Trifles is a one-act play written by Susan Glaspell that centers on the story of one crime and its investigation. In addition to the main plot that captures the reader’s attention from the first lines, the play defines the difference between men’s and women’s perceptions of the world. Therefore, Trifles presents a significant example of literature that explores the topic of women’s oppression in a male-dominated society through the contrast between the male and female characters.
Firstly, the author points at how female characters unintentionally played the role of detectives in the story even though it was the male characters’ goal to acquire more information about the crime’s details. For example, Mrs. Peters initially came to the Wrights’ house as a sheriff’s wife to collect some of Mrs. Wright’s belongings, while Mrs. Hale followed her husband. On the other hand, the husbands and Mr. Henderson came to Wright’s house to fulfill their roles as the county attorney, sheriff, and witness but failed to complete their tasks. The contrast emphasizes the difference in position between the two gender roles. The female characters’ attention to detail and ability to relate with the culprit allowed them to find more information than professionals. Thus, the element points to the wrongful nature of the limitations of women’s opportunities in society.
Next, the contrast between the male and female characters is defined through their names. Mrs. Peters’s and Mrs. Hale’s names are left unknown to the reader, emphasizing their dependence on their husbands. Mr. Henderson, the county attorney, even points that “a sheriff’s wife is married to the law,” referring to the lack of need to check the things Mrs. Peters collected for Mrs. Wright (Glaspell 45). Lastly, the only female character whose name becomes known to the reader is Minnie Foster, Mrs. Wright’s wife. Thus, the use of the character’s maiden name demonstrates her freedom from her husband. It is also interesting that the list of characters provides full names for the male characters even though they add no meaning to the story. Therefore, the naming aspect adds contrast to the difference in the social status between male and female characters.
Lastly, the difference between male and female characters is reflected in their ability to move across Wright’s house. Throughout the story, male characters go from the main room to the second floor multiple times and even leave the house to check the windows. On the other hand, female characters mostly stay in one place near the kitchen. According to Rahayu and Widyaningrum, the setting in the story refers to the kitchen’s image as the most feminine place in the house where women also tend to spend most of their time (239). The contrast is also present in the story of Minnie Foster’s marriage, in which she became a prisoner in her own house and kitchen with no company while her husband was out working all day. Therefore, through the contrast in the setting where women are left alone in the kitchen while men are somewhere far away, the author emphasizes how lonely and vulnerable women are in a male-dominated society.
In conclusion, this essay explains how the author of Trifles explored the topic of women’s oppression in society through the contrast between the male and female characters. Firstly, the essay pointed at the contrast of gender roles in the story and their connection with the investigation. Next, the essay emphasized the contrast between female and male characters’ names and their importance for the illustration of dependent relationships. Lastly, the essay discussed how the setting distinguishes the difference in characters’ freedom, with male characters being able to freely move across the set, while women were mostly left alone in the kitchen.
Works Cited
Glaspell, Susan. Plays by Susan Glaspell. Edited by Christine Dymkowski, Cambridge University Press, 1987.
Rahayu, Endang Yuliani, and Agnes Widyaningrum. “Double-Voiced Discourse in Susan Glaspell’s Trifles.” Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya, vol. 10, no. 2, 2020, pp. 234-249.