Category: Essay

The student will analyse the two works to produce a comparative literary essay which demonstrates the thematic connection between the two works and illustrates a universal truth about the human condition. All observations and evaluations must be the result of independent critical thinking. This is a formal academic literary essay, and as such, it should include carefully chosen and edited direct quotations which are incorporated into the essay?s text. No secondary sources are to be used in making your connections between the poem and the novel. If ideas from secondary sources were used in the Poetry Explication and they are included in the essay, these references must be cited appropriately.
The essay must include a Works Cited List which identifies the two works and any sources used to discuss the author?s background or related works

THIS IS THE POEM WE HAVE TO RELATE TO make sure that its search for identity

Relate this poem and the story the quiet twins by danvelta try finding some info on the book online

The story of Old Women by TadeuszRozewicz I like old women Ugly women Mean women They are the Salt of the earth They are not disgusted by Human Waste They know the flipside Of the coin Of love Of faith Dictators clown around Come and go Hands stained With human blood Old women get up at dawn Buy meat fruit bread Clean cook Stand on the street arms folded silent Old women Are immortal Hamlet flails in a snare Faust plays a base and comic role Raskolnikov strikes with an axe Old women Are indestructible They smile knowingly God dies Old women get up as usual At dawn they buy bread wine fish Civilization dies Old women get up at dawn Open the windows Cart away waste Man dies Old women Wash the corpse Bury the dead Plant flowers On graves I like old women Ugly women Mean women They believe in eternal life They are the salt of the earth The bark of the three The timid eyes of animals Cowardice and bravery Greatness and smallness They see in their proper proportions Commensurate with the demands Of everyday life Their sons discover America Perish at Thermopylae Die on the cross Conquer the cosmos Old women leave at dawn For the city to buy milk bread meat Season the soup Open the windows Only fools laugh At old women Ugly women Mean women Because these beautiful women Kind women old women Are like an ovum A mystery devoid of mystery A sphere that rolls on Old women are mummies Of sacred cats They?re either small Withered Dry springs Dried fruit Or fat Round buddhas And when they die A tear rolls down A cheek And joins A smile on the face Of a young women

Try to find info about the book ONLINE. But that’s the Poem

1) Introduction:

a) Scope of the discussion: Identify the poet’s full name, title of the poem, from what
collection, publication date, country of origin.

b) Poet’s background: How are the time period in which the poet writes, her beliefs,
attitudes and experiences relevant to what has been written?
What ideas, techniques and themes are common to the poet’s
work?

2) Outline:

a) Prose statement: Outline the central focus or context of the poem. (What is going on?
Who is involved? What is being described?)

b) Thesis statement: Create a clear and emphatic statement which identifies what the
poem illustrates about the universal literary theme associated with
the poem.

3-6) Argument:

Choose four distinct and significant* elements form the “M.S.S. Literary Analysis
Element Checklist”, and employ the questions provided there to illustrate, using direct
quotations from the poem, how each element contributes to both the poet’s intended
meaning within the poem and beyond the poem in the context of the identified universal
literary theme.

*(Atmosphere and mood are too similar to discuss both. The same is true with point of
view and tone. Plot in poetry is rarely significant. Do not discuss metaphor and/or simile
unless these devices are indispensable to the meaning of the poem. Do not discuss
more than two literary devices.)

7) Conclusion:

On the strength of your argument and using its key ideas, re-emphasize how the poem
illustrates the thesis statement above. Conclude by connecting your thesis to the universal
literary theme.

8) Extension:

How does the poem’s treatment of the universal literary theme help to illuminate a truth
aboutthe human condition?

 

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Here is the requirements for the paper. There must be direct references to the TEXTS and also some
ideas should be involved. Not just their thoughts will result in a passing grade. Thanks in advance.

“In class this semester we have discussed three authors which represent three unique schools of
thought on the place and role of the author in literature. John Crowe Ransom’s Criticism Inc, Mikhail
Bakhtin’s two works, Discourse in the Novel and Rabelais and His World, and Roland Barthes’ Death of
the Author run the continuum from giving the author a privileged and dynamic position in the creation
of meaning and text or negating him entirely, e.g. once the text enters the public domain, the author
has no influence over meaning drawn from the text by readers.

In your paper please explain the position of each author with direct reference to the text in question
(nothing else will garner you a passing grade) and then argue which you feel is most convincing. By
this I mean: where do you place the importance of the author in the creation of textual meaning?”

 

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Analaysis of One who flew over the cuckoo’s nest compared to pyschology
discuss how the film relates to what you have learned in this course. Include ideas such as what was realistic and unrealistic about the movie’s portrayal of the field of psychology and what influence the film may have on your own view of psychology. You may want to focus on topics such as therapeutic relationships and illness symptomology. This is NOT a movie review. It is not necessary for you to give more than a brief synopsis of the film itself. While it is not necessary for you to utilize any particular format (i.e. MLA or APA), your paper should be logically and professionally organized. There should be a discernible introduction, body, and conclusion. Paper length is based upon your ability to adequately discuss the points required but is generally 3-4 pages.

