English 104 - Cora Agatucci
Introduction to Literature: Fiction

StudentWritingEnglish104StudentWritingFall1999StudentWriting
table of contents

Response Writings (abbreviated RW)
RW#1 (Poe): Lucy Edwards, Topic #1 Crista Harrison, Topic #3 Shawna Holiday, Topic #4
RW#2 (Chopin & Gilman) Jan Vrbata, Topic #4

Midterm Discussion Papers
Elaine Bridwell, Topic #6: [Understanding Character and Methods of Characterization]
Lucy Edwards, Topic #8: [Poe's Theory and Practice]
Jacelyn Keys, Topic #6: "The Backbone of Stories . . . Characters"
Maria Lucero, Topic #4: "Narrator & Point of View in
Gilman's 'The Yellow Wallpaper' and Chopin's 'The Story of an Hour'"

Citations in student papers below,
unless otherwise indicated, refer to the Fall 1999 Eng104 course text:
Charters, Ann, ed. The Story and Its Writer: An Introduction to Short Fiction.
Compact 5th ed. Boston: Bedford-St. Martin's, 1999.
See Eng 104Course Plan for assignment deadlines Assignments for directions, topics, evaluation criteria

Response Writings
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Response Writing #1 (Poe)

Lucy Edwards
RW#1 Topic #1: "Every detail counts"

In Poe's evaluation of Hawthorne, he makes a point to mention that "undue length is...to be avoided." I think this hold true to Poet's writing style. In general, it is far easier to keep a reader in suspense for 6 pages than for 600. Thus, as Poe also noted, every detail counts.

Poe begins by informing the reader of the insulting nature of "Fortunato." And interesting name choice for his nemesis. With just one word, Poe has conjured up the image of a wealthy, materialistic aristocrat. At the time of his writing, America, as well as many other countries, was largely divided into social classes. Readers no doubt had somewhat negative impressions of the leisure class. Thus with one sentence Poe has scored a bit of favor for Montresor.

Although Montresor was also of the leisure class, it becomes clear later (bottom of 668) that he is still looked down upon by Fortunato. Which brings to mind another important detail. Fortunato was a member of the Masons, making him a true elitist. When Montressor "produc[es] a trowel" (pg. 669) there is foreshadowing of what is to become of Fortunato. As if the reader did not already have some idea. It is ironic that Montresor is somewhat of a different type of mason.

Finally a detail that also contains verbal irony is after Montresor's constant pleas to Fortunato to turn back, citing that he would simply ask Luchesi for advice. Fortunato replies that Luchesi is an "ignoramous." Meanwhile the reader knows that Fortunato is the man who is ignorantly walking to his doom. Poe's use of detail and irony is beautifully done to add an evil humor to "The Cask of Amontillado." The reader feels some sense of dark amusement, whether he care to admit it or not.

Crista Harrison
RW#1 Topic #3: "Key Plot Conflict"

At the beginning of the story, the conflict seems to be between Montresor and Fortunato. However, after reading "between the lines," I discovered that at least one major conflict is the conflict that goes on inside Montresor himself. On the surface, we (the readers) are under the impression that Montresor is set only on revenge, that he is a devious, evil man, and that he has no remorse for what he has done to Fortunato. However, I have discovered, through a second reading of the story, that at two or three key points during the climax, Montresor may in fact be struggling against guilt.

In the second paragraph, on page 670, Montresor says, "For a brief moment I hesitated--I trembled." This comment leads me to believe that, for at least a moment, Montresor was afraid of the screams of Fortunato and may have had second thoughts. This shows me that there was in fact a fight between good and evil occurring inside Montresor.

My point is also supported by a statement later in the page: "But now there came from out of the niche a low laugh that erected the hairs upon my head." Again, the murderer pauses and, for one brief moment, seems to be in fear of what he is doing to Fortunato.

Again, in the last paragraph on pg. 670, his "heart grew sick..." On the surface, Montresor's pleased with what he's done ("...that I might hearken with satisfaction..." top p. 670), but although evil wins out in the end, it is not without a few punches from the side of good to Montresor's conscience. The struggle is indeed within the murderer's soul.

