In this module, we have studied Susan Glaspell’s one-act play “Trifles” (1916), Zora Nealle Hurston’s short story “Sweat” (1926), and Louise Erdrich’s short story “The Shawl” (2001). All of the literary works mentioned above all hold some examples of domestic abuse women had to endure during the 20th century.
Glaspell’s “Trifles” portrays a clear message about the ways of the two main characters marriage, without them ever appearing on stage. Instead, she leave the audience to interpret the accumulating evidence for themselves as two women (Mrs. Peters, the sheriff’s wife, and Mrs. Hale, wife of thee neighboring farmer who found Mr. Wright’s body) search for activities to occupy Mrs. Wright time in the jail. In the process of gathering …show more content…
Instead of her guilt being automatic because she is the wife of an abusive monster, the community vocalizes that there should be laws against men like her husband who torture their wives in such inhumane methods. Delia’s body is worked to the bone (thin armed, stooped, and sinewy) but strong from washing all the laundry of white families and her faith. She uses her wages to live off while her husband squanders his own, taking from her, and spoils his mistress by promising her everything from the house to the whole …show more content…
Even as she could hear his cries for help, she remains in her spot under the Chinaberry tree, and waits for him to cease breathing. She might call this a divine intervention from God to insure her wellbeing and protecting her from dying at the hands of a monster. These moments within this short story seem to be a reversal of the roles that Adam, Eve, and the Devil played within the book of Genesis. This role reversal also adds to the changing of the times where women now have to right to be the breadwinner in their households, but they still no rights to anything without the permission of their husbands even with divorce being an option and Delia’s ability to support herself. Since she, herself, did not commit any unlawful actions against her husband, and help was too far to be gained, she would not be convicted of any crime in any court of
Glaspell’s “Trifles” portrays a clear message about the ways of the two main characters marriage, without them ever appearing on stage. Instead, she leave the audience to interpret the accumulating evidence for themselves as two women (Mrs. Peters, the sheriff’s wife, and Mrs. Hale, wife of thee neighboring farmer who found Mr. Wright’s body) search for activities to occupy Mrs. Wright time in the jail. In the process of gathering …show more content…
Instead of her guilt being automatic because she is the wife of an abusive monster, the community vocalizes that there should be laws against men like her husband who torture their wives in such inhumane methods. Delia’s body is worked to the bone (thin armed, stooped, and sinewy) but strong from washing all the laundry of white families and her faith. She uses her wages to live off while her husband squanders his own, taking from her, and spoils his mistress by promising her everything from the house to the whole …show more content…
Even as she could hear his cries for help, she remains in her spot under the Chinaberry tree, and waits for him to cease breathing. She might call this a divine intervention from God to insure her wellbeing and protecting her from dying at the hands of a monster. These moments within this short story seem to be a reversal of the roles that Adam, Eve, and the Devil played within the book of Genesis. This role reversal also adds to the changing of the times where women now have to right to be the breadwinner in their households, but they still no rights to anything without the permission of their husbands even with divorce being an option and Delia’s ability to support herself. Since she, herself, did not commit any unlawful actions against her husband, and help was too far to be gained, she would not be convicted of any crime in any court of