The Story of an Hour

The myth of an Hour Discuss three posers AND kinds sarcasm used in The tale of an Hour. open sure to have one example of verbal irony, one of situational irony, and one of dramatic irony. One example of verbal irony in A fabrication of an Hour is the last sentence in the story which says When the doctors came they said she had died of heart diseaseof joy that kills (DiYanni 41) This is verbal irony because it is written that she died of too much comfort to see her maintain, whom she thought was dead, alive.However, it was because she was incredibly bother to see him. One instance of situational irony in The Story of an Hour is when Mrs. M bothard learns of the finish of her husband. At first, she reacts as any person would at the news show of losing someone close to them by crying and isolating herself. However her real feelings about her husbands death are sh declare later when she thought to herself, thither would be no one to live for during those coming age she would live for herself (40) However this feeling of granting immunity did not last long.Towards the end of the story her husband appears at the door unharmed. She then cognise that she was not free from her unhappy marriage at all. Dramatic irony is also used in The Story of an Hour through Mrs. mallards realization that she is free from her husband and with her death. While Mrs. mallard was alone in her room she realized that she would no longer be keep to her husband but rather free to do whatever she should choose.However, no one else in the story knew this they all believed that she was very sad and depressed. Josephine, a charwoman in the house, even thought Mrs. Mallard was making herself sick. She said, I beg open the dooryou will constitute yourself ill (40) However, Mrs. Mallard was doing quite the blow by drinking in a very elixir of life through that open window (40).The Story of an HourThe possibilities of independence for women were unlikely for women living in the l ate nineteenth century. Women were confined and overpowered by men. Kate Chopin, a women of the late nineteenth century herself, was a generator living within such a society. In The Story of an Hour (1894), Kate Chopin uses elements of settingswindows and doorin order to highlight the possibilities of freedom and the threat of exertion for women in late nineteenth century American society.Chopin uses figurative language of symbols and resourcefulness to conflate the possibility of freedom with the physical setting outside the window. Chopin uses the open window as a symbol to give notice freedom She juxtaposes the comfortable, roomy armchair with the window to demonstrate Mrs. Mallards feelings of freedom and comfortability within her own home now that her husband is dead. Mrs. Mallard looks out of her window into the endless opportunities she is now able to dream ofThere stood, facing the open window, a comfortable, roomy armchair(Chopin147).She uses the tops of the trees as sy mbolic tomography to describe how Mrs. Mallard is now feeling free. The spacial relation between Mrs. Mallard and the trees outside is used to suggest that freedom has become more concrete than before She could see in the open square before her house the tops of trees that were all aquiver with the new spring life (Chopin 147). Chopin uses taste imagery to suggest that Mrs. Mallard has become more aware of her own senses and perception of freedomThe delicious breath of rain was in the air(147).Chopin conflates the patches of morose skya symbol of hopeto emphasize the unbounded prospects Mrs. Mallard now has facing her. Color imagery is used to suggest positive emotion 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 her window (Chopin 148). Chopin uses onomatopoeiatwittering sparrowsto evoke new life. The spatial relation between Mrs. Mallard and the eaves suggests she is closer to freedom and the outside world.Countless sparrows were twittering in the eaves (Chopin 148). The conflation of symbols and imagery with the possibility of freedom suggests Mrs. Mallard is beginning to feel item-by-item as a women in the late nineteenth century. The possibilities of freedom are becoming more of a reality for Mrs. Mallard. Chopin conflates the spatial relation between Mrs. Mallard and the outside world with sensory imagery to make the possibilities of freedom concrete.Chopin conflates the spatial imagery something coming at her between Mrs. Mallard and theunknown to suggest that freedom is something new to her There was something coming to her and she was waiting for it, fearfully(148). Chopin uses animal imagerycreeping to suggest that freedom, once distant, has now become concrete and close. Sense imagery is used to portray new life She felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air (Chopin 148).Chopin uses th e color of Mrs. Mallards white work force as imagery to conflate and compare with heaven the unknown. She was striving to beat it back with her willas powerless as her two white polished hands would have been(148). The reality