Shawna Holliday
RW#1 Topic #4: "Understanding Montresor"

Montresor's most valuable characteristic to himself and the short story "The Cask of Amontillado" is his sly ability to manipulate Fortunato. From the very start (p. 666, para. 5 & 6) Montresor addresses Fortunato about the pipe of Amontillado, which triggers his attention. Then Montresor proceeds to say that he is unsure of how good it is and he would like Fortunato to look at it with him. Knowing Fortunato will be unwilling to leave Carnival for just anything, Montresor says, "As you are engaged,...I will ask Luchesi." Knowing that Fortunato prides himself on his connoiseurship of wine, Montresor has put Fortunato in a position where he must defend his knowledge, which he does (p. 667, para. 1).

Another instance where Montresor manipulates someone in this short story is in regards to his attendants. In order to pull off the murder of Fortunato, Montresor knows that no one can be at home (p. 667, para. 4). To be sure his attendants are not around, he specifically tells them to stay at home while he goes to the carnival all night. Knowing human nature, [Montresor knows that]...the servants-- which no doubt are rarely able to leave his estate--will want to leave and return in the a.m. before Montresor returns. Thus, the house is empty for the murder to occur.

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Response Writing #2 (Chopin & Gilman)
Jan Vrbata
RW#2 Topic #4: Compare or Contrast

I believe that there is a great similarity in these two stories ["The Story of an Hour" and "The Yellow Wallpaper"]. They both have the same topic (and develop a similar theme). The topic is the very controversial and difficult position of women in the end of the nineteenth and the beginning of the twentieth century. Both main characters (Mrs. Mallard in "The Story of an Hour" and Charlotte Gilman in "The Yellow Wallpaper") suffered from lack of freedom in their marriages, from not being equal with their husbands, from being manipulated by and dependent on their husbands. Both authors had had serious problems when they wanted to publish their stories. The [main characters of] both stories fought with their feelings (Mrs. Mallard and Charlotte Gilman). They knew that they should feel differently, but they both realized how unhappy they were with their "loving" husbands: "the face that had never looked save with love upon her" (178); "John doesn't know how much I really suffer . . ." (321). I think there is also a similar moment in both stories: both women are hopeless until a certain point. Then they find their own way of being free and happier. They find their own identity.

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Elaine Bridwell
English 104, Dr. Agatucci
Midterm Discussion PaperTopic #6
2 November 1999

[Understanding Character and Methods of Characterization]

In her article "Why I Wrote 'The Yellow Wallpaper,'" as it appeared in The Forerunner (1913), Charlotte Perkins Gilman candidly reveals her personal story of mental illness and her subsequent journey to wellness after she rejected the "expert" advice of her physician. She retells the story, with some embellishments, in her short story "The Yellow Wallpaper." Her own nervous breakdown and prescribed "rest cure," popular at the time, brought her close to "utter mental ruin." With some help from a friend, and using what resources were left to her, she began to write again, intending to use this story as a means of saving others from being driven crazy. "The Yellow Wallpaper" was published in May 1892, amid a flurry of rejections and protestations. Nevertheless, her story has been told, and I think there are many women who can relate to what she has experienced, to varying degrees.

Sandra M. Gilbert and Susan Gubar, in "A Feminist Reading of Gilman's 'The Yellow Wallpaper'" (818), identify the specialist as S. Weir Mitchell, a famous "nerve specialist" at that time. Gilman was forbidden to write until she was well, which, of course, was worse for her than her postpartum depression. The comparison in the story of "rings and things" in the nursery parallel feelings of being "locked away from creativity," and the gate at the top of the stairs in her upper story bedroom may be symbolic of her imprisonment.

In her short story, the enforced confinement prescribed by her physician husband brought her to a realization that she was imprisoned not only physically, but also in her mind and in her will. Ultimately he would not dominate her, and she refused to be further controlled by him. Instead of getting well, as he insisted she was doing, she outwardly became worse. At the end of the story she triumphantly declares, "'I've got out at last,' said I, 'in spite of you and Jane. And I've pulled off most of the paper, so you can't put me back!'" (330). This was a personal victory for our protagonist, and even though to the casual reader she may have seemed completely insane at this point, I think she was sane and was acting out her desperation, maybe beyond her own consciousness. Dramatically appearing to have lost control, she crept around the room and over the body of her husband, who had fainted from the shock.

