analytical essay the story of an hour

The Story of an Hour Critical Analysis Essay

Looking for a critical analysis of The Story of an Hour ? The essay on this page contains a summary of Kate Chopin’s short story, its interpretation, and feminist criticism. Find below The Story of an Hour critique together with the analysis of its characters, themes, symbolism, and irony.

Introduction

Works cited.

The Story of an Hour was written by Kate Chopin in 1984. It describes a woman, Mrs. Mallard, who lost her husband in an accident, but later the truth came out, and the husband was alive. This essay will discuss The Story of an Hour with emphasis on the plot and development of the protagonist, Mrs. Mallard, who goes through contrasting emotions and feelings that finally kill her on meeting her husband at the door, yet he had been said to be dead.

The Story of an Hour Summary

Kate Chopin narrated the story of a woman named Mrs. Mallard who had a heart health problem. One day the husband was mistaken to have died in an accident that occurred. Due to her heart condition, her sister had to take care while breaking the bad news to her. She was afraid that such news of her husband’s death would cost her a heart attack. She strategized on how to break the news to her sister bit by bit, which worked perfectly well. Mrs. Mallard did not react as expected; instead, she started weeping just once.

She did not hear the story as many women have had the same with a paralyzed inability to accept its significance. She wept once, with sudden, wild abandonment, in her sister’s arms (Woodlief 2).

Mrs. Mallard wondered how she would survive without a husband. She went to one room and locked herself alone to ponder what the death of her husband brought to her life. She was sorrowful that her husband had died, like it is human to be sad at such times. This is someone very close to her, but only in a short span of time was no more. This sudden death shocked her. Her sister Josephine and friends Mr. Richard and Louise are also sorry for the loss (Taibah 1).

As she was in that room alone, she thought genuinely about the future. Unexpectedly, she meditated on her life without her husband. Apart from sorrow, she started counting the better part of her life without her husband. She saw many opportunities and freedom to do what she wanted with her life. She believed that the coming years would be perfect for her as she only had herself to worry about. She even prayed that life would be long.

After some time, she opened the door for Josephine, her sister, who had a joyous face. They went down the stairs of the house, and Mr. Mallard appeared as he opened the gate. Mr. Mallard had not been involved in the accident and could not understand why Josephine was crying. At the sight of her husband, Mr. Mallard, his wife, Mrs. Mallard, collapsed to death. The doctors said that she died because of heart disease.

The Story of an Hour Analysis

Mrs. Mallard was known to have a heart problem. Richard, who is Mr. Mallard’s friend, was the one who learned of Mr. Mallard’s death while in the office and about the railroad accident that killed him. They are with Josephine, Mrs. Mallard’s sister, as she breaks the news concerning the sudden death of her husband. The imagery clearly describes the situation.

The writer brought out the suspense in the way he described how the news was to be broken to a person with a heart problem. There is a conflict that then follows in Mrs. Mallard’s response which becomes more complicated. The death saddens Mrs. Mallard, but, on the other hand, she counts beyond the bitter moments and sees freedom laid down for her for the rest of her life. The description of the room and the environment symbolize a desire for freedom.

This story mostly focuses on this woman and a marriage institution. Sad and happy moments alternate in the protagonist, Mrs. Mallard. She is initially sad about the loss of her husband, then in a moment, ponders on the effects of his death and regains strength.

Within a short period, she is shocked by the sight of her husband being alive and even goes to the extreme of destroying her life. She then dies of a heart attack, whereas she was supposed to be happy to see her husband alive. This is an excellent contrast of events, but it makes the story very interesting.

She could see in the open square before her house the tops of trees that were all aquiver with the new spring life. The delicious breath of rain was in the air. In the street below, a peddler was crying his wares. The notes of a distant song that someone was singing reached her faintly, and countless sparrows were twittering in the eaves. There were patches of blue sky showing here and there through the clouds that had met and piled one above the other in the west facing her window (Woodlief 1).

Therefore, an open window is symbolic. It represents new opportunities and possibilities that she now had in her hands without anyone to stop her, and she refers to it as a new spring of life.

She knew that she was not in a position to bring her husband back to life.

Her feelings were mixed up. Deep inside her, she felt that she had been freed from living for another person.

She did not stop to ask if it were or were not a monstrous joy that held her… She knew that she would weep again when she saw the kind, tender hands folded in death, the face that had never looked save with love upon her, fixed and gray and dead (Sparknotes 1).

The author captured a marriage institution that was dominated by a man. This man, Mr. Mallard, did not treat his wife as she would like (the wife) at all times, only sometimes. This Cleary showed that she was peaceful even if her husband was dead. Only some sorrow because of the loss of his life but not of living without him. It seemed that she never felt the love for her husband.

And yet she had loved him sometimes. Often she had not. What did it matter! What could love the unsolved mystery, count for in the face of this procession of self-assertion which she suddenly recognized as the strongest impulse of her being! (Woodlief 1).

How could a wife be peaceful at the death of her husband? Though people thought that she treasured her husband, Mr. Mallard, so much and was afraid that she would be stressed, she did not see much of the bitterness like she found her freedom. This reveals how women are oppressed in silence but never exposed due to other factors such as wealth, money, and probably outfits.

As much as wealth is essential, the characters Mr. and Mrs. Mallard despise the inner being. Their hearts were crying amid a physical smile: “Free! Body and soul free!”…Go away. I am not making myself ill.” No; she was drinking in a very elixir of life through that open window” (Woodlief 1).

In this excerpt, Mrs. Mallard knows what she is doing and believes that she is not harming herself. Instead, she knew that though the husband was important to her, marriage had made her a subject to him. This was not in a positive manner but was against her will. It seems she had done many things against her will, against herself, but to please her husband.

Mrs. Mallard’s character is therefore developed throughout this story in a short time and reveals many values that made her what she was. She is a woman with a big desire for freedom that was deprived by a man in marriage. She is very emotional because after seeing her freedom denied for the second time by her husband, who was mistaken to have died, she collapses and dies. The contrast is when the writer says, “She had died of heart disease…of the joy that kills” (Woodlief 1).

Mrs. Mallard was not able to handle the swings in her emotions, and this cost her life. Mr. Mallard was left probably mourning for his wife, whom he never treasured. He took her for granted and had to face the consequences. Oppressing a wife or another person causes a more significant loss to the oppressor. It is quite ironic that Mr. Mallard never knew that his presence killed his wife.

Sparknotes. The Story of an Hour. Sparknotes, 2011. Web.