Glaspell, Susan, 1882-1948. Trifles: A Play in One Act
Electronic Text Center, University of Virginia Library

| Table of Contents for this work |
|All on-line databases | Etext Center Homepage |
________________________________________

TRIFLES
[SCENE: The kitchen in the now abandoned farmhouse of JOHN WRIGHT, a gloomy kitchen, and left without having been put in order — unwashed pans under the sink, a loaf of bread outside the bread-box, a dish-towel on the table — other signs of incompleted work. At the rear the outer door opens and the SHERIFF comes in followed by the COUNTY ATTORNEY and HALE. The SHERIFF and HALE are men in middle life, the COUNTY ATTORNEY is a young man; all are much bundled up and go at once to the stove. They are followed by the two women — the SHERIFF’S wife first; she is a slight wiry woman, a thin nervous face. MRS. HALE is larger and would ordinarily be called more comfortable looking, but she is disturbed now and looks fearfully about as she enters. The women have come in slowly, and stand close together near the door.]

COUNTY ATTORNEY

[Rubbing his hands.]
This feels good. Come up to the fire, ladies.
MRS. PETERS

[After taking a step forward.]
I’m not — cold.
SHERIFF

[Unbuttoning his overcoat and stepping away from the stove as if to mark the beginning of official business.]
Now, Mr. Hale, before we move things about,
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you explain to Mr. Henderson just what you saw when you came here yesterday morning.
COUNTY ATTORNEY

By the way, has anything been moved? Are things just as you left them yesterday?
SHERIFF

[Looking about.]
It’s just the same. When it dropped below zero last night I thought I’d better send Frank out this morning to make a fire for us — no use getting pneumonia with a big case on, but I told him not to touch anything except the stove — and you know Frank.
COUNTY ATTORNEY

Somebody should have been left here yesterday.
SHERIFF

Oh — yesterday. When I had to send Frank to Morris Center for that man who went crazy — I want you to know I had my hands full yesterday. I knew you could get back from Omaha by today and as long as I went over everything here myself —
COUNTY ATTORNEY

Well, Mr. Hale, tell just what happened when you came here yesterday morning.
HALE

Harry and I had started to town with a load of potatoes. We came along the road from my place and as I got here I said, “I’m going to see if I can’t
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get John Wright to go in with me on a party telephone.” 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 — I guess you know about how much he talked himself; but I thought maybe if I went to the house and talked about it before his wife, though I said to Harry that I didn’t know as what his wife wanted made much difference to John —
COUNTY ATTORNEY

Let’s talk about that later, Mr. Hale. I do want to talk about that, but tell now just what happened when you got to the house.
HALE

I didn’t hear or see anything; I knocked at the door, and still it was all quiet inside. I knew they must be up, it was past eight o’clock. So I knocked again, and I thought I heard somebody say, “Come in.” I wasn’t sure, I’m not sure yet, but I opened the door — this door [indicating the door by which the two women are still standing]
and there in that rocker — [pointing to it]
sat Mrs. Wright. [They all look at the rocker.]

COUNTY ATTORNEY

What — was she doing?
HALE

She was rockin’ back and forth. She had her apron in her hand and was kind of — pleating it.
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COUNTY ATTORNEY

And how did she — look?
HALE

Well, she looked queer.
COUNTY ATTORNEY

How do you mean — queer?
HALE

Well, as if she didn’t know what she was going to do next. And kind of done up.
COUNTY ATTORNEY

How did she seem to feel about your coming?
HALE

Why, I don’t think she minded — one way or other. She didn’t pay much attention. I said, “How do, Mrs. Wright, it’s cold, ain’t it?” And she said, “Is it?” — and went on kind of pleating at her apron. Well, I was surprised; she didn’t ask me to come up to the stove, or to set down, but just sat there, not even looking at me, so I said, “I want to see John.” And then she — laughed. I guess you would call it a laugh. I thought of Harry and the team outside, so I said a little sharp: “Can’t I see John?” “No,” she says, kind o’ dull like. “Ain’t he home?” says I. “Yes,” says she, “he’s home.” “Then why can’t I see him?” I asked her, out of patience. “‘Cause he’s dead,” says she. “Dead?” says I. She just nodded her head, not getting a bit excited, but rockin’ back and forth. “Why — where is he?” says I, not
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knowing what to say. She just pointed upstairs — like that [himself pointing to the room above]
. I got up, with the idea of going up there. I walked from there to here — then I says, “Why, what did he die of?” “He died of a rope round his neck,” says she, and just went on pleatin’ at her apron. Well, I went out and called Harry. I thought I might — need help. We went upstairs and there he was lyin’ —
COUNTY ATTORNEY

I think I’d rather have you go into that upstairs, where you can point it all out. Just go on now with the rest of the story.
HALE