that Mrs. Mallard is beginning to feel freedom is something she would have never of dreamed for herself as a women living in her time.Chopin begins to hold the temporal setting by conflating the past and the present. Chopin is able to manipulate the temporal setting, symbolically, by foreshadowing the future. She conflates the present, new life and freedom, with the future, death She knew that she would weep again when she motto the, kind tender hands folded in death the face that had never looked save with love upon her, fixed and gray and dead(Chopin 148). Again, Chopin manipulates the temporal setting by conflating the present, a bitter moment, with Mrs. Mallards future freedom But she saw beyond that bitter moment a long procession of years to come tha t would belong to her absolutely(148).Chopin juxtaposes the open window with magical medicine, an elixir to portray the remedial feeling of freedom Mrs. Mallard isexperiencingShe was drinking in a very elixir of life through that open window (Chopin 149). Chopin manipulates the temporal setting of the present to suggest a positive future for Mrs. Mallard overflow days, and summer days, and all sorts of days that would be her own (Chopin 149). Chopin conflates Mrs. Mallards past feelings of infinite confinement, with her present feelings of everlasting freedom suggesting there may be a long lived future for Mrs. Mallard. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a move reflexively that life might be long(148). The manipulation of time allows Chopin to takes us into the future where endless possibilities await.Chopin conflates the physical settingdoorswith the possibility of freedom and confinement. Chopin uses the locked door as a metaphor to show that Mrs. Mallard is now in control, something that hasnt happened before Josephine was kneeling before the closed door with her lips to the key-hold imploring admission(149). Chopin juxtaposes the estimate that Mrs. Mallard was confined and ill before she was in control of her own confinement with the idea she is getting better at last with newfound freedom Louise, open the door I beg open the dooryou will make yourself ill(149).Chopin conflates Mrs. Mallard standing up with the action of opening her own door to demonstrate how the possibility of freedom has given her a newfound confidence She arose at length and opened the door to her sisters importunities(149). As the door is opened by a man, Chopin uses thelatchkey as a symbol of confinement to suggest that there is still an inequality between men and women several(prenominal) one was opening the front door with a latchkey. It was Brently Mallard who had entered(149). Chopin has brought the reality of confin ement and inequality back to life as Mrs. Mallard dies as a women in the late nineteenth century locked in her house.In The Story of an Hour (1894), Kate Chopin uses elements of settingswindows and doorin order to highlight the possibilities of freedom and the threat of confinement for women in late nineteenth century American society. The possibilities of freedom for women were unlikely for women living in the late nineteenth century as women were confined and overpowered by men.The Story of an HourThe Story of an Hour Discuss three examples AND kinds irony used in The Story of an Hour. Make sure to have one example of verbal irony, one of situational irony, and one of dramatic irony. One example of verbal irony in A Story of an Hour is the last sentence in the story which says When the doctors came they said she had died of heart diseaseof joy that kills (DiYanni 41) This is verbal irony because it is written that she died of too much happiness to see her husband, whom she though t was dead, alive.However, it was because she was incredibly distressed to see him. One instance of situational irony in The Story of an Hour is when Mrs. Mallard learns of the death of her husband. At first, she reacts as any person would at the news of losing someone close to them by crying and isolating herself. However her real feelings about her husbands death are shown later when she thought to herself, There would be no one to live for during those coming years she would live for herself (40) However this feeling of freedom did not last long.Towards the end of the story her husband appears at the door unharmed. She then realized that she was not free from her unhappy marriage at all. Dramatic irony is also used in The Story of an Hour through Mrs. Mallards realization that she is free from her husband and with her death. While Mrs. Mallard was alone in her room she realized that she would no longer be bound to her husband but rather free to do whatever she should choose.Howev er, no one else in the story knew this they all believed that she was very sad and depressed. Josephine, a woman in the house, even thought Mrs. Mallard was making herself sick. She said, I beg open the dooryou will make yourself ill (40) However, Mrs. Mallard was doing quite the opposite by drinking in a very elixir of life through that open window (40).