Taibah. The Story of an Hour. Taibah English Forum, 2011. Web.

Woodlief. The story of an hour . VCU, 2011. Web.

Further Study: FAQ

📌 who is the protagonist in the story of an hour, 📌 when was the story of an hour written, 📌 what is the story of an hour about, 📌 what is the conclusion the story of an hour.

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Bibliography

IvyPanda . "The Story of an Hour Critical Analysis Essay." October 28, 2023. https://ivypanda.com/essays/critical-analysis-of-the-story-of-an-hour/.

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The Story of an Hour Analysis & Summary – Essay Example

This sample will help you write a The Story of an Hour analysis essay! Here you’ll find a The Story of an Hour summary. Essay also contains a plot and character analysis.

Introduction

The story of an hour introduction, the story of an hour main plot, the story of an hour conclusion, the story of an hour analysis.

The Story of an Hour is a short story written by Kate Chopin in 1894. This famous piece of literature was controversial for its time, as the story mentioned a female protagonist who felt relieved after her husband’s death. The conclusion of The Story of an Hour is ironic, which makes the ending memorable.

The following The Story of an Hour literary analysis essay will summarize the plot and present an extensive character analysis of Mrs. Mallard. It will be helpful for those writing a The Story of an Hour critical analysis.

Kate Chopin (born Catherine O’Flaherty) was an American writer. She is best known for her narratives of delicate and brave women’s inner lives. Her novel “The Awakening” and her short stories, among them The Story of an Hour, are being read in countries all over the world today. She is widely recognized as one of the most important authors in America.

In 1984, Kate Chopin wrote The Story of an Hour. It portrays a woman, Louise Mallard, who lost her husband in an accident. However, she later discovers that the husband survived. Mrs. Mallard goes through many emotions and feelings, reevaluating her life. That ultimately kills her when she meets her presumably dead husband at the door. The following The Story of an Hour essay will focus on the plot and the protagonist’s self-development.

The Story of an Hour Summary

Louise Mallard, the main character, had always had a heart problem. It was not a secret for her friends and relatives, so everyone tried to protect her from worries.

One day her husband, Brently Mallard, was mistaken for having died in a horrible railroad accident. Richard, Mr. Mallard’s friend, was the one who learned about this death while in the office. Josephine, Louise’s sister, broke the news to her.

Josephine was very cautious because of Mrs. Mallard’s health issue. She feared such a tragedy would cause a heart attack. Bit by bit, she strategized how to tell everything to her sister, aher plan went perfectly well. Mrs. Mallard wept only once. She did not receive the story like many women would, with a helpless incapacity to acknowledge its meaning. She only cried in her sister’s arms with a feeling of a sudden, wild abandonment (Woodlief 2).

Immediately Mrs. Mallard found herself wondering how she could survive without her husband. She went to a room and locked herself to contemplate the consequences of his death. She was devastated, and this sadness was only natural. This man had been close to her, even though only for a short time. Her sister Josephine and Mr. Richard also mourned the loss (Taibah 1).

Mrs. Mallard was alone in that room, thinking about the future. As she was contemplating her fate, instead of grief, she began realizing that this was the beginning of a better part of her life. Louise saw independence and plenty of possibilities to do what her heart desired. Now, she had only to think about herself.

Later, Josephine comes to Louise’s room, crying with a joyous smile. They descend the house’s stairs, where Mr. Mallard appears at the door. He was not involved in the accident and did not understand why Josephine was crying. At the shock of seeing her husband again, Mrs. Mallard collapses. The doctors declare that she died because of the problems with her heart.

Health issues of the central character play a significant role in the story. The author managed to bring suspense in the way she described telling the bad news to a person with a heart problem. Josephine, Louise’s sister, tries her best to be careful and attentive, expecting a painful response. However, Mrs. Mallard reacts better than anticipated.

The story focuses mostly on femininity and the institution of marriage. The analysis of The Story of an Hour has to speculate on it to reveal the core message.

The author was able to illustrate that men entirely dominate the institution of marriage. Mr. Mallard, for instance, treated his wife the way she wanted only from time to time. For years, Louise has done many things to please her husband without looking after her well-being. So, having received the disturbing news, she is quite happy. It seemed that she had never cared for her husband at all.

Or did she? Mrs. Mallard’s reaction to the death of a spouse is complicated. She cannot escape the loneliness and grief that came with the loss. But the possibility of happiness prevails. Louise knew that marriage had made her a subject for him against her will. She only felt sorrow for the loss of his life but not for living without him. She felt deep inside that she had been freed from the chains of living for another person.

Mr. Mallard’s apparent death saddened Louise at first. She was devastated about his fate but regained strength quickly. Louise was well aware of the fact that she could not bring her husband back. So, she came to terms with it, which wasn’t difficult. Mrs. Mallard saw beyond the painful moment, anticipating freedom for the rest of her life.

The room and environment around Mrs. Mallard symbolize her desire for freedom. For example, Mrs. Mallard could see the tops of trees through the window. They were all aquiver with the new spring life on the open square before her house. There was a delicious breath of rain in the air. A peddler was weeping his wares in the street below. There were spots of blue sky showing up here and there through the clouds in the west facing her window, which had met and piled up one above the other (Woodlief 1).

An open window could be interpreted as a metaphor. It reflects new possibilities and resources that Mrs. Mallard now had in her sights without anybody stopping her. She referred to it as the late spring of life.

The story reveals how women were secretly marginalized. At the time, society expected them to pursue wealth and safety, which came with a husband. Liberty should be neither their worry nor their goal. When Louise felt freedom after Mr. Mallard’s death, she kept it secret for obvious reasons. But then, her sister arrived.

Mrs. Mallard was shocked by the sight of her husband alive. All of her newfound liberty and dreams came crashing down at that moment. This shattering experience even goes to the extreme of destroying her life. Whereas she was to be happy to see her husband alive, Louise died from a heart attack.

Situational irony is presented in the author’s stylistic use of words: “She had died of heart disease…of the joy that kills.” People around anticipated this tragedy from the news about Mr. Mallard’s death, not miraculous survival.

The author explored the character of Mrs. Mallard throughout this story. The reader can’t be surprised by her sudden death or miss its irony. Louise is a woman with a great desire for independence, which a man has deprived her of through marriage. Mr. Mallard represents the absence of her liberty that restores after his death. When Mrs. Mallard sees her husband at the door once again, she collapses and never wakes up.