Well, my first thought was to get that rope off. It looked . . . [Stops, his face twitches]
. . . but Harry, he went up to him, and he said, “No, he’s dead all right, and we’d better not touch anything.” So we went back down stairs. She was still sitting that same way. “Has anybody been notified?” I asked. “No,” says she, unconcerned. “Who did this, Mrs. Wright?” said Harry. He said it business-like — and she stopped pleatin’ of her apron. “I don’t know,” she says. “You don’t know?” says Harry. “No,” says she. “Weren’t you sleepin’ in the bed with him?” says Harry. “Yes,” says she, “but I was on the inside.” “Somebody slipped a rope round his neck and strangled him and you didn’t wake up?” says Harry. “I didn’t wake up,” she said after him. We must ‘a looked as if we didn’t see how that could be, for after a minute she said, “I sleep sound.” Harry was going to ask her more questions but I said maybe we ought to let her tell her story first to the
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coroner, or the sheriff, so Harry went fast as he could to Rivers’ place, where there’s a telephone.
COUNTY ATTORNEY

And what did Mrs. Wright do when she knew that you had gone for the coroner?
HALE

She moved from that chair to this one over here [Pointing to a small chair in the corner]
and just sat there with her hands held together and looking down. I got a feeling that I ought to make some conversation, so I said I had come in to see if John wanted to put in a telephone, and at that she started to laugh, and then she stopped and looked at me — scared. [The COUNTY ATTORNEY, who has had his notebook out, makes a note.]
I dunno, maybe it wasn’t scared. I wouldn’t like to say it was. Soon Harry got back, and then Dr. Lloyd came, and you, Mr. Peters, and so I guess that’s all I know that you don’t.
COUNTY ATTORNEY

[Looking around.]
I guess we’ll go upstairs first — and then out to the barn and around there. [To the SHERIFF.]
You’re convinced that there was nothing important here — nothing that would point to any motive.
SHERIFF

Nothing here but kitchen things. [The COUNTY ATTORNEY, after again looking around the kitchen, opens the door of a cupboard closet. He gets up on a chair and looks on a shelf. Pulls his hand away, sticky.]

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COUNTY ATTORNEY

Here’s a nice mess. [The women draw nearer.]

MRS. PETERS

[To the other woman.]
Oh, her fruit; it did freeze. [To the LAWYER.]
She worried about that when it turned so cold. She said the fire’d go out and her jars would break.
SHERIFF

Well, can you beat the women! Held for murder and worryin’ about her preserves.
COUNTY ATTORNEY

I guess before we’re through she may have something more serious than preserves to worry about.
HALE

Well, women are used to worrying over trifles. [The two women move a little closer together.]

COUNTY ATTORNEY

[With the gallantry of a young politician.]
And yet, for all their worries, what would we do without the ladies? [The women do not unbend. He goes to the sink, takes a dipperful of water from the pail and pouring it into a basin, washes his hands. Starts to wipe them on the roller-towel, turns it for a cleaner place.]
Dirty towels! [Kicks his foot against the pans under the sink.]
Not much of a housekeeper, would you say, ladies?
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MRS. HALE

[Stiffly.]
There’s a great deal of work to be done on a farm.
COUNTY ATTORNEY

To be sure. And yet [With a little bow to her]
I know there are some Dickson county farmhouses which do not have such roller towels. [He gives it a pull to expose its full length again.]

MRS. HALE

Those towels get dirty awful quick. Men’s hands aren’t always as clean as they might be.
COUNTY ATTORNEY

Ah, loyal to your sex, I see. But you and Mrs. Wright were neighbors. I suppose you were friends, too.
MRS. HALE

[Shaking her head.]
I’ve not seen much of her of late years. I’ve not been in this house — it’s more than a year.
COUNTY ATTORNEY

And why was that? You didn’t like her?
MRS. HALE

I liked her well enough. Farmers’ wives have their hands full, Mr. Henderson. And then —
COUNTY ATTORNEY

Yes — ?
________________________________________

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MRS. HALE

[Looking about.]
It never seemed a very cheerful place.
COUNTY ATTORNEY

No — it’s not cheerful. I shouldn’t say she had the homemaking instinct.
MRS. HALE

Well, I don’t know as Wright had, either.
COUNTY ATTORNEY

You mean that they didn’t get on very well?
MRS. HALE

No, I don’t mean anything. But I don’t think a place’d be any cheerfuller for John Wright’s being in it.
COUNTY ATTORNEY

I’d like to talk more of that a little later. I want to get the lay of things upstairs now. [He goes to the left, where three steps lead to a stair door.]

SHERIFF

I suppose anything Mrs. Peters does’ll be all right. She was to take in some clothes for her, you know, and a few little things. We left in such a hurry yesterday.
COUNTY ATTORNEY

Yes, but I would like to see what you take, Mrs.
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Peters, and keep an eye out for anything that might be of use to us.
MRS. PETERS

Yes, Mr. Henderson. [The women listen to the men’s steps on the stairs, then look about the kitchen.]