I see our main character's personality as quiet and subdued, self-effacing and passive, as well as soft and easily dominated. She was, at the time, a victim of her own circumstances because there truly was no "out" for her based on her dependence on her husband, societal norms at that time, and her acknowledged--albeit passive-aggressive--agreement to allow him this rule over her. We mainly learn of her escalating hysteria through interior views where we are given the advantage of knowing her intimate thoughts while even those closest to her are unaware of her desperation. She doesn't let anyone in on her tortured throughts, even Jane, her sister-in-law. She remains isolated, trapped in the house--the physical entrapment, and in her mind--the emotional prison.

The woman's interaction with other characters is seen from the first person [point of view] because there is no dialogue with Jane or with her cousin Henry and his wife Julia. Her main inner struggle is with her husband John and with her deep-seated feelings of intense anger and resentment toward him. On the other hand, she makes excuses for him when she says, "It is so hard to talk with John about my case, because he is so wise, and because he loves me so" (325). There is intense conflict here. I think she really wants to believe he loves her and wants the best for her but deep down, maybe even unknown to her conscious mind, she cannot cope with his patronizing behavior, domination and control. He is unable to see what it is she really needs and is not listening when she tries to explain to him how she feels.

Our main character is trying desperately not to lose herself and is, I think, beginning to realize her true feelings as she grimly hangs on to what is left of herself. She says, on page 324, "I must say what I feel and think in some way--it is such a relief!" Throughout the story she also has been trying to tell her husband how she feels and what she needs, but he denies her requests to take her away (325), and tells the narrator that only she can help herself out of her illness. At the very beginning of the story she tells us that he "laughs at me" and "he does not believe I am sick!" (319). This fact alone makes them lock wills, forcing her anger underground and in opposition to him. her own brother, also a physician, is also a co-conspirator with John, and they have told the family and friends that she is not really sick. Our main character probably feels very outnumbered and misunderstood by everyone, and this further isolates her. She confesses, "Personally, I disagree with their ideas" (319).

The protagonist suppresses her feelings of anger because John wants her to remain in control of her emotions, and he heaps on guilt by telling her they are only staying at this house because of her. Through her inner thoughts we get a clear glimpse of her feelings and attitudes toward John and the subtle ways she perceives his domination and attitude of condescending arrogance and puffed-up self-importance. She thinks, "He knows there is no reason to suffer, and that satisfies him." I think she feels he is just humoring her, which deepens her feelings of inadequacy and of being a burden. Toward the end of this story, John has been magnified in her mind to monster status, and she is deeply suspicious of him. She doesn't trust him or his motives toward her and, as she continues to withdraw into herself, confesses her fear of him and escalates in her break with reality.

Finally, the focus narrows to her one burning desire--she wants to "surprise" her husband by showing him she has gotten out at last. She had come out the winner; she ultimately won this battle and proved him wrong! She obviously wasn't well, but had found his control and in her way of thinking, had won.

In Kate Chopin's "The Story of an Hour," Louise is our protagonist, probably a typical woman of her day, as well. I see a common thread running through both stories. Louise is also oppressed in her marriage but coping outwardly although her "nervous condition" expressed itself in heart trouble, a physical form of suffering that would have been more accepted in society than "suppressed anger." She may have loved her husband in the beginning of their life together, but eventually she had become controlled and boxed in by his overbearing will. She had a core of strength, though, and would have stayed in her marriage because of duty and obligation, for she loved him . . . at times.

I think a key to understanding Louise was knowing that she lived a life of quiet desperation that probably she bore alone. Her inner thoughts revealed the depth of her pain; and we were given various insights into her hidden yet exalted emotions as she joyfully contemplated her freedom upon learning of her husband's death during the course of the hour while alone in her room. The depth of her joy matched the depth of her pain. As the realization washed over her that her husband was dead and she was free, I saw a picture of this depth of joy. The ineffectual beating back of her will to acknowledge her feelings was as useless as "her two white slender hands" (177) would have been. This feeling was about to "possess" her, but she was trying to push down the full realization of the joy knowing that she should be sorrowful. She finally let it burst forth; she was infused with energy, excitement, and zest, as in the excitement of new love. She wanted to live again, whereas just the day before she had been so hopeless she had wanted to die.

Chopin's story was only two pages long yet she developed the character of Louise thoroughly and I could understand her deeply. My spirit soared with hers to new heights as she experienced a rebirth of her soul and self. Her epiphany was short-lived and all in her imagination, though. As was soon revealed, her husband was not dead and the shock of this reality proved to be too much on her weakened heart and she died instead; how ironic!