Based on this The Story of an Hour literary analysis, we can draw several important conclusions. Mrs. Mallard couldn’t control her emotions when they concerned the most vital matters. The lack of liberty and independence may have caused her heart problems in the first place. And they cost her life in the end.

Her husband, Mr. Mallard, took Louise’s freedom when he married her. However, as it became apparent from the story, he never valued her. When she died, he had finally faced the consequences of always taking her existence for granted.

Therefore, the oppressor faced even worse tragedy than the oppressed. The dramatic irony of Mr. Mallard’s unawareness of his wife’s true feelings towards him is a big part of the story. So, in the end, it was Mr. Mallard’s presence that killed his wife.

• Chopin, Kate. The Story of an hour . The Kate Chopin International Society. Web.
• Woodlief, Ann. The Story of an Hour . 2011, Virginia Commonwealth University. Web.

What is the symbolism in The Story of an Hour?

Through The Story of an Hour, the author presents us with the inner feelings and thoughts of a woman using various symbols. Mrs. Mallard’s heart problem symbolizes her dissatisfaction with the marriage, while the open window illustrates her aspirations towards a better, independent life.

What is the meaning behind The Story of an Hour?

Kate Chopin’s The Story of an Hour analysis illustrates that the author wanted to tell us how the society of that time was unfair towards women. It also shows the delicate and complicated inner world of a woman.

What does The Story of an Hour critique?

The Story of an Hour criticizes the typical experience of marriage in the 1890s. For women, such marriage was repressive and meant their loss of personal freedoms. Therefore, the story criticizes the society of that time dominated by men.

How do you start a critical analysis of The Story of an Hour?

Start your analysis of The Story of an Hour with a short introduction. Remember to say a few words about its author and her life. Next, talk about the story and let the reader know what it is about.

What are the two main themes in The Story of an Hour?

Firstly, the theme of a female search for self-identity is featured strongly in the story. The second theme is that of repressive marriage. The reader sees it in the way Mrs. Mallard’s reaction toward her husband’s death shifts.

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Literary Theory and Criticism

Home › Literature › Analysis of Kate Chopin’s The Story of an Hour

Analysis of Kate Chopin’s The Story of an Hour

By NASRULLAH MAMBROL on July 28, 2021

Originally entitled “The Dream of an Hour” when it was first published in Vogue (December 1894), “The Story of an Hour” has since become one of Kate Chopin’s most frequently anthologized stories. Among her shortest and most daring works, “Story” examines issues of feminism, namely, a woman’s dissatisfaction in a conventional marriage and her desire for independence. It also features Chopin’s characteristic irony and ambiguity .

The story begins with Louise Mallard’s being told about her husband’s presumed death in a train accident. Louise initially weeps with wild abandon, then retires alone to her upstairs bedroom. As she sits facing the open window, observing the new spring life outside, she realizes with a “clear and exalted perception” that she is now free of her husband’s “powerful will bending hers” (353). She becomes delirious with the prospect that she can now live for herself and prays that her life may be long. Her newfound independence is short-lived, however. In a surprise ending, her husband walks through the front door, and Louise suffers a heart attack and dies. Her death may be considered a tragic defeat or a pyrrhic victory for a woman who would rather die than lose that “possession of self-assertion which she suddenly recognized as the strongest impulse of her being” (353). The doctors ironically attribute her death to the “joy that kills” (354).

BIBLIOGRAPHY Chopin, Kate. The Complete Works of Kate Chopin. Edited by Per Seyersted. Baton Rouge: Louisiana State University Press, 1969. Koloski, Bernard. Kate Chopin: A Study of the Short Fiction. New York: Twayne, 1996. Seyersted, Per. Kate Chopin: A Critical Biography. Baton Rouge: Louisiana State University Press, 1969. Toth, Emily. Kate Chopin. New York: Morrow, 1990

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The Story of an Hour

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General Education

Imagine a world where women are fighting for unprecedented rights, the economic climate is unpredictable, and new developments in technology are made every year. While this world might sound like the present day, it also describes America in the 1890s . 

It was in this world that author Kate Chopin wrote and lived, and many of the issues of the period are reflected in her short story, “The Story of an Hour.” Now, over a century later, the story remains one of Kate Chopin’s most well-known works and continues to shed light on the internal struggle of women who have been denied autonomy.

In this guide to Kate Chopin’s “The Story of an Hour,” we’ll discuss:

• A brief history of Kate Chopin and America the 1890s
• “The Story of an Hour” summary
• Analysis of the key story elements in “The Story of an Hour,” including themes, characters, and symbols

By the end of this article, you’ll have an expert grasp on Kate Chopin’s “The Story of an Hour.” So let’s get started!

“The Story of an Hour” Summary

If it’s been a little while since you’ve read Kate Chopin’s “The Story of an Hour,” it can be hard to remember the important details. This section includes a quick recap, but you can find “The Story of an Hour” PDF and full version here . We recommend you read it again before diving into our analyses in the next section! 

For those who just need a refresher, here’s “The Story of an Hour” summary: 

Mrs. Louise Mallard is at home when her sister, Josephine, and her husband’s friend, Richards, come to tell her that her husband, Brently Mallard, has been killed in a railroad accident . Richards had been at the newspaper office when the news broke, and he takes Josephine with him to break the news to Louise since they’re afraid of aggravating her heart condition. Upon hearing the news of her husband’s death, Louise is grief-stricken, locks herself in her room, and weeps.

From here, the story shifts in tone. As Louise processes the news of her husband’s death, she realizes something wonderful and terrible at the same time: she is free . At first she’s scared to admit it, but Louise quickly finds peace and joy in her admission. She realizes that, although she will be sad about her husband (“she had loved him—sometimes,” Chopin writes), Louise is excited for the opportunity to live for herself. She keeps repeating the word “free” as she comes to terms with what her husband’s death means for her life. 

In the meantime, Josephine sits at Louise’s door, coaxing her to come out because she is worried about Louise’s heart condition. After praying that her life is long-lived, Louise agrees to come out. However, as she comes downstairs, the front door opens to reveal her husband, who had not been killed by the accident at all. Although Richards tries to keep Louise’s heart from shock by shielding her husband from view, Louise dies suddenly, which the doctors later attribute to “heart disease—of the joy that kills .”

Kate Chopin, the author of "The Story of an Hour," has become one of the most important American writers of the 19th century. 

The History of Kate Chopin and the 1890s

Before we move into “The Story of an Hour” analysis section, it’s helpful to know a little bit about Kate Chopin and the world she lived in. 