MRS. HALE

I’d hate to have men coming into my kitchen, snooping around and criticising. [She arranges the pans under sink which the LAWYER had shoved out of place.]

MRS. PETERS

Of course it’s no more than their duty.
MRS. HALE

Duty’s all right, but I guess that deputy sheriff that came out to make the fire might have got a little of this on. [Gives the roller towel a pull.]
Wish I’d thought of that sooner. Seems mean to talk about her for not having things slicked up when she had to come away in such a hurry.
MRS. PETERS

[Who has gone to a small table in the left rear corner of the room, and lifted one end of a towel that covers a pan.]
She had bread set. [Stands still.]

MRS. HALE

[Eyes fixed on a loaf of bread beside the bread-box,
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which is on a low shelf at the other side of the room. Moves slowly toward it.]
She was going to put this in there. [Picks up loaf, then abruptly drops it. In a manner of returning to familiar things.]
It’s a shame about her fruit. I wonder if it’s all gone. [Gets up on the chair and looks.]
I think there’s some here that’s all right, Mrs. Peters. Yes — here; [Holding it toward the window]
this is cherries, too. [Looking again.]
I declare I believe that’s the only one. [Gets down, bottle in her hand. Goes to the sink and wipes it off on the outside.]
She’ll feel awful bad after all her hard work in the hot weather. I remember the afternoon I put up my cherries last summer. [She puts the bottle on the big kitchen table, center of the room. With a sigh, is about to sit down in the rocking-chair. Before she is seated realizes what chair it is; with a slow look at it, steps back. The chair which she has touched rocks back and forth.]

MRS. PETERS

Well, I must get those things from the front room closet. [She goes to the door at the right, but after looking into the other room, steps back.]
You coming with me, Mrs. Hale? You could help me carry them. [They go in the other room; reappear, MRS. PETERS carrying a dress and skirt, MRS. HALE following with a pair of shoes.]

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MRS. PETERS

My, it’s cold in there. [She puts the clothes on the big table, and hurries to the stove.]

MRS. HALE

[Examining the skirt.]
Wright was close. I think maybe that’s why she kept so much to herself. She didn’t even belong to the Ladies Aid. I suppose she felt she couldn’t do her part, and then you don’t enjoy things when you feel shabby. She used to wear pretty clothes and be lively, when she was Minnie Foster, one of the town girls singing in the choir. But that — oh, that was thirty years ago.This all you was to take in?
MRS. PETERS

She said she wanted an apron. Funny thing to want, for there isn’t much to get you dirty in jail, goodness knows. But I suppose just to make her feel more natural. She said they was in the top drawer in this cupboard. Yes, here. And then her little shawl that always hung behind the door. [Opens stair door and looks.]
Yes, here it is. [Quickly shuts door leading upstairs.]

MRS. HALE

[Abruptly moving toward her.]
Mrs. Peters?
MRS. PETERS

Yes, Mrs. Hale?
MRS. HALE

Do you think she did it?
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MRS. PETERS

[In a frightened voice.]
Oh, I don’t know.
MRS. HALE

Well, I don’t think she did. Asking for an apron and her little shawl.Worrying about her fruit.
MRS. PETERS

[Starts to speak, glances up, where footsteps are heard in the room above. In a low voice.]
Mr. Peters says it looks bad for her. Mr. Henderson is awful sarcastic in a speech and he’ll make fun of her sayin’ she didn’t wake up.
MRS. HALE

Well, I guess John Wright didn’t wake when they was slipping that rope under his neck.
MRS. PETERS

No, it’s strange. It must have been done awful crafty and still. They say it was such a — funny way to kill a man, rigging it all up like that.
MRS. HALE

That’s just what Mr. Hale said. There was a gun in the house. He says that’s what he can’t understand.
MRS. PETERS

Mr. Henderson said coming out that what was needed for the case was a motive; something to show anger, or — sudden feeling.
________________________________________

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MRS. HALE

[Who is standing by the table.]
Well, I don’t see any signs of anger around here. [She puts her hand on the dish towel which lies on the table, stands looking down at table, one half of which is clean, the other half messy.]
It’s wiped to here. [Makes a move as if to finish work, then turns and looks at loaf of bread outside the breadbox. Drops towel. In that voice of coming back to familiar things.]
Wonder how they are finding things upstairs. I hope she had it a little more red-up up there. You know, it seems kind of sneaking. Locking her up in town and then coming out here and trying to get her own house to turn against her!
MRS. PETERS

But Mrs. Hale, the law is the law.
MRS. HALE

I s’pose ’tis. [Unbuttoning her coat.]
Better loosen up your things, Mrs. Peters. You won’t feel them when you go out. [MRS. PETERS takes off her fur tippet, goes to hang it on hook at back of room, stands looking at the under part of the small corner table.]

MRS. PETERS

She was piecing a quilt. [She brings the large sewing basket and they look at the bright pieces.]

