å"It was and yesterday she had archetype with a shudder that life might be large” (19), shows that she never felt freedom in her life and felt very unhappy in this marriage because life seemed to be so long because of it.\r\nTherefore, â€Å"She did not hear the story as many women have heard the same” (18) when she was told approximately her husband’s death. She just accepted it and went to her room because she accomplished that her husband’s death gave her freedom and now â€Å"spring days, and summer days, and all sorts of days [that] would be her own. ” (19) In the other story â€Å"A Sorrowful Womanâ€Å", the one time again nameless protagonist, is confine in her own mind. This is different from â€Å"The story of an hour. ” In â€Å"A Sorrowful Woman” the sight of her family makes her so disgusted and uneasy.\r\nShe feels that to love and take care of her family is a burden. â€Å"She stood naked except f or her bra, which hung by one thrash about down the side of her body; she had not the caprice to shrug it off” (189) indicates how tired and unmotivated she feels about her life. Both of these women in these two stories struggle to live happily and are constantly living in agony. Many readers, including myself, might wonder why they weary’t free themselves by offering break up to the husbands.\r\nChopin and Godwin use a lot of irony to deed over readers to know that it isn’t simple for their protagonists to break the social expectations that keep them in the boundary of marriage. Divorce is never an option for them. Divorce might have never been defined in their society, and it was most definitely not as common then as it is now. These sorry women have no way to escape from their trigger-happy unhappiness. Not only did these women not have a way to get out of their crisis, but they were also prohibited from being themselves and from doing what they want.\ r\nIn â€Å"A Sorrowful Woman,” the main character is exhausted from being â€Å"a wife and mother one too many times” (189). When her son says, â€Å"She’s tired of doing all our things again” (193), this tells us what her life was standardised. She was constantly feeling the stress of trying to be a homemaker against her will, although she did have the ability to write and wasn’t precondition practically of a happen to write. unless once in her life does she have a chance to write â€Å"mad and fanciful stories nobody could ever make up again, and a table proficient of love sonnets…”(192-193); that is in front her death.\r\nThis woman is in a tough predicament. While the person herself tells her to do whatever she wants to, the person that is affected by social expectations internal her tells her to do other things. She completely loses controls of herself. tied(p) though she was unable to do things she wants, she still ha d to pretend as if she was the luckiest woman (189). In â€Å"The Story of an Hour,” on the other hand, Mrs. Mallard’s overwhelming feel when she accepted the news of her husband’s death indicated for how long and how much she wanted to be â€Å"Free, free, free! (19). Only alone in her room could Mrs. Mallard show up her happiness. In front of people, she has to repress her feelings and pretend to be sad. The conflict inside and outside the woman tells us so much about what the society evaluate her to do. It also seems that Godwin was trying to show the conflict amongst Mrs. Mallards marriage and society by intensely describing her world inside and outside of her room. Chopin and Godwin have successfully direct readers to the only reasonable resolution of their stories, the deaths of their main characters.\r\n dying is the only way our two protagonists are able to escape from their agony and from the pressure of social expectations placed upon them. These two women’s societies don’t consent to them to die comfortably even when they have elect death as their fate. In â€Å"A Sorrowful Woman,” even though our nameless protagonist despises being a mother and wife she still does what society would expect of her, as a housewife, right before her death. She made â€Å"five loaves of warm bread, a shout stuffed turkey, a glazed ham, three pies of different fillings, …” (192).\r\nIn â€Å"The Story of an Hour,” Mrs. Mallard was said to have died of â€Å"joy that kills” (20) even though it seems as though she died because she was eventually able to see freedom in her day’s ahead and could not fathom to live under her husband’s will again. Even until her death, her society still pushed her in the position of a pretender, of a person she never wants to be. Without a way out of these unhappy situations, both of the protagonists chose death for freedom. It is only through death th at they are both able to escape from their unhappy lives.\r\nThese stories provoke so much thought. Should society be more apprehensiveness of people? Maybe if our society could be more excepting and understanding there would be less tragedy like there has been in Chopin’s â€Å"The Story of an Hour” and Godwin’s â€Å"A Sorrowful Woman. ” Works Cited Chopin, Kate. â€Å"The Story of an Hour. ” Thinking and Writing around Literature. Michael Mayer. 2nd ed. capital of Massachusetts: Bedford/St. Martin’s, 2001. 18-20. Goodwin, Gail. â€Å"A Sorrowful Woman. ” Thinking and Writing About Literature. Michael Mayer. 2nd ed. Boston: Bedford/St. Martin’s, 2001. 189-193.\r\n'