Chopin modeled after and admired Guy de Maupassant and I see this in her departure from tradition and creation of intimacy with the reader. she said in a related commentary "How I Stumbled upon Maupassant," that "Someway I like to cherish the delusion that he has spoken to no one else so directly, so intimately as he does to me" (807). "The Story of an Hour" reminds me of Maupassant's "The Necklace," in its surprise ending and also because the climax, I feel, comes at the end. I felt that our protagonist's personality and the understanding of her was completely intertwined with her circumstances in this compressed short story where every word counted toward the development of the plot. Interior views developed the plot because there was only one instance of dialogue in the story--between Louise and her sister Josephine (177).

Quite remarkably in just a few short sentences, Chopin "rounded" out this character to me and I felt like I knew her, yet really I knew nothing of her daily life or other circumstances. Even so, I could imagine that I knew her very intimately. There was controversial frankness in her open revelation of her feelings especially considering that this story was written in 1894. When she, through "parted lips," whispered "free, free, free" (178), I was horrified, yet fascinated and surprised, and understood in a split second how she felt. She kept her secret forever, though, as her death was swift, attributed to the "joy that kills" (178). This was a good example of dramatic irony. No one but the reader knew what heights Louise soared to and what depths of despair she plummeted to. That this story made such a big impact on me in only two pages shows how great a writer Kate Chopin really is.

Lucy Edwards
English 104, Dr. Agatucci
Midterm Discussion PaperTopic #8
2 November 1999

[Poe's Theory and Practice]

Edgar Allan Poe, author of "brilliant reviews, poems, and stories," was born in 1809, and sadly died, a young man, in 1849 (665). To truly understand Poe, one must note the time period in which he wrote. It was an an age of Literary Realism and Dark Romanticism, which was Poe's arena. The concept of "New Literary Criticism" was not yet mainstream. However, Poe was a critic as well as an acclaimed author. By observing the talents that Poe admired in the writings of others, one may better understand the inner workings of Poe's infamous short stories. In 1854, Poe wrote a review of the works of Nathaniel Hawthorne entitled "The Importance of the Single Effect in a Prose Tale" (854). In this essay I will compare the strengths Poe champions in Hawthorne's works with those that accentuate Poe's well known short story "The Cask of Amontillado."

According to Poe, "Truth is often . . . the aim of the tale" (855). Perhaps this is why Poe's "The Cask of Amontillado" borrows its premise from an allegedly factual incident that took place while Poe was stationed at Boston Harbor.

After unjustly killing a young lieutenant in a duel, a Captain Green was
incited, by his men, into drinking a great deal. He was then buried alive
under the floorboards. (Agatucci)

Similarly, the unfortunate Fortunato meets his doom while the warmth of liquor soothes his inhibitions. Also like Captain Green, Fortunato was not depicted as an innocent.

Universal truth is considered to be one facet of Literary Realism, or as Shakespeare stated "a mirror held up to [human] nature." There is hardly an emotion more natural than the need for revenge. While the appearance of forgiveness may be fashionable, even the Bible allows "an eye, for an eye." The realistic need for vengeance Montresor alludes to in his opening statements is one readers can relate to (666).

Another common truth Poe plays upon is the price of one's pride. Fortunato has obviously acted in a manner than insulted Montresor's pride. Although Poe never reveals the exact injustice, one may assume that it is not a crime normally punishable by death. Likewise, Fortunato "prided himself on his connoisseurship in wine" (666). This proves to be the bait with which Montresor lures him to his death. Each time Montresor mentions "Luchesi," another wine connoisseur, Fortunato becomes more determined to taste the Amontillado. The bitter irony of it all is that there is no Amontillado. Coupled with the fact that Montresor is not "good" and Fortunato is not "good," they are "mixed" characters. The untruth, so to speak, of hero and villain is cast aside by the concept of Realism.

Through his review of Hawthorne, Poe also proclaims the virtue of unity in a literary work. He states that "undue length is . . . to be avoided" (855). With use of fewer words, each description, each statement, must be given a greater value than it would in a novel. From this one may infer that every detail counts.

