29 pages • 58 minutes read
Kate ChopinA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Tone refers to the way the narrator presents the text’s subject, and Chopin’s choice of a nonjudgmental tone emphasizes her sympathy for Mrs. Sommers, despite the protagonist’s deviation from her motherly duty and temporary submission to an indulgent impulse. Mrs. Sommers is never characterized as selfish or inconsiderate, though she seems to spend the entirety of her $15 on herself after she had planned to spend the money on her children. When she does spend money on herself, the driving force behind the “mechanical impulse” seems to be her own desire for freedom, even for a very short while, from responsibility and effort and to embrace a very human desire for comfort, both physical and emotional. The money had given her “a feeling of importance such as she had not enjoyed for years,” showing just how unimportant and “little” she has felt for a long time (1). The items she purchases for herself give “her a feeling of assurance, a sense of belonging to the well-dressed multitude” (17). Rather than portray Mrs. Sommers as a self-interested and neglectful mother, Chopin depicts her as a long-suffering woman who has had to take a backseat in her own life but who, for once, prioritizes desire ahead of duty, and this sympathetic tone invites the reader to consider the dilemma of the story rather than to judge Mrs. Sommers.
Situational irony occurs when there is a discrepancy between what one expects to happen and what actually takes place. It creates tension within Mrs. Sommers’s story, heightening the reader’s sense of urgency and anxiety. Early on, the narrator says that Mrs. Sommers “did not wish to act hastily, to do anything she might afterward regret” (2). For this reason, she carefully makes plans for the use of the $15; however, when she gets to the store, she begins to completely abandon those plans and proceeds to spend the entirety of the money on herself. She gives herself over to impulse, causing one to wonder how she will feel and what she will do once she fully realizes what she has done when the money is all gone. This feeling of worry and dread mimics Mrs. Sommers’s own view of her future, whenever she allows herself to think about it, as a “dim, gaunt monster” (4). This tension puts the reader into an emotional state similar to the one Mrs. Sommers typically occupies, allowing one to sympathize with her all the more when she is compelled to return to reality. The irony is heightened when Mrs. Sommers’s habitual way of living in the present is driven not by daily necessity but by the “mechanical impulse” of her freedom on her day out.
By using the third person omniscient, and by almost completely restricting the reader’s attention to Mrs. Sommers’s thoughts and feelings, the narrative highlights her struggles. This is particularly significant because her struggles are supposed to be of little consequence to her and, typically, are not considered to be of importance to society so long as she is doing her duty to her family. In a world where she is “little,” the narrative makes her essential and significant. Not only is the narrative comprised mostly of her actions, thoughts, and sensations, but no other character is afforded the chance to speak for themselves in the text. Other characters’ speech is only ever paraphrased by the narrator. The salesgirl “asked her if she wished to examine their line of silk hosiery,” and the waiter “take[s] her order,” for example, but none of their speech is directly quoted as Mrs. Sommers’s is. In this way, via the point of view and her status as the only character who is permitted direct discourse, her concerns and actions are made the most important and significant, notable for a person who seems to have little importance or significance in her own life.
Imagery, or description that appeals to our senses, figures prominently in this text, in large part, because Mrs. Sommers’s experience of self-indulgence is so physical. The imagery, or portrayals of her physical sensations, help the reader to see, feel, and hear as she does. Her initial temptation, the silk stockings, first arrest her attention due to how they feel, “soft [and] sheeny,” and then how they look as they “glisten [and] glide” through her fingers (7). When she puts them on, the “touch of the raw silk to her flesh” feels so good that she wants to lie back against the pillows and enjoy it (12). The stylish shoes she eventually settles on are “polished, pointed-tipped boots” (14), and her new gloves are “long-wristed ‘kid,’” and she admires the look of her “little symmetrical gloved hand” (16). The restaurant appeals to the senses too, with its “spotless damask and shining crystal, and soft-stepping waiters” (18). There is a “soft, pleasing strain of music” as she tastes her food and sips her wine, “wiggl[ing] her toes in the silk stockings” (21). It is as though Mrs. Sommers is newly alive, reveling in the feel, the sights, the sounds, and the tastes of life, her senses having been neglected for so long due to her motherly self-denial. The story’s imagery accentuates how very dull her life has been and how bright, delicious and pleasant it could be with the addition of money.
By Kate Chopin