There is about a hundred-year gap between the two stories, as Kate Chopin’s “The Storm” was written in 1898, though published only in 1969, while Margaret Atwood’s short story “Happy Endings” was created in 1983. In spite of the time and even cultural differences, both stories have much in common, as they are devoted to an eternal theme of human relations, of choices and challenges that men and women make every day of their mutual existence. The thesis comes from the statement that both stories treat love as something unconventional and finally threatening, as in Atwood’s story, every plot line finishes with death, and in Chopin’s story, the love scene is set at the background of ruin, chaos and destruction; on the other hand, Atwood is more
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This mode of writing helps her show an obvious tension between the rules of marriage and obedience and stronger laws of a human nature and real femininity. In Chopin’s depiction, a woman can be an “over-scrupulous housewife” who sews, cooks supper and keeps the house to make it comfortable and cozy for her family (Chopin 5). She is concerned about her husband and her son and is happy when they return home safe and sound. On the other hand, as Farca notices, it is Calixta’s domestic qualities that “betray her dissatisfaction with married life” (120+). She is “sewing furiously,” as if this peaceful activity made her angry and frustrated (Chopin 1). After the storm, Calixta feels more powerful and strong, as now, she is able to confront her desires and get charge of her passion. She meets her husband and son with great satisfaction, though they seem changed to her: she portrays Bibi as a “picture of pathetic resignation,” and Bobinôt as “the embodiment of serious solicitude” (Chopin 5). Farca makes a conclusion that the storm transforms Calixta into a beautiful and energetic woman while her husband and son “remain pathetic puppets” (120+). The storm passes, and everybody is happy, and the author emphasizes that Calixta’s and Alcee’s health and pleasure are the first things to be considered and valued, and a deadly sin may lead to a new life
This mode of writing helps her show an obvious tension between the rules of marriage and obedience and stronger laws of a human nature and real femininity. In Chopin’s depiction, a woman can be an “over-scrupulous housewife” who sews, cooks supper and keeps the house to make it comfortable and cozy for her family (Chopin 5). She is concerned about her husband and her son and is happy when they return home safe and sound. On the other hand, as Farca notices, it is Calixta’s domestic qualities that “betray her dissatisfaction with married life” (120+). She is “sewing furiously,” as if this peaceful activity made her angry and frustrated (Chopin 1). After the storm, Calixta feels more powerful and strong, as now, she is able to confront her desires and get charge of her passion. She meets her husband and son with great satisfaction, though they seem changed to her: she portrays Bibi as a “picture of pathetic resignation,” and Bobinôt as “the embodiment of serious solicitude” (Chopin 5). Farca makes a conclusion that the storm transforms Calixta into a beautiful and energetic woman while her husband and son “remain pathetic puppets” (120+). The storm passes, and everybody is happy, and the author emphasizes that Calixta’s and Alcee’s health and pleasure are the first things to be considered and valued, and a deadly sin may lead to a new life