A Short Biography of Kate Chopin

Born in 1850 to wealthy Catholic parents in St. Louis, Missouri, Kate Chopin (originally Kate O’Flaherty) knew hardship from an early age. In 1855, Chopin lost her father, Thomas, when he passed away in a tragic and unexpected railroad accident. The events of this loss would stay with Kate for the rest of her life, eventually becoming the basis for “The Story of an Hour” nearly forty years later.

Chopin was well-educated throughout her childhood , reading voraciously and becoming fluent in French. Chopin was also very aware of the divide between the powerful and the oppressed in society at the time . She grew up during the U.S. Civil War, so she had first-hand knowledge of violence and slavery in the United States. 

Chopin was also exposed to non-traditional roles for women through her familial situation. Her mother, grandmother, and great-grandmother chose to remain widows (rather than remarry) after their husbands died. Consequently, Chopin learned how important women’s independence could be, and that idea would permeate much of her writing later on. 

As Chopin grew older, she became known for her beauty and congeniality by society in St. Louis. She was married at the age of nineteen to Oscar Chopin, who came from a wealthy cotton-growing family. The couple moved to New Orleans, where they would start both a general store and a large family. (Chopin would give birth to seven children over the next nine years!) 

While Oscar adored his wife, he was less capable of running a business. Financial trouble forced the family to move around rural Louisiana. Unfortunately, Oscar would die of swamp fever in 1882 , leaving Chopin in heavy debt and with the responsibility of managing the family’s struggling businesses. 

After trying her hand at managing the property for a year, Chopin conceded to her mother’s requests to return with her children to St. Louis. Chopin’s mother died the year after. In order to support herself and her children, Kate began to write to support her family. 

Luckily, Chopin found immediate success as a writer. Many of her short stories and novels—including her most famous novel, The Awakening— dealt with life in Louisiana . She was also known as a fast and prolific writer, and by the end of the 1900s she had written over 100 stories, articles, and essays. 

Unfortunately, Chopin would pass away from a suspected cerebral hemorrhage in 1904, at the age of 54 . But Kate Chopin’s “The Story of an Hour” and other writings have withstood the test of time. Her work has lived on, and she’s now recognized as one of the most important American writers of the 19th century. 

American life was undergoing significant change in the 19th century. Technology, culture, and even leisure activities were changing. 

American Life in the 1890s

“The Story of an Hour” was written and published in 1894, right as the 1800s were coming to a close. As the world moved into the new century, American life was also changing rapidly. 

For instance, t he workplace was changing drastically in the 1890s . Gone were the days where most people were expected to work at a trade or on a farm. Factory jobs brought on by industrialization made work more efficient, and many of these factory owners gradually implemented more humane treatment of their workers, giving them more leisure time than ever.

Though the country was in an economic recession at this time, technological changes like electric lighting and the popularization of radios bettered the daily lives of many people and allowed for the creation of new jobs. Notably, however, work was different for women . Working women as a whole were looked down upon by society, no matter why they found themselves in need of a job. 

Women who worked while they were married or pregnant were judged even more harshly. Women of Kate Chopin’s social rank were expected to not work at all , sometimes even delegating the responsibility of managing the house or child-rearing to maids or nannies. In the 1890s, working was only for lower class women who could not afford a life of leisure .

In reaction to this, the National American Woman Suffrage Association was created in 1890, which fought for women’s social and political rights. While Kate Chopin was not a formal member of the suffragette movements, she did believe that women should have greater freedoms as individuals and often talked about these ideas in her works, including in “The Story of an Hour.” 

Kate Chopin's "The Story of an Hour" a short exploration of marriage and repression in America.

“The Story of an Hour” Analysis

Now that you have some important background information, it’s time to start analyzing “The Story of an Hour.”

This short story is filled with opposing forces . The themes, characters, and even symbols in the story are often equal, but opposite, of one another. Within “The Story of an Hour,” analysis of all of these elements reveals a deeper meaning.

“The Story of an Hour” Themes

A theme is a message explored in a piece of literature. Most stories have multiple themes, which is certainly the case in “The Story of an Hour.” Even though Chopin’s story is short, it discusses the thematic ideas of freedom, repression, and marriage. 

Keep reading for a discussion of the importance of each theme! 

Freedom and Repression

The most prevalent theme in Chopin’s story is the battle between freedom and “repression.” Simply put , repression happens when a person’s thoughts, feelings, or desires are being subdued. Repression can happen internally and externally. For example, if a person goes through a traumatic accident, they may (consciously or subconsciously) choose to repress the memory of the accident itself. Likewise, if a person has wants or needs that society finds unacceptable, society can work to repress that individual. Women in the 19th century were often victims of repression. They were supposed to be demure, gentle, and passive—which often went against women’s personal desires. 

Given this, it becomes apparent that Louise Mallard is the victim of social repression. Until the moment of her husband’s supposed death, Louise does not feel free . In their marriage, Louise is repressed. Readers see this in the fact that Brently is moving around in the outside world, while Louise is confined to her home. Brently uses railroad transportation on his own, walks into his house of his own accord, and has individual possessions in the form of his briefcase and umbrella. Brently is even free from the knowledge of the train wreck upon his return home. Louise, on the other hand, is stuck at home by virtue of her position as a woman and her heart condition. 

Here, Chopin draws a strong contrast between what it means to be free for men and women. While freedom is just part of what it means to be a man in America, freedom for women looks markedly different. Louise’s life is shaped by what society believes a woman should be and how a wife should behave. Once Louise’s husband “dies,” however, she sees a way where she can start claiming some of the more “masculine” freedoms for herself. Chopin shows how deeply important freedom is to the life of a woman when, in the end, it’s not the shock of her husband’s return of her husband that kills Louise, but rather the thought of losing her freedom again.

Marriage as a “The Story of an Hour” theme is more than just an idyllic life spent with a significant other. The Mallard’s marriage shows a reality of 1890s life that was familiar to many people. Marriage was a means of social control —that is to say, marriage helped keep women in check and secure men’s social and political power. While husbands were usually free to wander the world on their own, hold jobs, and make important family decisions, wives (at least those of the upper class) were expected to stay at home and be domestic. 

Marriage in Louise Mallard’s case has very little love. She sees her marriage as a life-long bond in which she feels trapped, which readers see when she confesses that she loved her husband only “sometimes.” More to the point, she describes her marriage as a “powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature.” In other words, Louise Mallard feels injustice in the expectation that her life is dictated by the will of her husband.