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MRS. HALE

It’s her log cabin pattern. Pretty, isn’t it? I wonder if she was goin’ to quilt it or just knot it? [Footsteps have been heard coming down the stairs. The SHERIFF enters followed by HALE and the COUNTY ATTORNEY.]

SHERIFF

They wonder if she was going to quilt it or just knot it! [The men laugh, the women look abashed.]

COUNTY ATTORNEY

[Rubbing his hands over the stove.]
Frank’s fire didn’t do much up there, did it? Well, let’s go out to the barn and get that cleared up. [The men go outside.]

MRS. HALE

[Resentfully.]
I don’t know as there’s anything so strange, our takin’ up our time with little things while we’re waiting for them to get the evidence. [She sits down at the big table smoothing out a block with decision.] ]
I don’t see as it’s anything to laugh about.
MRS. PETERS

[Apologetically.]
Of course they’ve got awful important things on their minds. [Pulls up a chair and joins MRS. HALE at the table.]

________________________________________

-18-

MRS. HALE

[Examining another block.]
Mrs. Peters, look at this one. Here, this is the one she was working on, and look at the sewing! All the rest of it has been so nice and even. And look at this! It’s all over the place! Why, it looks as if she didn’t know what she was about! [After she has said this they look at each other, then start to glance back at the door. After an instant MRS. HALE has pulled at a knot and ripped the sewing.]

MRS. PETERS

Oh, what are you doing, Mrs. Hale?
MRS. HALE

[Mildly.]
Just pulling out a stitch or two that’s not sewed very good. [Threading a needle.]
Bad sewing always made me fidgety.
MRS. PETERS

[Nervously.]
I don’t think we ought to touch things.
MRS. HALE

I’ll just finish up this end. [Suddenly stopping and leaning forward.]
Mrs. Peters?
MRS. PETERS

Yes, Mrs. Hale?
MRS. HALE

What do you suppose she was so nervous about?
________________________________________

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MRS. PETERS

Oh — I don’t know. I don’t know as she was nervous. I sometimes sew awful queer when I’m just tired. [MRS. HALE starts to say something, looks at MRS. PETERS, then goes on sewing.]
Well I must get these things wrapped up. They may be through sooner than we think. [Putting apron and other things together.]
I wonder where I can find a piece of paper, and string.
MRS. HALE

In that cupboard, maybe.
MRS. PETERS

[Looking in cupboard.]
Why, here’s a bird-cage. [Holds it up.]
Did she have a bird, Mrs. Hale?
MRS. HALE

Why, I don’t know whether she did or not — I’ve not been here for so long. There was a man around last year selling canaries cheap, but I don’t know as she took one; maybe she did. She used to sing real pretty herself.
MRS. PETERS

[Glancing around.]
Seems funny to think of a bird here. But she must have had one, or why would she have a cage? I wonder what happened to it.
MRS. HALE

I s’pose maybe the cat got it.
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MRS. PETERS

No, she didn’t have a cat. She’s got that feeling some people have about cats — being afraid of them. My cat got in her room and she was real upset and asked me to take it out.
MRS. HALE

My sister Bessie was like that. Queer, ain’t it?
MRS. PETERS

[Examining the cage.]
Why, look at this door. It’s broke. One hinge is pulled apart.
MRS. HALE

[Looking too.]
Looks as if someone must have been rough with it.
MRS. PETERS

Why, yes. [She brings the cage forward and puts it on the table.]

MRS. HALE

I wish if they’re going to find any evidence they’d be about it. I don’t like this place.
MRS. PETERS

But I’m awful glad you came with me, Mrs. Hale. It would be lonesome for me sitting here alone.
MRS. HALE

It would, wouldn’t it? [Dropping her sewing.]
But I tell you what I do wish, Mrs. Peters. I wish
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I had come over sometimes when she was here. I — [Looking around the room]
— wish I had.
MRS. PETERS

But of course you were awful busy, Mrs. Hale — your house and your children.
MRS. HALE

I could’ve come. I stayed away because it weren’t cheerful — and that’s why I ought to have come. I — I’ve never liked this place. Maybe because it’s down in a hollow and you don’t see the road. I dunno what it is, but it’s a lonesome place and always was. I wish I had come over to see Minnie Foster sometimes. I can see now — [Shakes her head.]

MRS. PETERS

Well, you mustn’t reproach yourself, Mrs. Hale. Somehow we just don’t see how it is with other folks until — something comes up.
MRS. HALE

Not having children makes less work — but it makes a quiet house, and Wright out to work all day, and no company when he did come in. Did you know John Wright, Mrs. Peters?
MRS. PETERS

Not to know him; I’ve seen him in town. They say he was a good man.
MRS. HALE

Yes — good; he didn’t drink, and kept his word as
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well as most, I guess, and paid his debts. But he was a hard man, Mrs. Peters. Just to pass the time of day with him — [Shivers.]
Like a raw wind that gets to the bone. [Pauses, her eye falling on the cage.]
I should think she would ‘a wanted a bird. But what do you suppose went with it?
MRS. PETERS

I don’t know, unless it got sick and died. [She reaches over and swings the broken door, swings it again, both women watch it.]

