Mrs. Mallard and Walter Mitty: Chopin and Thurber's Tales of Matrimonial Imprisonment

Ashley Snyder

ENG125: Introduction to Literature

Concetta Williams
July 29, 2014

Mrs. Mallard and Walter Mitty: Chopin and Thurber's Tales of Matrimonial Imprisonment

Marriage without freedom can feel like a very lonely place. It has been said that loneliness not only has the potential to depress our immune system, but it also can increase inflammatory responses that may put us at greater risk for cardiovascular disease, effect our minds in fantastical ways, as well as decrease our longevity (Winch, 2013). In Kate Chopin's, "The Story of an Hour" and James Thurber's "The Secret Life of Walter Mitty", the story of isolation and the desperate yearning for deliverance is told in two very unique and captivating ways. In Kate Chopin's poetic story—unfolding within the time span of one hour—we have Mrs. Louise Mallard who has been informed that her husband was killed in a tragic accident. As readers, we witness what happens to Louise during this moment in time. Then we have the seemingly comical story authored by Thurber in which he presents to us an older gentleman by the name of Walter Mitty. We follow Walter through his mundane existence while delving into his exaggerated day dreams. What comes to light is that the mental processes of both Chopin and Thurber's protagonists personify not only the theme of seeking freedom within the confines of marriage, but how these cognitive journeys ultimately shape and establish the symbolic literary significance of the work itself.
Both Chopin and Thurber begin their stories by providing the reader with intriguing knowledge and excitement. We learn that Mrs. Mallard is a woman who has some type of heart condition and that someone is needing to give her news about her husband's death. At this time we are not certain what kind of heart trouble this may be or whether or not it may be figurative information. What we immediately find out is that her sister Josephine and her husband's friend Richard are there with her during this time. Chopin immediately begins with a paradox in stating that Josephine "revealed in half-concealing" the news of Mr. Mallard's passing. However, despite the gentle nature in which her sister relayed the news, Mrs. Mallard emotionally breaks down in a "storm of grief" (as cited in Clugston, 2010). Chopin describes the way in which Louise behaves when told about the news of her husband's death. She contrasts Louise's behavior with the conventional picture of the grief stricken wife who can't move or breath because their body has gone into shock from the news. However Louise's reaction is quite the opposite. All the the emotions that would most typically surface over time and during the stages of grief, come immediately for her. Mrs. Mallard was experiencing an emotionally hysteric moment which would soon lead to a cathartic one as well.
Let's take a moment to review the opening section of The Secret Life of Walter Mitty, as there are qualities to the beginning of both Walter Mitty and Louise Mallard's story that share a metaphorical thread. When we read the first paragraph of The Secret Life of Walter Mitty, its action packed. A commander on an eight-engine navy hydroplane is taking his men through a hurricane, of which we get the impression that this commander is older yet quite brave. His men trust and believe that he will get them through and that he isn't afraid of anything as indicated by the crew's statement , “The Old Man'll get us through," they said to one another. "The Old Man ain't afraid of hell!" (as cited in Clugston, 2010) . The reader then surprisingly finds out this is not the premise of the story at all, but just a mere daydream. The wife of Mr. Mitty has just told him that he was driving too fast. Now that she has yelled at him, he begins to tense up with what seems to be commonplace feelings of inadequacy. Walter was so engrossed in his dream that when he opened his eyes and looked at his wife “with shocked astonishment, she seemed grossly unfamiliar, like a strange woman who had yelled at him in a crowd (as cited in Clugston, 2010). Not only was Walter not paying attention but this reference to his wife being a strange woman also speaks to the lack of communication in the marriage and relationship. This may be his wife, however Walter doesn't see her as a confidant, friend or equal partner. Just as a woman who is constantly seeking a doctor to verify his well-being or making an assumption that something isn't “right” with him. Thereby completely blocking out the reality of his emotionally detached relationship, Mitty conquers storms in the alternative life of his own making.
What is relevant to note about the opening of both stories is that there is a symbolic nature to both the situation with Mrs. Mallard and Mr. Mitty. Both are encountering a storm of some sort. Mrs. Mallard's storm of grief is metaphorical and a very realistic reaction to quite disturbing news. The man to whom she was married has just been killed! Then we have Mr. Mitty who is playing out a role in which he projects his desire to feel needed, important and looked upon with respect. This is why the first dreams focuses on Walter being a commander and leading a crew that expresses so much respect and adoration toward him. This projection of his imaginative self is quite the opposite of his true life. The storm, which could be considered to be symbolic of his marriage to Mrs. Mitty, is the first daydream Walter will have that lets us know he seeks a life of freedom (Cheatham, 1990). As readers we will find out further along that Walter's dream sequences are triggered by these feelings of inadequacy.
