Susan Glaspells Trifles - Essay Example

A Critical Essay on Susan Glaspell’s Trifles Table of Contents Table of Contents 2 Introduction 3 Thesis ment 4 Trifles: A Critical Analysis 4 Conclusion 7 Works Cited 8 Introduction “Trifles”, one of the most controversial and explicit paradigms for the expression of the post-depression era where a relentless battle between individual and society attained its peak, appeared on theatre stage in the year 1916. This one-act play by Glaspell was conceived while she was covering a real life murder mystery in the small town of Iowa as a reporter. One of the finest early feminist dramas, the play is decked up with countless metaphors and symbols which make it transcend the mundane theories and parameters of aesthetics. And the most fascinating part of its plot is that Minnie Wright, the murderer, and her husband John Wright never appear on stage. The dialogues and the coherence of the play is so strongly framed that the presence of the players of the main event of the play are all fleshed in their dialogues and gestures. Thesis Statement This essay intends to explore out all the critical bent associated with the backdrop of the play, along with societal intricacies during the post-depression era reflected through the play. Trifles: A Critical Analysis Whenever the play “Trifles” is analyzed critically, the foremost perspective which evolves out is its feminist approach. The play is a masterpiece of early feminist drama and the theory is manifested through the action of the female characters regarding their solving of the murder mystery with that of the approach of the male characters towards the evidences and the suspect of the same murder mystery. The two main woman characters of the play, Mrs Peters and Mrs Hale, have the ability to empathize with the convict of the play, Minnie Wright. They are aware of the age old oppression inflicted on the women as an individual from the patriarchal society dominated by man. Their emotional quotient leads to the real murderer Minnie, whom they trace through her motif. On the other hand, the male characters of the play are shown to be very cold, insensible and emotionless who only run after and ponder behind the material facts neglecting the immaterial realm of the murder mystery which has a wide vista to the real convict of the murder. They neglect the kitchen area and start searching for the evidences in the areas like the barn and the bedroom of the house. These areas symbolize those portions of life where men have their ultimate dominance. Kitchen is a place where women are in charge and, therefore, it does not fall at their disposition. The male characters do not feel it important to go through an area that is disposed to a woman. Even the sheriff’s (while going through the house) remarks’ about the kitchen, “Nothing here but kitchen things” becomes their main reason for the failure of reaching the real convict of the murder (Palumbo-DeSimone 14). Very deliberately, Glaspell shows that men are inhibited with their preoccupied thoughts and their complacence to enter into the realm of a woman which actually makes them blind. They continuously dismiss the importance of woman, her role in the household and society which actually never allow them to peep into the mind and heart of the women and they remain clouded by their inhibitions throughout their lives. The ending of the play “Trifles” once again appears before its audience with subtle feminist bent. The female characters of the play do not ignore the kitchen area and they find out the body of the canary to be killed in the same manner like John Wright was killed. This fact allows them to culminate to the conclusion that the real murderer of Mr. Wright is no one else but his wife. Learning this, Mrs Peters and Mrs Hale try to hide the evidences which once again establish their empathy for Minnie Wright and suffer from the dilemma of revealing the truth which points towards the unity among women, their role in society in terms of receiving justice and role in society. Here Minnie is shown as a victim not as a criminal and, therefore, a necessity for protecting her raises a moral and ethical dilemma in the minds of the audience and the two women characters who solve the murder mystery at the same time (Gilbert and Gubar 177-87). Symbols play a vital role in this dramatic piece of literature and put the play into a higher realm when analyzed critically. The murder of the song bird is actually death of Minnie’s desire. She was a singer before her marriage and a clear indication of the fact which prevented her from continuing singing after marriage depressed her and compelled her to kill her singing companion (Yezierska 43). Kitchen is another poignant symbol of feministic approach in the play. Minnie’s life gets captivated within the walls of her kitchen and sewing things. She is embodied within her kitchen. The cold and passive environment of her house breaks her jars and symbolizes that the house lacks warmth and compassion which are actually breaking her spirit. The male characters of the play are very deliberately given a cold attitude. They symbolize law ruled by rationality and passivity. Whereas, the women characters of the play show an extraordinary warmth and inquisitiveness representing the psychoanalytic movement that raises interaction and interrogation above superfluous rationality. Conclusion The play “Trifles” is a remarkable literary piece from the canon of modern theatre. Remarkable feminist approach and subtle interplay of feminist critical theories and psychoanalysis give the play some other dimensions altogether. Relentless drift between society and individual and the omnipotent struggle of human nature to set free from any kind of bondage, societal or familial pervades the whole play. The play “Trifles” is a metaphor, a symbol that unveils the dark abbeys of human mind which is sensible and sensitive to the extent that makes it uncontrollable and vulnerable at times. The play is not a story of Minnie Wright; rather, it is a symbol which indicates that caging of human spirit only leads to destruction. The discourse is far healthier than futile power play and communication only opens the dark and closed corners of human mind. Works Cited Gilbert, Sandra. & Gubar, Susan. Norton Anthology of Literature by Women (Boxed set, Volumes 1 and 2). New York: W. W. Norton & Company, 2007. Print. Palumbo-DeSimone, Christine. Sharing Secrets: Nineteenth-Century Womens Relations in the Short Story. Madison, New Jersey: Fairleigh Dickinson University Press, 2000. Print. Yezierska, Anzia. Hungry Hearts. New York: Arno Press, 1975. Print. Read More