Like the story, the marriages Kate witnessed often ended in an early or unexpected death. The women of her family, including Kate herself, all survived their husbands and didn’t remarry. While history tells us that Kate Chopin was happy in her marriage, she was aware that many women weren’t. By showing a marriage that had been built on control and society’s expectations, Chopin’s “The Story of an Hour” highlights the need for a world that respected women as valuable partners in marriage as well as capable individuals.

While this painting by Johann Georg Meyer wasn't specifically of Louise Mallard, "Young Woman Looking Through a Window" is a depiction of what Louise might have looked like as she realized her freedom.

"The Story of an Hour" Characters

The best stories have developed characters, which is the case in “The Story of an Hour,” too. Five characters make up the cast of “The Story of an Hour”:

Louise Mallard

Brently mallard.

• The doctor(s)

By exploring the details of each character, we can better understand their motivations, societal role, and purpose to the story.

From the opening sentence alone, we learn a lot about Louise Mallard. Chopin writes, “Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death.”

From that statement alone, we know that she is married, has a heart condition, and is likely to react strongly to bad news . We also know that the person who is sharing the bad news views Louise as delicate and sensitive. Throughout the next few paragraphs, we also learn that Louise is a housewife, which indicates that she would be part of the middle-to-upper class in the 1890s. Chopin also describes Louise’s appearance as “young,” “fair, calm face,” with lines of “strength.” These characteristics are not purely physical, but also bleed into her character throughout the story.

Louise’s personality is described as different from other women . While many women would be struck with the news in disbelief, Louise cries with “wild abandonment”—which shows how powerful her emotions are. Additionally, while other women would be content to mourn for longer, Louise quickly transitions from grief to joy about her husband’s passing.  

Ultimately, Chopin uses Louise’s character to show readers what a woman’s typical experience within marriage was in the 1890s. She uses Louise to criticize the oppressive and repressive nature of marriage, especially when Louise rejoices in her newfound freedom. 

Josephine is Louise’s sister . We never hear of Josephine’s last name or whether she is married or not. We do know that she has come with Richards, a friend of Brently’s, to break the news of his death to her sister. 

When Josephine tells Louise the bad news, she’s only able to tell Louise of Brently’s death in “veiled hints,” rather than telling her outright. Readers can interpret this as Josephine’s attempt at sparing Louise’s feelings. Josephine is especially worried about her sister’s heart condition, which we see in greater detail later as she warns Louise, “You will make yourself ill.” When Louise locks herself in her room, Josephine is desperate to make sure her sister is okay and begs Louise to let her in. 

Josephine is the key supporting character for Louise, helping her mourn, though she never knows that Louise found new freedom from her husband’s supposed death . But from Josephine’s actions and interactions with Louise, readers can accurately surmise that she cares for her sister (even if she’s unaware of how miserable Louise finds her life). 

Richards is another supporting character, though he is described as Brently’s friend, not Louise’s friend. It is Richards who finds out about Brently Mallard’s supposed death while at the newspaper office—he sees Brently’s name “leading the list of ‘killed.’” Richards’ main role in “The Story of an Hour” is to kick off the story’s plot. 

Additionally, Richard’s presence at the newspaper office suggests he’s a writer, editor, or otherwise employee of the newspaper (although Chopin leaves this to readers’ inferences). Richards takes enough care to double-check the news and to make sure that Brently’s likely dead. He also enlists Josephine’s help to break the news to Louise. He tries to get to Louise before a “less careful, less tender friend” can break the sad news to her, which suggests that he’s a thoughtful person in his own right. 

It’s also important to note is that Richards is aware of Louise’s heart condition, meaning that he knows Louise Mallard well enough to know of her health and how she is likely to bear grief. He appears again in the story at the very end, when he tries (and fails) to shield Brently from his wife’s view to prevent her heart from reacting badly. While Richards is a background character in the narrative, he demonstrates a high level of friendship, consideration, and care for Louise. 

Brently Mallard would have been riding in a train like this one when the accident supposedly occurred.

  Mr. Brently Mallard is the husband of the main character, Louise. We get few details about him, though readers do know he’s been on a train that has met with a serious accident. For the majority of the story, readers believe Brently Mallard is dead—though the end of “The Story of an Hour” reveals that he’s been alive all along. In fact, Brently doesn’t even know of the railroad tragedy when he arrives home “travel-stained.”

  Immediately after Louise hears the news of his death, she remembers him fondly. She remarks on his “kind, tender hands” and says that Brently “never looked save with love” upon her . It’s not so much Brently as it’s her marriage to him which oppresses Louise. While he apparently always loved Louise, Louise only “sometimes” loved Brently. She constantly felt that he “impose[d] a private will” upon her, as most husbands do their wives. And while she realizes that Brently likely did so without malice, she also realized that “a kind intention or a cruel intention” makes the repression “no less a crime.” 

Brently’s absence in the story does two things. First, it contrasts starkly with Louise’s life of illness and confinement. Second, Brently’s absence allows Louise to imagine a life of freedom outside of the confines of marriage , which gives her hope. In fact, when he appears alive and well (and dashes Louise’s hopes of freedom), she passes away. 

The Doctor(s)

Though the mention of them is brief, the final sentence of the story is striking. Chopin writes, “When the doctors came they said she had died of heart disease—of the joy that kills.” Just as she had no freedom in life, her liberation from the death of her husband is told as a joy that killed her.

In life as in death, the truth of Louise Mallard is never known. Everything the readers know about her delight in her newfound freedom happens in Louise’s own mind; she never gets the chance to share her secret joy with anyone else.

Consequently, the ending of the story is double-sided. If the doctors are to be believed, Louise Mallard was happy to see her husband, and her heart betrayed her. And outwardly, no one has any reason to suspect otherwise. Her reaction is that of a dutiful, delicate wife who couldn’t bear the shock of her husband returned from the grave. 

But readers can infer that Louise Mallard died of the grief of a freedom she never had , then found, then lost once more. Readers can interpret Louise’s death as her experience of true grief in the story—that for her ideal life, briefly realized then snatched away. 

In "The Story of an Hour," the appearance of hearts symbolize both repression and hope.

“The Story of an Hour” Symbolism and Motifs

  Symbols are any object, word, or other element that appear in the story and have additional meanings beyond. Motifs are elements from a story that gain meaning from being repeated throughout the narrative. The line between symbols and motifs is often hazy, but authors use both to help communicate their ideas and themes. 