In direct contrast to Walter's paltry existence with his wife, we return to Chopin's Story of an Hour. Chopin states that Louise was overcome by a haunting exhaustion, however the exhaustion isn't from the recent news of her husband, but has surfaced because of the impending fruition of freedom. That same freedom which was being masked by the marriage. This weariness Louise has also stems from a life that she has not been able to live. Louise has been simply existing in a marriage of which she was unable to be herself. Despite loving him, she admits later in the story that most of the time she did not.
What follows in the next few paragraphs of Chopin's story is the metaphorical description of spring, which translates as a common literary device of "new life or rebirth". This birth she was experiencing can be discerned through Chopin’s description of life outside the window of Louise's home. The trees seem to have new life and the air was saturated with the "delicious breath of rain"( as cited in Clugston, 2010). She could hear music in the air and even noticed sparrows in the eaves. We also are provided with description of Louise. She is described as a young woman, who has signs of repression on her face, yet still possesses strength. This strength she had within her was being blanketed by her relationship. Yet what was this awakening about? This was the birth of a woman perhaps lost long ago, or maybe unaware she even existed. Chopin actually describes Louise's body waiting to be inhabited by liberation. As indicated by the lines “there was something coming to her and she was waiting for it, fearfully...She did not know; it was too subtle and elusive to name...” (as cited in Clugston, 2010). Now—without her husband—Louise could now live a life that was meaningful and autonomous. Returning to Walter Mitty, his non existent independence is displayed in the scene where he drops Mrs. Mitty off at her salon appointment. While getting out of the car, she tells Walter not to forget his overshoes. In response, Walter lets her know that he doesn't need any shoes. However Mrs. Mitty being the insensitive and overbearing woman that she is, dismisses Walter's comment and demands that he puts on his gloves (Mann, 1982). To even further exemplify her lack of respect for Walter, she readily assumes that he must not have his gloves on because he can't keep up with them and rhetorically questions if he has lost them. As soon as Mrs. Mitty leaves, Walter is brusquely told by a police officer to get off of the red light. Once again Walter is overwhelmed with feelings of angst and delves back into a daydream. Now in this fantasy, Walter is a surgeon who is asked to help an affluent gentleman that is also a friend of President Roosevelt. Walter's secret life only gives truth to the fact that they are his only source of strength. These colorful daydreams allow him to transform his moments of failure into moments of personal glory. Louise Mallard was experiencing a cathartic moment of glory herself. It emerged "creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air". Yes, it was scary how this wave of being "free, free, free," had swept over her. Now despite Mrs. Mallard's purported heart condition, Chopin makes it quite evident that her heart is working quite well as indicated by her pulse beating fast and the "coursing blood" warming and relaxing "every inch of her body (as cited in Clugston, 2010). At this point she didn't care why she felt this way, only that the feeling itself was exhilarating and liberating at the same time. In this juncture of the story, Chopin provides the reader with more insight into who Louise felt her husband was. Unlike Walter's wife—whose traits are easily detected by the way she interacts with Walter—we don't have any evidence about Mr. Mallard. From Louise's deepest thoughts—despite probable tears at Mr. Mallard's funeral—as stated earlier we learn that she never believed he loved her...as a matter of fact, the love in their marriage was dead, just as her ability to be a free woman if left to live in matrimony. But now Louise's life belonged to herself. She was no longer responsible for a marriage or the feelings of her late husband. This desire for psychological autonomy is made extremely evident in this moment of the story (Lancer, 2013). In Walter's marriage, conversations about events, goals or dreams has ceased entirely. Conversations with Mrs. Mitty have become purely transactional and leave Walter feeling ostracized and insignificant. Walter thinks about how he is always getting things wrong on their trips to Waterbury town. To add insult to injury, the insolence from the parking attendant only aided in his feelings of despair. Walter thinks back to a time when he was