MRS. HALE

You weren’t raised round here, were you? [MRS. PETERS shakes her head.]
You didn’t know — her?
MRS. PETERS

Not till they brought her yesterday.
MRS. HALE

She — come to think of it, she was kind of like a bird herself — real sweet and pretty, but kind of timid and — fluttery. How — she — did — change. [Silence; then as if struck by a happy thought and relieved to get back to every day things.]
Tell you what, Mrs. Peters, why don’t you take the quilt in with you? It might take up her mind.
MRS. PETERS

Why, I think that’s a real nice idea, Mrs. Hale. There couldn’t possibly be any objection to it, could
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there? Now, just what would I take? I wonder if her patches are in here — and her things. [They look in the sewing basket.]

MRS. HALE

Here’s some red. I expect this has got sewing things in it. [Brings out a fancy box.]
What a pretty box. Looks like something somebody would give you. Maybe her scissors are in here. [Opens box. Suddenly puts her hand to her nose.]
Why — [MRS. PETERS bends nearer, then turns her face away.]
There’s something wrapped up in this piece of silk.
MRS. PETERS

Why, this isn’t her scissors.
MRS. HALE

[Lifting the silk.]
Oh, Mrs. Peters — its — [MRS. PETERS bends closer.]

MRS. PETERS

It’s the bird.
MRS. HALE

[Jumping up.]
But, Mrs. Peters — look at it! It’s neck! Look at its neck! It’s all — other side to.
MRS. PETERS

Somebody — wrung — its — neck. [Their eyes meet. A look of growing comprehension, of horror.Steps are heard outside. MRS. HALE slips box under quilt pieces, and sinks into her chair. Enter SHERIFF and
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COUNTY ATTORNEY. MRS. PETERS rises.]

COUNTY ATTORNEY

[As one turning from serious things to little pleasantries.]
Well, ladies, have you decided whether she was going to quilt it or knot it?
MRS. PETERS

We think she was going to — knot it.
COUNTY ATTORNEY

Well, that’s interesting, I’m sure. [Seeing the birdcage.]
Has the bird flown?
MRS. HALE

[Putting more quilt pieces over the box.]
We think the — cat got it.
COUNTY ATTORNEY

[Preoccupied.]
Is there a cat? [MRS. HALE glances in a quick covert way at MRS. PETERS.]

MRS. PETERS

Well, not now. They’re superstitious, you know. They leave.
COUNTY ATTORNEY

[To SHERIFF PETERS, continuing an interrupted conversation.]
No sign at all of anyone having come from the outside.Their own rope. Now let’s go up again and go over it piece by piece. [They start
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upstairs.]
It would have to have been someone who knew just the — [MRS. PETERS sits down. The two women sit there not looking at one another, but as if peering into something and at the same time holding back. When they talk now it is in the manner of feeling their way over strange ground, as if afraid of what they are saying, but as if they can not help saying it.]

MRS. HALE

She liked the bird. She was going to bury it in that pretty box.
MRS. PETERS

[In a whisper.]
When I was a girl — my kitten — there was a boy took a hatchet, and before my eyes — and before I could get there — [Covers her face an instant.]
If they hadn’t held me back I would have — [Catches herself, looks upstairs where steps are heard, falters weakly]
— hurt him.
MRS. HALE

[With a slow look around her.]
I wonder how it would seem never to have had any children around. [Pause.]
No, Wright wouldn’t like the bird — a thing that sang. She used to sing. He killed that, too.
MRS. PETERS

[Moving uneasily.]
We don’t know who killed the bird.
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MRS. HALE

I knew John Wright.
MRS. PETERS

It was an awful thing was done in this house that night, Mrs. Hale. Killing a man while he slept, slipping a rope around his neck that choked the life out of him.
MRS. HALE

His neck. Choked the life out of him. [Her hand goes out and rests on the bird-cage.]

MRS. PETERS

[With rising voice.]
We don’t know who killed him. We don’t know.
MRS. HALE

[Her own feeling not interrupted.]
If there’d been years and years of nothing, then a bird to sing to you, it would be awful — still, after the bird was still.
MRS. PETERS

[Something within her speaking.]
I know what stillness is. When we homesteaded in Dakota, and my first baby died — after he was two years old, and me with no other then —
MRS. HALE

[Moving.]
How soon do you suppose they’ll be through, looking for the evidence?
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MRS. PETERS

I know what stillness is. [Pulling herself back.]
The law has got to punish crime, Mrs. Hale.
MRS. HALE

[Not as if answering that.]
I wish you’d seen Minnie Foster when she wore a white dress with blue ribbons and stood up there in the choir and sang. [A look around the room.]
Oh, I wish I’d come over here once in a while! That was a crime! That was a crime! Who’s going to punish that?
MRS. PETERS