Poe begins by informing the reader of the insulting nature of Fortunato, an interesting name choice for Montresor's nemesis. With just one word, Poe has conjured up the image of a wealthy, materialistic aristocrat. At the time of his writing, American, as well as many other countries, was largely divided into social classes. Readers no doubt had somewhat negative impressions of the leisure class. Poe thus scores a bit of favor for Montresor. The irony of it is that Fortunato does not meet his end with any sort of good fortune.

The use of verbal and dramatic irony is perhaps Poe's strongest suit. The details of his "double-speak" add humor and insight for the careful reader. When Montresor encounters Fortunato, he is dressed as a fool. The part he will unknowingly play. The dialogue of both characters speaks volumes. The repetition of the word "Amontillado" implies that the type of wine is intricate to the plan. Fortunato may not have walked on and on at the prospect of domestic ale. Next, Montresor implores his "poor friend" to turn back citing his "precious" health. Fortunato replies, "I shall not die of a cough" (668). Nor is it accidental that Poe would choose to have Fortunato inquire about the arms shortly before understanding its full meaning. Finally Montresor makes yet another plea to Fortunato, stating he would simply refer to Luchesi. To this Fortunato replies, "He is an ignoramous" (669). Meanwhile, the reader knows who the truly ignorant character is.

Finally, Poe praises Hawthorne's "invention, creation, imagination, [and] originality" (855). These traits are valued as being prominent fixtures in (Dark) Romanticism. An era in literature that could be considered synonymous with Poe himself. The manner in which events follow one another in "The Cask of Amontillado" can be deemed "completely unexpected and inevitable" (Atwood). It requires skill and brilliance to lure the reader in and keep s/he fascinated by the way in which the inevitable will unfold.

Setting is also a valued element of Dark Romanticism. "The Cask of Amontillado" takes place in the rather exotic country of Italy. To American readers this is alluring, considering travel for the people of the time was very limited. The fact that it is carnival season is also contributory to the tale. It adds a mystical feeling to the chain of events. Montresor completes an extraordinary task [murder] because of the mindlessness of the carnival season. The dark side of the subconscious is allowed to flourish.

Perhaps the most priceless of Poe's talents is his ability to lure the reader in. He begins at once by addressing the reader as a friend: "You, who so well know the nature of my soul" (666). He then proceeds to enlighten the reader as to the unspeakable act he has committed. Poe does this in a demeanor that rests somewhere between bragging and remorse. The regret, however, is not clear until late in the story with the line "My heart grew sick..." (670). We then realize the dreadful deed was committed some 50 years earlier (671). This leads the reader to a discovered sense of urgency in Montresor's confession. Perhaps he is on his own deathbed, one can only guess. This lends itself to Atwood's idea that "This is the story [Montresor] must tell, this is the story [we] must hear" (Agatucci). In other words, the reader must commit to Poe as he has to his reader. "The Cask of Amontillado" is more than a story; it is an insightful experience.

Jacelyn Keys
English 104, Dr. Agatucci
Midterm Discussion PaperTopic #6
2 November 1999

The Backbone of Stories . . . Characters

As a theatre arts major/actress I know that the development of a character on paper is key to being able to create that character on stage. I think that the development of character on paper is also key to understanding it in our imaginations. I read and understand stories and novels much the same way that I read a play script…through character analysis.

I believe that understanding characters in a short story, or any form of fiction for that matter, is essential to many reader’s abilities to grasp and enjoy the work.

I know in my own life I cannot connect to the plot of a story without the aid of a character. It is how the characters deal with the plot twists and turn that help emerse me in the story and mentally visualize what the story is about. Likewise, I visualize the setting through the eyes of the character. It is the character and his or her response to their environment that is the backbone of the story.

We see a shining example of this idea in Guy de Maupassant’s "The Necklace." The main character, Mathilde Loisel, is an incredibly complex character. One of the most interesting things about this woman is the fact that we can easily create, in our imaginations a "life before" this story for her and yet no dialogue describes that life. It is this past life that Mathilde’s perception of it that is the catalyst for everything that happens in this story.

This is the story of a woman who allows her bitterness and resentment to take her along a pathway of pain and misery. I think the key to understanding this character is to analyze what we know about her past and apply it to her reactions to her present. Mathilde’s problems start even before the beginning of the story. Her obvious bitterness and dissatisfaction with her life is evident in her every reaction to the circumstances in which she finds herself.