  In “The Story of an Hour,” symbolism is everywhere, but the three major symbols present in the story are: 

•   The heart
• The house and the outdoors
• Joy and sorrow

Heart disease, referred to as a “heart condition” within the text, opens and closes the text. The disease is the initial cause for everyone’s concern, since Louise’s condition makes her delicate. Later, heart disease causes Louise’s death upon Brently’s safe return. In this case, Louise’s ailing heart has symbolic value because it suggests to readers that her life has left her heartbroken. When she believes she’s finally found freedom, Louise prays for a long life...when just the day before, she’d “had thought with a shudder that life might be long.”

As Louise realizes her freedom, it’s almost as if her heart sparks back to life. Chopin writes, “Now her bosom rose and fell tumultuously...she was striving to beat it back...Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.” These words suggest that, with her newfound freedom, the symptoms of her heart disease have lifted. Readers can surmise that Louise’s diseased heart is the result of being repressed, and hope brings her heart back to life. 

  Unfortunately, when Brently comes back, so does Louise’s heart disease. And, although her death is attributed to joy, the return of her (both symbolic and literal) heart disease kills her in the end. 

The House and the Outdoors

The second set of symbols are Louise’s house and the world she can see outside of her window. Chopin contrasts these two symbolic images to help readers better understand how marriage and repression have affected Louise. 

First of all, Louise is confined to the home—both within the story and in general. For her, however, her home isn’t a place to relax and feel comfortable. It’s more like a prison cell. All of the descriptions of the house reinforce the idea that it’s closed off and inescapable . For instance, the front door is locked when Mr. Mallard returns home. When Mrs. Mallard is overcome with grief, she goes deeper inside her house and locks herself in her room.

In that room, however, Mrs. Mallard takes note of the outdoors by looking out of her window.  Even in her momentary grief, she describes the “open square before her house” and “the new spring life.” The outdoors symbolize freedom in the story, so it’s no surprise that she realizes her newfound freedom as she looks out her window. Everything about the outside is free, beautiful, open, inviting, and pleasant...a stark contrast from the sadness inside the house . 

The house and its differences from outdoors serve as one of many symbols for how Louise feels about her marriage: barred from a world of independence.

Joy and Sorrow

  Finally, joy and sorrow are motifs that come at unexpected times throughout “The Story of an Hour.” Chopin juxtaposes joy and sorrow to highlight how tragedy releases Louise from her sorrow and gives her a joyous hope for the future. 

At first, sorrow appears as Louise mourns the death of her husband. Yet, in just a few paragraphs, she finds joy in the event as she discovers a life of her own. Though Louise is able to see that feeling joy at such an event is “monstrous,” she continues to revel in her happiness. 

  It is later that, when others expect her to be joyful, Josephine lets out a “piercing cry,” and Louise dies. Doctors interpret this as “the joy that kills,” but more likely it’s a sorrow that kills. The reversal of the “appropriate” feelings at each event reveals how counterintuitive the “self-assertion which she suddenly recognized as the strongest impulse of her being” is to the surrounding culture. This paradox reveals something staggering about Louise’s married life: she is so unhappy with her situation that grief gives her hope...and she dies when that hope is taken away. 

Key Takeaways: Kate Chopin's “The Story of an Hour” 

Analyzing Chopin’s “The Story of an Hour” takes time and careful thought despite the shortness of the story. The story is open to multiple interpretations and has a lot to reveal about women in the 1890s, and many of the story’s themes, characters, and symbols critique women’s marriage roles during the period .

There’s a lot to dig through when it comes to “The Story of an Hour” analysis. If you’re feeling overwhelmed, just remember a few things :

• Events from Kate Chopin’s life and from social changes in the 1890s provided a strong basis for the story.
• Mrs. Louise Mallard’s heart condition, house, and feelings represent deeper meanings in the narrative.
• Louise goes from a state of repression, to freedom, and then back to repression, and the thought alone is enough to kill her.

Remembering the key plot points, themes, characters, and symbols will help you write any essay or participate in any discussion. Kate Chopin’s “The Story of an Hour” has much more to uncover, so read it again, ask questions, and start exploring the story beyond the page!

What’s Next? 

You may have found your way to this article because analyzing literature can be tricky to master. But like any skill, you can improve with practice! First, make sure you have the right tools for the job by learning about literary elements. Start by mastering the 9 elements in every piece of literature , then dig into our element-specific guides (like this one on imagery and this one on personification .)

Another good way to start practicing your analytical skills is to read through additional expert guides like this one. Literary guides can help show you what to look for and explain why certain details are important. You can start with our analysis of Dylan Thomas’ poem, “Do not go gentle into that good night.” We also have longer guides on other words like The Great Gatsby and The Crucible , too.

If you’re preparing to take the AP Literature exam, it’s even more important that you’re able to quickly and accurately analyze a text . Don’t worry, though: we’ve got tons of helpful material for you. First, check out this overview of the AP Literature exam . Once you have a handle on the test, you can start practicing the multiple choice questions , and even take a few full-length practice tests . Oh, and make sure you’re ready for the essay portion of the test by checking out our AP Literature reading list!

Need more help with this topic? Check out Tutorbase!

Our vetted tutor database includes a range of experienced educators who can help you polish an essay for English or explain how derivatives work for Calculus. You can use dozens of filters and search criteria to find the perfect person for your needs.

Ashley Sufflé Robinson has a Ph.D. in 19th Century English Literature. As a content writer for PrepScholar, Ashley is passionate about giving college-bound students the in-depth information they need to get into the school of their dreams.

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Analysis of "The Story of an Hour" by Kate Chopin

Self-Determination and Louise Mallard Living for Herself

 D Fu Tong Zhao /EyeEm/Getty Images

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"The Story of an Hour" by American author Kate Chopin is a mainstay of feminist literary study . Originally published in 1894, the story documents the complicated reaction of Louise Mallard upon learning of her husband's death.

It is difficult to discuss "The Story of an Hour" without addressing the ironic ending. If you haven't read the story yet, you might as well, as it's only about 1,000 words. The Kate Chopin International Society is kind enough to provide a free, accurate version .

At the Beginning, News That Will Devastate Louise

At the beginning of the story, Richards and Josephine believe they must break the news of Brently Mallard's death to Louise Mallard as gently as possible. Josephine informs her "in broken sentences; veiled hints that revealed in half concealing." Their assumption, not an unreasonable one, is that this unthinkable news will be devastating to Louise and will threaten her weak heart.

A Growing Awareness of Freedom

Yet something even more unthinkable lurks in this story: Louise's growing awareness of the freedom she will have without Brently.