[Looking upstairs.]
We mustn’t — take on.
MRS. HALE

I might have known she needed help! I know how things can be — for women. I tell you, it’s queer, Mrs. Peters. We live close together and we live far apart. We all go through the same things — it’s all just a different kind of the same thing. [Brushes her eyes, noticing the bottle of fruit, reaches out for it.]
If I was you I wouldn’t tell her her fruit was gone. Tell her it ain’t. Tell her it’s all right. Take this in to prove it to her. She — she may never know whether it was broke or not.
MRS. PETERS

[Takes the bottle, looks about for something to wrap it in; takes petticoat from the clothes brought from the other room, very nervously begins winding this around the bottle. In a false voice.]
My, it’s a good thing the men couldn’t hear us. Wouldn’t they just
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laugh! Getting all stirred up over a little thing like a — dead canary. As if that could have anything to do with — with — wouldn’t they laugh! [The men are heard coming down stairs.]

MRS. HALE

[Under her breath.]
Maybe they would — maybe they wouldn’t.
COUNTY ATTORNEY

No, Peters, it’s all perfectly clear except a reason for doing it. But you know juries when it comes to women. If there was some definite thing.Something to show — something to make a story about — a thing that would connect up with this strange way of doing it — [The women’s eyes meet for an instant. Enter HALE from outer door.]

HALE

Well, I’ve got the team around. Pretty cold out there.
COUNTY ATTORNEY

I’m going to stay here a while by myself. [To the SHERIFF.]
You can send Frank out for me, can’t you? I want to go over everything. I’m not satisfied that we can’t do better.
SHERIFF

Do you want to see what Mrs. Peters is going to take in? [The LAWYER goes to the table, picks up the apron, laughs.]

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-29-

COUNTY ATTORNEY

Oh, I guess they’re not very dangerous things the ladies have picked out. [Moves a few things about, disturbing the quilt pieces which cover the box. Steps back.]
No, Mrs. Peters doesn’t need supervising. For that matter, a sheriff’s wife is married to the law. Ever think of it that way, Mrs. Peters?
MRS. PETERS

Not — just that way.
SHERIFF

[Chuckling.]
Married to the law.[Moves toward the other room.]
I just want you to come in here a minute, George. We ought to take a look at these windows.
COUNTY ATTORNEY

[Scoffingly.]
Oh, windows!
SHERIFF

We’ll be right out, Mr. Hale. [HALE goes outside. The SHERIFF follows the COUNTY ATTORNEY into the other room. Then MRS. HALE rises, hands tight together, looking intensely at MRS. PETERS, whose eyes make a slow turn, finally meeting MRS. HALE’S. A moment MRS. HALE holds her, then her own eyes point the way to where the box is concealed. Suddenly MRS. PETERS throws back quilt pieces and tries to put the box in the bag she is
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-30-

wearing. It is too big. She opens box, starts to take bird out, cannot touch it, goes to pieces, stands there helpless. Sound of a knob turning in the other room. MRS. HALE snatches the box and puts it in the pocket of her big coat. Enter COUNTY ATTORNEY and SHERIFF.]

COUNTY ATTORNEY

[Facetiously.]
Well, Henry, at least we found out that she was not going to quilt it. She was going to — what is it you call it, ladies?
MRS. HALE

[Her hand against her pocket.]
We call it — knot it, Mr. Henderson. [(CURTAIN)]

Obeissance in medieval England was obtained by women, in case a woman happens to defy male authority she was referred to as a wicked woman in the footpath of Eve, and in case a woman continued to be true to her husband by being obedient even in harsh situations she could be equated to the Virgin Mary. These very opposing kinds of women are described in The Canterbury Tales where the tales involves gender relations and reveals the characters’ perceptions towards the opposite sex.

The writer illustrates the complex relations among sexes with irony and humor, something that has not only fascinated readers but critics as well through the ages. However, the writer experiments his female narrators and characters to reflect how both the Eves and the Virgin Marys objected the roles imposed on them by patriarchal order.

The Canterbury Tales is a story written by Geoffrey Chaucer and is about unconnected groups of twenty nine pilgrims travelling together on a pilgrimage. From single women to knights, to nuns and monks; to lower class-tradesman, they interact and narrate to each other their tales. Each pilgrim narrates two stories on the way to Canterbury and other two stories on the way back to London. What makes this story so compelling is how Chaucer has presented his female characters, they mirror real life qualities as Gordi puts it (2). Chaucer moulds real life characters, depicting both their physical appearance and characteristic which give the reader a clear visual image of the character. He as well gives a sense of credibility by putting his characters in a pilgrimage. It is inside these tales the reader meets the radical female characters of 1300-1400 who portray the behavior of women who challenged the order of mediaeval patriarchal society where they were mandated to be submissive to male authority (Friðriksdottir 9). Chaucer describes his female character in a way they either subject to the male domination, accepting their destiny to be under men without questioning, or they challenge male domination, following condemnation and attempt to gain control over their lives hence not victims of fate.