We see at the onset of this tale a set-up for her character. The author tells us of her physical beauty and charm and how she views it essentially as a curse because she had not been born into a high class family but rather a family of humbler means. Because of her families status the cruelest of fate had befallen her…there was no way she could ever release herself from the mire of what she considered poverty. Even her beauty and wit could not aid her in bettering herself because no respectable man of means would stoop so far below his station and see her as the rose among thorns that she thought she was. So she "…Let[s] herself be married to a little clerk at the Ministry of Public Instruction" (535). Clerks don’t make an incredible amount of money but they make enough to live comfortably, by my standards in any case. Mathilde had a maid that did some of the housework but she always wanted more. I think in a way she was angry at herself for allowing the marriage to take place and manifested that anger towards her husband because she felt she deserved more than he could ever offer her. It’s nothing that I can pin to anyone passage in the story but I think that throughout the first half we see evidence of Mathilde’s resentment towards her husband and their station in life.

He brings her an announcement to the party of the year, she is unhappy because she has nothing to wear and believes she will be perceived as a peasant. He gives up his gun money so that she can buy a suitable dress and she is still unhappy because now she has no proper adornment for her new finery.

Through this entire segment if interaction between husband and wife we see how Mathilde’s constant demand for more than her husband can provide demeans him. We also see that she doesn’t care. All Mathilde cares about is herself. She never stops to ask what they may have to without in order to afford the dress, all she can think about is what she wants now…this very second.

After she borrows the necklace from her friend she appears temporarily happy. She is the belle of the ball. "She was prettier than them all, elegant, gracious, smiling and crazy with joy"(537). Even this happiness is overshadowed by her poverty. AS she prepares to leave the palace she hurries outside to keep any of the rich ladies from seeing her peasants wraps.

When she discovers the necklace is gone and then realizes what she is going to have to sacrifice in order to replace it we see a different type of character emerge. A more resigned woman is brought to the surface. I think that this too can be traced to what her childhood must have been like. Her parents probably told her what most young children hear, "You can’t always change your life. Some things are simply beyond your control. When you run into a wall like that just buckle down and work with it." Given that Mathilde was such a dreamer I can hear her parents saying something to that effect. It may even explain why she gave up looking for "greener pastures" and married her clerk. For ten years she does buckle down and work like she has never worked before in order to help her husband repay the debt incurred by the replacement of the necklace.

Has her life turned around for the better? Nay, unfortunately we see her attitude had not changed that much she simply adapted to her surroundings. She changed in order to survive. Near the end of the story, after she sees her old friend for the first time in ten years she blames her for the work and trials she and her husband had endured. Mathilde still thinks only of herself and refuses to take responsibility for her actions.

After all that we have been through with this character it is hard to see that, because of her pride and belief that she deserves better than she gets out of life, that she learned nothing through her ordeal. What could have made her a better person has only made her harder.

Looking at Mathilde’s character is difficult because you can approach her from many angles. One could see her as simply a misguided soul, or as I have described her more self-centered and self-occupied. In any case the key to understanding Mathilde is, as I’ve said before, examining her childhood. I find it incredible that something that is not even a part of the story, on paper, is the driving force behind the main character and indeed, I believe, the plot.

Maria Lucero
English 104, Dr. Agatucci
Midterm Discussion PaperTopic #4
2 November 1999

Narrator & Point of View in
Gilman's "The Yellow Wallpaper" and Chopin's "The Story of an Hour"

Both Gilman's and Chopin's stories are, in effect, stories of women who feel "trapped" by the men in their lives. Gilman uses first person narration to reveal a woman's "creeping" loss of reality to her readers, while Chopin allows us to experience the joy Louise Mallard felt upon hearing of her husband's death through third person narration. Interestingly, neither story would have been able to reveal either woman's psyche to impact the reader as successfully as both did had their individual narrations been attempted through another form.