At first, she doesn't consciously allow herself to think about this freedom. The knowledge reaches her wordlessly and symbolically, via the "open window" through which she sees the "open square" in front of her house. The repetition of the word "open" emphasizes possibility and a lack of restrictions.

Patches of Blue Sky Amid the Clouds

The scene is full of energy and hope. The trees are "all aquiver with the new spring of life," the "delicious breath of rain" is in the air, sparrows are twittering, and Louise can hear someone singing a song in the distance. She can see "patches of blue sky" amid the clouds.

She observes these patches of blue sky without registering what they might mean. Describing Louise's gaze, Chopin writes, "It was not a glance of reflection, but rather indicated a suspension of intelligent thought." If she had been thinking intelligently, social norms might have prevented her from such a heretical recognition. Instead, the world offers her "veiled hints" that she slowly pieces together without even realizing she is doing so.

A Force Is Too Powerful to Oppose

In fact, Louise resists the impending awareness, regarding it "fearfully." As she begins to realize what it is, she strives "to beat it back with her will." Yet its force is too powerful to oppose.

This story can be uncomfortable to read because, on the surface, Louise seems to be glad that her husband has died. But that isn't quite accurate. She thinks of Brently's "kind, tender hands" and "the face that had never looked save with love upon her," and she recognizes that she has not finished weeping for him.

Her Desire for Self-Determination

But his death has made her see something she hasn't seen before and might likely never have seen if he had lived: her desire for self-determination .

Once she allows herself to recognize her approaching freedom, she utters the word "free" over and over again, relishing it. Her fear and her uncomprehending stare are replaced by acceptance and excitement. She looks forward to "years to come that would belong to her absolutely."

She Would Live for Herself

In one of the most important passages of the story, Chopin describes Louise's vision of self-determination. It's not so much about getting rid of her husband as it is about being entirely in charge of her own life, "body and soul." Chopin writes:

"There would be no one to live for her during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a will upon a fellow-creature."

Note the phrase men and women. Louise never catalogs any specific offenses Brently has committed against her; rather, the implication seems to be that marriage can be stifling for both parties.

The Irony of Joy That Kills

When Brently Mallard enters the house alive and well in the final scene, his appearance is utterly ordinary. He is "a little travel-stained, composedly carrying his grip-sack and umbrella." His mundane appearance contrasts greatly with Louise's "feverish triumph" and her walking down the stairs like a "goddess of Victory."

When the doctors determine that Louise "died of heart disease -- of joy that kills," the reader immediately recognizes the irony . It seems clear that her shock was not joy over her husband's survival, but rather distress over losing her cherished, newfound freedom. Louise did briefly experience joy -- the joy of imagining herself in control of her own life. And it was the removal of that intense joy that led to her death.

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Literary Analysis of The Story of an Hour

Kate Chopin’s The Story of an Hour is a short story that details women’s experiences in marriages in the 19 th Century. The story was initially published in 1894, with a huge focus on the view of society during that time. Chopin highlights how societal norms and expectations were repressive, especially for married women limited to household chores. According to Zea (2005), Chopin is popular for exemplifying unconventional ideas of marriage, including women’s independence and divorce, which attracted numerous criticism of her works during the Victorian period. The author utilizes progressive women at the center of her novels to criticize how society has limited their freedom and expression. The Story of an Hour illuminates such progressive thoughts using realistic fiction that details a woman’s point of view and experiences. The author uses Louise Mallard’s reaction to the news of her dead husband, Brently Mallard, to highlight relationships in marriage and women’s independence. Using effective characterization, symbolism, and irony, Chopin efficiently illustrates women’s challenges in marriage and the repressive society that fosters male domination.

Characterization Analysis

Chopin employs adequate characterization to give readers a deep insight into the protagonist’s experiences and predicaments in a patriarchal society. Louise exemplifies the feelings of many women in marriages constrained by societal norms and chains, even though most women hide their genuine feelings (Wan, 2009). Louise is a devoted and loving wife to Brently, as is expected of any married woman during the 19 th Century. The author describes, “Great care was taken to break to her as gently as possible the news of her husband’s death” (Chopin, 2018, p.1). The description implies that she is not as strong as her husband because women are perceived as weak. Louise receives the news of her husband’s death from her sister, Josephine, because she does not often go outside. She is restricted in her house to take care of the household chores. Chopin writes, “She did not hear the story as many women have heard the same” (Chopin, 2018, p.1). Cunningham (2004) points out that Louise’s restriction in the house portrays her isolation and seclusion from society because of her gender. Louise’s freedom is limited as she only stays home without interacting with other people.

Symbolism and Irony

Similarly, Chopin utilizes various symbols that illustrate the protagonist’s feeling of oppression and isolation in a male-dominated society. Louise Mallard yearns to be free even though she does not outwardly express it to anyone, including her husband. Her marriage restricts her as she cannot express herself fully and independently. Louise’s heart condition symbolizes her lack of freedom and her attitude toward marriage. The author emphasizes that Louise has “a heart trouble” that makes her weak and vulnerable, and thus has to be treated with great care.

Similarly, the “open window” from which Louise observes the outside world symbolizes the prospects of impending freedom and independence (Chopin, 2018, p.1). The author writes, “She could see in the open square before her house the tops of trees that were all aquiver with the new spring life” (Chopin, 2018, p.1). The open window and square symbolize new openings as she anticipates a life without restriction. Spring life represents new beginnings as Louise visualizes a life without her husband (Na’im & Qazi, 2020). As she views the changes outside, she gets connected to her desire to embrace a new life independently without the constraints of being married.

Correspondingly, Chopin utilizes irony to effectively illustrate the protagonist’s short-lived freedom, even though she yearned for it her entire life. Before receiving the news about her husband’s death in an accident, Louise had not thought much about her autonomy as a woman. However, in this moment of sadness, the prospects of a new beginning overwhelm her imagination as she envisions a life without restrictions (Paudel, 2019). Although she does not immediately show her joy, she gradually experiences a growing awareness of the independence and freedom that her new life promises. Although grieving, she slowly recognizes that she will be “Free! Body and soul free!” (Chopin, 2018, p.2). She realizes that not only her body would be free but also her mind as she unclutches herself from the shackles of marriage. However, her joy is short-lived when Brently Mallard opens the door confirming that he was not involved in an accident. Louise collapse and dies as doctors confirm that “she had died of heart disease-of joy that kills” (Chopin, 2018, p. 3). This statement is ironic because she did not die because of the happiness of seeing her allegedly dead husband alive. Instead, her short-lived feeling of joy and freedom as an independent woman leads to her demise.