Chaucer’s female characters reveal their aspirations, culture and literacy background as women of medieval. A woman position in The Canterbury Tales was either to be a nun or a mother; however the tales narrated by the female characters illustrates individual hopes and dreams of women who are dissatisfied with the tradition that undermines their position. The Canterbury Tales mirrors middle aged women who are trying to seek for solutions so that they may be happy and satisfied. Vaneckova found out that there are only three female narrators on the pilgrimage (4).

The first woman narrator is Bath’s wife who represents wives that are trying to take control of their lives in marriage, the second woman narrator is the Prioress and the Second Nun who represent female voices of religion, and the third woman narrator are attitudes of the male narrators towards women. Albeit of the many different women’s characters in The Canterbury Tales, there are two roles that have been vividly illustrated: the wife role forms the basis of women who are social misfits and the role they present while the nun role features women who have perfectly accepted their roles. Nonetheless the tales echoes by these women shows there is something more fulfilling they are looking for than what fate has offered them. They want more than just a short time solution; they are searching for a higher feminine ideal appropriate to women. They appear to be reasonable women who have a dimension of humanity and are not predictable. With a unique voice they articulate hopes conflicting with their system in which they are a part of. But their voices are not used for aggressive self-assertion, depicting them to be weak and not close to feminism. They are also not recognized and furthermore they are unaware to formulate a noticeably feminine view of the world outside the male skill tradition. Chaucer has illustrated female characters as weak with shy voices of femininity who do not notice the insufficiency of male tradition.

In Chaucer’s Canterbury Tales, female characters challenged the order of mediaeval patriarchal society in various ways. The first female narrator is Bath’s wife, she reflects women of controversial character. She is a wife, and a widow; she reveals her feelings, actions, beliefs, and behavior, which makes her appear as a subversive woman. So far her experience as a wife, a professional cloth maker; her connections with bourgeoisie linked with trading, her travelling, and her experience with different social classes; shows that she has been married five times. She learns that marriage is established on money, and the one in charge of the economic assets is the one who has sovereignty. So she manipulated her first four husbands who all die leaving her in charge of their lands and goods. She also proves that she benefited in all her marriages by giving the fifth husband everything she owned. More so, she disputes the clergy’s representation of God words and changes the perception to her benefit. The second female narrator is the cases of the Prioress and the Second Nun; they imitate female voices from the religion.

Prioress is a woman who gets her position in the monastery by means of endowment, her manners and behavior depicts she belongs to the aristocracy. While in the convent belonging to Benedictine order, she represents her former status. She does not comply with the rules and hence she is not completely devoted to her religious order. She defies it by: giving much attention to her attire; going for pilgrimages; and she own pets and gives food to them that is supposed to be given to the poor. In her tale she praises the Virgin Mary and look down upon the monks indicating they have gone astray in their way in serving God. This shows she does not hold men in high regard. The Second Nun undermines male writing, she praise a man who wrote about St. Cecelia. She narrates how St. Cecelia preached and converted many. Though married to Valerian, she maintained her virginity (Nelson 180). She wasn’t afraid to defend her belief in God and defy the standards of marriage. She tells her husband that if he attempts to claim her virginity he will die and vehemently rejects the traditional course of marriage. It is evident the Second Nun does not reject the husband’s right to dominate, but rejects the male authority. The third voice represents the males view on women; the tales of six women are narrated here. May from the Merchant’s tale and Alisoun from the Miller’s tale represents wicked and disobedient wives. They are young beautiful girls’ marriage to older men. However their beauty provokes jealousy of their husbands who holds them captive, but May and Alisoun subtly manage to find a way to be with younger suitors and fall into sin and betray their husbands. Griselda from the Clerk’s Tale and Custance from the Man’s of law tale are representatives for the ideal good wife. In as much as they endured suffering, they both yielded and obeyed their husbands and fathers. Custance sheepishly agrees to marry a man his father has chosen for her while Griselda chooses to endure the suffering her husband inflicts on her. Her selfish husbands tirelessly test her obedience and submissiveness on many occasions and require her to consent on his every demand. However both Custance and Griselda overcame their ordeals with faith and obedience, they never attempted to disobey and trick their husbands.

Emelye from the knight’s tale and Malyn from the Reeve’s tale represent women who turn out to be objects to be fought over, caught between battling opponents. Unlike most women they had no control over their lives, their fate and had very little or no chance to refuse their position in the society. Both Malyn and Emelye were objects and victims that were used by males. Malyn’s father used her to gain status by marrying her off to someone of good lineage, and Emelye was used in vengeance against her father.
The Canterbury Tales explore women’s gender roles and the patriarchal power structures, Chaucer’s description of female narrators and characters differs, but they however mirror on women and historical roles. The Canterbury Tales admits how unsuitable that position was, and steadily remind the readers of the harsh situations imposed on women, which was to make certain they succumb to the male authority.

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