In "The Yellow Wallpaper," Gilman's point of view is expressed through first person narration, which provides her readers with brief glimpses into the other characters' perception of her and her perceptions of them (which essentially enlightens readers), as well as the main character's active dissemination of what is occurring in her mind. First person narration can at times be considered biased or naive within the context of their perceptions and projections of other characters. Not so with the woman in "The Yellow Wallpaper." She seems to offer an almost unbiased perspective of husband John, which the reader notes from the beginning as she goes back and forth from justifying his attitude and behavior towards her--"Dear John! He loves me dearly, and hates to have me sick" (324)--to eventually becoming mistrustful of him: "The fact is I am getting a little afraid of John" (326). One ends up viewing John as completely oblivious yet superior in his lackadaisical attitude and treatment of his wife. Therefore one has little sympathy for John in the end (which I believe is also intended), when he finally realizes his wife's insanity. Narration in the first person also enables readers to take a trip within this woman's psyche which only she could have made possible for one to visualize as fully as one does. Her descriptions and obsessions with the wallpaper as viewed from her perspective, truly draw readers into her downward spiral to ultimate insanity. Readers follow her in her mind from a nervous condition through her mild subsequent pleadings for alternative treatment to eventually "creeping" through the wallpaper with her--experiences which readers grasp within a powerful narration indeed. Through her, and only her is precisely how readers clearly knew how she felt at the end when she says, "I've got out at last in spite of you and Jane. And I've pulled off most of the paper, so you can't put me back!" (330). Husband John fainted, he had no idea she had gone that far, but readers did.

Similarly, Chopin's "The Story of an Hour" also draws readers into the emotions revealed within Louise Mallard's mind when her husband appears to have been killed. Chopin also succeeds powerfully but accomplishes this through the third person narration of this one character [with Louise as the center of awareness]. With third person narration in this story, one is provided a bystander perspective concerning other characters' treatment of her and the entire situation/scene set-up in the exposition of the story. The narrator assures us that ". . . great care was taken to break to her as gently as possible the news of her husband's death" (177). This type of narration brings both a sense of anonymity as well as objectivity to Mallard's emotions. As the story proceeds this narration exposes Louise Mallard's emotions through setting, as her interpretation of the scenery around her begins to change. Third person narration describes how many visual things around her were viewed in a completely different light, more positively because of her husband's purported death, and because of this type of narration one tends to judge Louise less harshly, I believe, than if this scenario were revealed from within her own mind. This interpretation as well as descriptions of her, physically as well as emotionally, can only be visualized through third person narration in order for the story to be successful in imparting the full impact of Louise Mallard's experience. One begins to understand the joy which slowly started bubbling up as Louise "strove to beat it back with her will--as powerless as her two white slender hands . . .," that this "will" had once succumbed to the submission of her husband but now a future filled with complete and utter freedom awaited her (177). One does indeed judge Louise or rather does not judge her because of the objectivity within the narration of the story.

Readers can also rely on this narrator's objectiveness in portraying the other characters within the story. While this is not crucial in "The Story of an Hour," it nevertheless provides one with an unbiased display concerning Louise's plight and the obliviousness her sister and her husband's friend Richards project throughout the story.

Both Chopin and Gilman wrote stories which dealt with the plight of women and the reality of their lives, which was controversial at the time. This controversy would seem to be somewhat softened through Chopin's use of third person narrator in "The Story of an Hour." Chopin affords Louise Mallard some anonymity as her unfolding emotions are revealed through an objective source. One is able to perceive Louise as she feels: somewhat guilty that she feels joy at her husband's death, but unable to suppress it nevertheless. This is exactly how Chopin wants her readers to experience Louise Mallard. And finally, it would seem that difficulties would have arisen with the climax of the story as well unless third person narration was employed. Louise Mallard could not have described her own death and the scene which proceeded and followed it. Gilman's approach is just as powerful in "The Yellow Wallpaper" using first person narration. How else could one "creep" with the woman in the wallpaper and truly sense her progressive loss of sanity? The use of any other narrative would have been speculative, I believe. Suppose Gilman had approached "The Yellow Wallpaper" from the third person point of view. It would certainly seem that vivid descriptions of the wallpaper itself would be nearly impossible from this point of view because only the woman herself could describe it in the way she perceived it and the way it caused her to feel.

Interesting to me is the fact that both first person narration and third person narration worked so well in portraying a character's deepest emotions. One would assume that only first person narration could be so successful in accomplishing this but Chopin and Gilman both show readers that careful consideration of point of view is extremely paramount to the projection of a story to its readers. How a reader interprets a story clearly depends upon the perspective from which the story is drawn. Neither "The Yellow Wallpaper" or "The Story of an Hour" could have accomplished this feat as well through any other narration or from any other point of view.

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