attempting to take chains off of his car. The garage attendant was smug and smiling at Walter in a way that made him feel inferior. Walter then decides that next time he will pretend his arm is in a sling. This way he could save face by not allowing anyone to know his wife sent him, and also because he is ashamed he really can't do this task on his own. Everyone treats Walter like he is no one and this is damaging to a person's psyche. So now Mr. Mitty drifts into a dream where he is an accused witness in a courtroom trial...symbolizing his current thoughts and feelings. It seems as though his daily existence within his marriage has turned his real life into a figurative prison. So this exaggerated secret life allows him to be free in his mind because his unfortunate reality will never allow it (Cheatham, 1990). As a woman who had unfortunately lost herself within the constraints of a perhaps domineering marriage, Louise had expected and dreaded a long life, but now felt victorious. Chopin uses a strong simile here stating that Mrs. Mallard "unwittingly carried herself like a goddess". As Louise and her sister Josephine make the metaphorical descent down the stairs—to what Louise believes are the first steps to her new life—Chopin provides the reader with an ironic moment. Mr. Mallard, not having been effected by the accident, walks right through the door. Trying to shield Louise from this shock, Richards steps in front of her. Unfortunately, it is too late and upon seeing her husband quite alive, she has a heart attack that the doctors mistakenly believe to be from "joy that kills". The ending of this story, while ironic, deeply conveys how strongly Louise Mallard wanted her freedom. She wanted so much to be an individual rather than just someone's wife (Wan, 2009). While Walter is waiting for his wife to finish at the hair dresser, the anxiety of what berating comments she will bestow upon him evokes another symbolic daydream. This time Walter is a warplane captain who is about to face an enemy equipped with heavy artillery. During this dream Walter is prepared and ready to face battle. Subconsciously remembering his wife will be arriving in 15 minutes, he bids goodbye to the sergeant in his dream and wakes to find Mrs. Mitty hitting his shoulder. She doesn't ask him how he is doing or if he is okay...she only grills him about everything he should have done while she was at the hairdresser. Walter then attempts to assert himself by asking his wife if it ever occurred to her that sometimes he is thinking. Walter at this time is not only telling his wife that he is a person and has thoughts and feelings of his own, but why oh why doesn't she acknowledge him? Of course without getting so much as a response to his attempt at communication, Walter drifts back into his final daydream...a firing squad. Befittingly, “he faced the firing squad; erect and motionless, proud and disdainful, Walter Mitty the Undefeated, inscrutable to the last” (as cited in Clugston 2010). Walter must acquiesce and realize that this is his life. His marriage is the summation of his existence, however unfortunate that may be. It is surprising what message Chopin and Thurber are able to deliver by allowing the reader to delve into the minds of Louise Mallard and Walter Mitty. Just by telling a story through the minds of these characters, we as readers have learned so much about relationships and what makes these works of art so poignant in English literature. Even more so, the parallels remind us that the line between tragedy and comedy is almost never as distinct as we may believe...such was the case with The Secret life of Walter Mitty. Concerning Mrs. Mallard, the desiccation of a life of her own was more than enough to bear while her husband was alive, however to think he would no longer be in her life and have the sweet taste of independence to grace her then just be ripped away is more than her heart could bear. What results from this analysis are two seemingly opposite texts that can shed light on one main theme: the quest for deliverance in a marriage may surface in extremely different ways. Kate Chopin and James Thurber are two authors that used the intimacies of two individual minds to cultivate their stories.

References
Cheatham, G. (1990, September 1). The secret life of Walter Mitty. Studies in Short Fiction, 27(3), 608-610. Retrieved from EBSCOhost database.
Clugston, R. W. (2010). Journey into literature. San Diego, California: Bridgepoint Education, Inc.

Lancer, D. (2013). Are you trapped & unhappy in your relationship?. Psych Central. Retrieved on July 12, 2014, from http://psychcentral.com/lib/are-you-trapped-unhappy-in-your- relationship/00016105

Mann, A. (1982, September 1). Taking care of Walter Mitty. Studies in Short Fiction, 19(4), 351- 357. Retrieved from EBSCOhost database.

Wan, X. (2009). Kate Chopin's view on death and freedom in The Story of an Hour. English Language Teaching.2 (4). Retrieved from http://www.ccsenet.org/journal/index.php/elt/article/view/4469/3812

Winch, G. (2013, June). What to do when you're married but lonely. Psychology Today. Retrieved from http://www.psychologytoday.com/blog/the-squeaky-wheel/201306/what- do-when-you-re-married-lonely