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She Definitely Doesn’t Need You Anymore

An Analysis of Conflict in Kate Chopin’s “Story of an Hour”

By Emma WilliamsPublished 6 years ago 5 min read
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Most people know that conflict is a heavily defining part of life; this is one thing that goes without saying. From arguing with a parent over curfew to disagreeing with the way a coworker accomplishes tasks or having to continually remind your housemate to take care of chores, everyone has encountered conflict. While conflict in itself isn’t bad, the way people handle it determines whether the effect is positive or negative. Much like in real life, in literature, conflict is essential. It is the base on which all other aspects of the story branch from, and without conflict there would be no plot line, which would result in having nothing interesting to read. In Kate Chopin’s “Story of an Hour”, there are multiple important conflicts, and while none of them are in established usage for that era, they all make the story a story.

The first major type of conflict in Story of an Hour by Kate Chopin is person versus society. The story’s protagonist, Mrs. Louise Mallard, has been in an unhappy marriage and when her husband dies she isn’t extremely devastated. It is evident there wasn’t any type of deep connection between them, which is expected between married couples. This is proved when Mrs. Mallard does not react to her husband’s death in the manner which is expected of her. Indeed, the entire second half of this story exemplifies her dissatisfaction with her husband and her happiness that he’s out of the picture. She feels free, relieved, and content, which is shown when she repeatedly whispers to herself that she is now free in the bedroom scene. There are also clearly identified symbols which express this newfound freedom and comfort, such as the open window she stares out of (new possibilities), the fact that the author points out her lying her head on a cushion (contentment and comfort), and the description of “new spring life” in the trees outside (freedom). These symbols combined with her overall reaction express a feeling of endless possibility. They also exemplify another conflict with society in the fact that, naturally, she is expected to be devastated. After all, she’s just lost her means of financial stability. Yet, she is relieved and happy, even stating “Free, body and soul set free!” over again.

As with any quality piece of literature, there is more than one defining conflict in Story of an Hour; although some of the secondary conflicts aren’t quite as obvious. A second valid conflict which is expressed in the story is person versus person. This is between Louise and her husband, who is now presumed dead. It is obvious throughout the story that she and he have a relationship which isn’t ideal. The relationship is not defined as abusive; however, it is filled with dissatisfaction between the two. This idea is exemplified in the fact that she gets over her husband’s death so quickly. It’s almost as if Louise is not bothered by the fact that he’s gone, and one could argue she initially expressed grief only for show. The manner in which Ms. Mallard’s expression of grief conveys a sense of insignificance compared to the depth and detail in which the bedroom scene is described. The climax of this conflict occurred when her husband was announced dead, though at the moment it appeared as a resolution. The real resolution was, unfortunately, Louise’s death.

A third important conflict in “Story of an Hour” is person versus self, obviously this pertains to our protagonist. All her life, Mrs. Mallard has been told she was “afflicted with a heart trouble.” Most people around her see her as weak and needing to be provided for, and for the longest time, she believed them. Then, Mr. Mallard’s death changes things for her in a way that is plain beneficial to Louise, and her character takes an unexpected turn. She seems to find strength and authority within her which she’s never known was there, finally winning a war which has been raging inside her for quite some time. Just as with the other conflicts, the scene in Louise’s bedroom supports this, from her lying her head on a cushion to staring out an open window and then rebuking her sister when she comes to check on her.

The scene when Mrs. Louise Mallard is alone in her room and discovers the “strength” and “freedom” she never knew she had is also the climax of this conflict. The mood in this particular scene dramatically increases from the moment she shuts her door to the moment she reopens it, with “a feverish triumph in her eyes… [Carrying] herself unwittingly like a goddess of Victory.” In this entire scene, the protagonist’s mood and general disposition changes from hopeless and desperate to a sort of fierce intimidation. This scene is the resolution, as well. Chopin chooses not to give much attention to the conflict itself, instead focusing on the climax and resolution. If one pays attention, they will find she follows this pattern with the other two conflicts, as well.

In conclusion, “Story of An Hour” by Kate Chopin has multiple unconventional conflicts which are the base on which all other details of the tale are built. From person versus person to person versus self, Chopin’s work includes three out of the four main literary conflicts in a nearly ideal way. The expressed conflicts range from being clearly defined to requiring a significant amount of analyzing in order to be identified, and this makes for a great example of multiple conflicts in one piece. This combined with an intense use of symbolism results in a piece which is controversial, exemplary, and significant in literature.

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About the Creator

Emma Williams

I am a college student from Texas who never really had a platform from which she could share her writing. I want to be listened to, not just heard, because I am bold and bright. My main loves are my dog, my family, and rivers.

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