Silent Liberation in Trifles - 1033 Words

Marriage is a sacred bond uniting two people who are in love usually they can’t live without one another for even a second so one takes marriage vows to have and to hold, from this day forward, for better, for worse, for richer, for poorer, in sickness and in health, until death do us part. Those vows are cherished throughout the years of marriage, partner’s shares intimate details forming a strong trustworthy bond with one another. Some settle into a routine, move out to the country have children. Occasionally, over time that will fade couples change and lose interest in one another. In the play Trifles there is evidence to believe Mrs. Wright took her vows of death do us part to extremes ending the marriage by killing her husband. The†¦show more content†¦Hale as he makes conversation with the county attorney about a party telephone stating, â€Å"I spoke to Wright about it once before and he put me off, saying folks talked too much anyway, and all he asked was peace and quiet.† This shows, Mr. Wright had the friendliness of a grizzly bear, the attitude of an Indian chief and the intentions of a crab. It seems as though everyone in the town understood Mr. Wright and how he preferred to keep things quiet and simple. So quiet in fact that he moved his wife â€Å"down in a hollow were you can’t see the road,† and chose not to have any children because it was less work without them and less noise too. Mrs. Wright lived her entire marriage alone confined to a tiny house in the middle of nowhere with her only true companion a bird who sung to her who she loved like a child. Upon inspection of the home the bird was gone, and the cage was broken making one wonder its whereabouts. Finding her bird either missing or dead could have been enough to make her become enraged with pathos. Mrs. Wright blamed her husband for her loneliness his silence each day along with her not allowing her to sing anymore in the choir or have frien ds over. Mr. Wright trusted his wife just like everyone in the small town were the Wrights have always lived also trusted her. That night was just like any other night in their farmhouse for Mr. Wright as he went to sleep but, for Mrs. Wright it was time for revenge, she fully took advantage of the trustShow MoreRelatedWomen s Suffrage By Susan Glaspell1364 Words   |  6 PagesFemale Oppression and Liberation in Trifles Between December 1st and 2nd 1900, John Hossack (a farmer from Warren County, Iowa) was murdered with an ax by his wife while in bed (Iowa Cold Cases, Inc). This play was inspired by the true story of Margaret Hossack, an Iowa farm wife who was charged with the murder of her husband John. One of the reporters, Susan Glaspell, decided to write a literary version of this investigation and â€Å"Trifles† came to be. Susan Glaspell is a feminist writer from DavenportRead MoreTrifles by Susan Glaspell Essay925 Words   |  4 PagesSister Love The play entitled â€Å"Trifles,† by Susan Glaspell, begins as a murder mystery that turns into a drama as the story unfolds. The story is focused on the investigation of a murder that took place in a farm house. The investigators, who are all men, are in the farm house looking for forensic evidence to help them solve the murder. The wives of two of the investigators are there to retrieve personal items for the wife of the victim. Mrs. Wright, who is the wife of the victim, is in jailRead More The Irish Potato Famine and The Holocaust in Literature Essay5665 Words   |  23 Pagesgenerations about historical mistakes of the past, the knowledge will assure the event does not happen again. It is important to note that, â€Å"not all of the poems are great as art, but they are great as documents of humanity at its best, rejecting silent acquiescence in the face of brute force, and beautifully fulfilling the poet’s duty to remind new generations of this genocide†¦so that the past will not be repeated† (Kramer xiv). The author also benefits from writing about the trauma; a need toRead MoreMetz Film Language a Semiotics of the Cinema PDF100902 Words   |  316 Pagesthe level of a sort of intuitive and spontaneous semiotics—with rejecting any concept of the cinema as langue and affirming the existence of a cinematographic language. 44 PROBLEMS OF FILM SEMIOTICS poetic language. But the theoreticians of silent film saw in it a real, specific vehicle (Rossellini s word) about which we are much more skeptical today. For the creator of Open City, who is not normally concerned with semiotics, this was a kind of conclusion. It was uttered somewhat haphazardly