The image of the law arises, but like the woman, the captain has already experienced a kind of internal, moral shift. Like the woman the captain cannot bear to morally condemn the murderer, or reveal the fact that Leggatt is on his ship when the authorities arrive. Captain Archbold wants to act according to the law, like the men of the Glaspell tale, but Leggatt's protective captain pretends the ship is empty and points out that Leggatt's actions helped save the ship during a storm.
The captain, from a law-abiding man, has suddenly become a man who will evade the law, because he mysteriously perceives himself to be the same as another man. Unlike the feminist identification or mirroring that occurs in the Glaspell tale, the Conrad tale's sense of a "mirror image" of two psychologically united selves is far more mysterious. Eventually, the captain agrees to allow Leggatt to swim to shore. He watches the white hat that he has given Leggatt as a kind of identifying mark, a trifle, the women of Dickson County might say, and rather than regretting his actions on the first ship he has commanded, he feels a sense of strange peace that he has allowed his double to escape.
The sea captain realizes that he will never be the same man, as the women realize that they will always have a shared kinship, now that they collectively understand what happened to Mrs. Wright. "I watched the hat -- the expression of my sudden pity for his mere flesh. It had been meant to save his homeless head from the dangers of the sun. And now -- behold -- it was saving the ship, by serving me for a mark to help out the ignorance...
How -- she -- did -- change."(Glaspell) the second sense of the play's title becomes obvious: there is no place in the male world of overt action for women's fragility and sensibility, symbolized by the singing bird. The two wives intuitively understand that Mrs. Wright's husband could not understand or like "a thing that sang": "No, Wright wouldn't like the bird -- a thing that sang. She used to
Susan Glaspell,(Trifles). Please ensure original wor Formal Approach There is a great deal of irony found in Susan Glaspell's work of literature entitled "Trifles." Irony, of course, is when words are used the exact opposite of their literal meaning. The concept of situation irony also exists within literature, in which characters act the exact opposite of the way that a certain situation calls for. An examination of Glaspell's work indicates that
The words on the page are powerful as Williams uses symbolism to emphasize moods. Viewing the play with the plays of light and shadows would be a delight because we could see the characters moving in and out of darkness. August Wilson's play, Fences, is titled such because of the fences people tend to build between one another. This is demonstrated with Troy and Cory, who cannot agree upon much.
Wright as well as their own lives. Putting aside the fact that Toomer's Cane is a much different piece -- it is not a play and is much lengthier than Trifles -- the language, form and mood vary significantly. For example, "Fern," one of the stories in the Cane collection, first appears to be a portrait of an exquisite woman who nobody understands. However, the reader soon realizes that she
Holmes always solves the crime, and that fact is very satisfying to the reader. Similarly, the two women are inadvertently unearthing the clues to the murder alongside the searching investigators. Glaspell endears us to the two women through the use of personal experiences and memories. Through their similarities, the two women also endear the reader to Minnie Wright. This closeness in character makes it perfectly acceptable when the women
Susan Glaspell's Trifles The title of Susan Glaspell's drama Trifles indicates that it will deal with seemingly small matters: as Mrs. Hale says of the pivotal prop in the stage-play -- "Wouldn't they just laugh? Getting all stirred up over a little thing like a -- dead canary!" (Glaspell 27-8). Yet Mrs. Hale's sense that, if a male audience could see her dialogue with Mrs. Peters in Trifles by Susan Glaspell,
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