Overall, Chopin’s The Story of an Hour efficiently illustrates the desire for married women in the 19 th Century to attain self-independence. Chopin utilizes the character of Louise Mallard with effective symbolism and irony to illustrate the predicaments of women in repressive societies and marriages. Chopin utilizes her experiences and observation of society to critique the marriages that fostered male dominance while limiting women’s freedom. At the center of the story is Louise Mallard, representing women in the 19 th Century and how they struggled to have autonomy and freedom in marriages. Nonetheless, Chopin’s message is universal and timeless as it advocates for gender equality.

• Chopin, K. (2018).  The Story of an Hour . Joe Books Ltd.
• Cunningham, M. (2004). The Autonomous Female Self and the Death of Louise Mallard in Kate Chopin’s “Story of an Hour.” English Language Notes ,  42 (1), 48-55.
• Na’im Ezghoul, D., & Qazi, K. A. (2020). A Lacanian Interpretation of Chopin’s Story of an Hour & Storm.  Journal of English Language and Literature ,  13 (3).
• Paul, K. (2019). Existential angst in Kate Chopin’s The Story of an Hour. Ncc Journal ,  4 (1), 97-99.
• Wan, X. (2009). Kate Chopin’s View on Death and Freedom in “The Story of an Hour” English Language Teaching ,  2 (4), 167-170.
• Zea, C. (2005). Kate Chopin, Unfiltered: Removing the Feminist Lens.  Historical Perspectives: Santa Clara University Undergraduate Journal of History, Series II ,  10 (1), 6.
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The Forgotten History of Hitler’s Establishment Enablers

By Adam Gopnik

Hitler is so fully imagined a subject—so obsessively present on our televisions and in our bookstores—that to reimagine him seems pointless. As with the Hollywood fascination with Charles Manson , speculative curiosity gives retrospective glamour to evil. Hitler created a world in which women were transported with their children for days in closed train cars and then had to watch those children die alongside them, naked, gasping for breath in a gas chamber. To ask whether the man responsible for this was motivated by reading Oswald Spengler or merely by meeting him seems to attribute too much complexity of purpose to him, not to mention posthumous dignity. Yet allowing the specifics of his ascent to be clouded by disdain is not much better than allowing his memory to be ennobled by mystery.

So the historian Timothy W. Ryback’s choice to make his new book, “ Takeover: Hitler’s Final Rise to Power ” (Knopf), an aggressively specific chronicle of a single year, 1932, seems a wise, even an inspired one. Ryback details, week by week, day by day, and sometimes hour by hour, how a country with a functional, if flawed, democratic machinery handed absolute power over to someone who could never claim a majority in an actual election and whom the entire conservative political class regarded as a chaotic clown with a violent following. Ryback shows how major players thought they could find some ulterior advantage in managing him. Each was sure that, after the passing of a brief storm cloud, so obviously overloaded that it had to expend itself, they would emerge in possession of power. The corporate bosses thought that, if you looked past the strutting and the performative antisemitism, you had someone who would protect your money. Communist ideologues thought that, if you peered deeply enough into the strutting and the performative antisemitism, you could spy the pattern of a popular revolution. The decent right thought that he was too obviously deranged to remain in power long, and the decent left, tempered by earlier fights against different enemies, thought that, if they forcibly stuck to the rule of law, then the law would somehow by itself entrap a lawless leader. In a now familiar paradox, the rational forces stuck to magical thinking, while the irrational ones were more logical, parsing the brute equations of power. And so the storm never passed. In a way, it still has not.

Ryback’s story begins soon after Hitler’s very incomplete victory in the Weimar Republic’s parliamentary elections of July, 1932. Hitler’s party, the National Socialist German Workers’ Party (its German initials were N.S.D.A.P.), emerged with thirty-seven per cent of the vote, and two hundred and thirty out of six hundred and eight seats in the Reichstag, the German parliament—substantially ahead of any of its rivals. In the normal course of events, this would have led the aging warrior Paul von Hindenburg, Germany’s President, to appoint Hitler Chancellor. The equivalent of Prime Minister in other parliamentary systems, the Chancellor was meant to answer to his party, to the Reichstag, and to the President, who appointed him and who could remove him. Yet both Hindenburg and the sitting Chancellor, Franz von Papen, had been firm never-Hitler men, and naïvely entreated Hitler to recognize his own unsuitability for the role.

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The N.S.D.A.P. had been in existence since right after the Great War, as one of many völkisch , or populist, groups; its label, by including “national” and “socialist,” was intended to appeal to both right-wing nationalists and left-wing socialists, who were thought to share a common enemy: the élite class of Jewish bankers who, they said, manipulated Germany behind the scenes and had been responsible for the German surrender. The Nazis, as they were called—a put-down made into a popular label, like “Impressionists”—began as one of many fringe and populist antisemitic groups in Germany, including the Thule Society, which was filled with bizarre pre- QAnon conspiracy adepts. Hitler, an Austrian corporal with a toothbrush mustache (when Charlie Chaplin first saw him in newsreels, he assumed Hitler was aping his Little Tramp character), had seized control of the Party in 1921. Then a failed attempt at a putsch in Munich, in 1923, left him in prison, but with many comforts, much respect, and paper and time with which to write his memoir, “Mein Kampf.” He reëmerged as the leader of all the nationalists fighting for election, with an accompanying paramilitary organization, the Sturmabteilung (S.A.), under the direction of the more or less openly homosexual Ernst Röhm, and a press office, under the direction of Joseph Goebbels. (In the American style, the press office recognized the political significance of the era’s new technology and social media, exploiting sound recordings, newsreels, and radio, and even having Hitler campaign by airplane.) Hitler’s plans were deliberately ambiguous, but his purposes were not. Ever since his unsuccessful putsch in Munich, he had, Ryback writes, “been driven by a single ambition: to destroy the political system that he held responsible for the myriad ills plaguing the German people.”

Ryback skips past the underlying mechanics of the July, 1932, election on the way to his real subject—Hitler’s manipulation of the conservative politicians and tycoons who thought that they were manipulating him—but there’s a notable academic literature on what actually happened when Germans voted that summer. The political scientists and historians who study it tell us that the election was a “normal” one, in the sense that the behavior of groups and subgroups proceeded in the usual way, responding more to the perception of political interests than to some convulsions of apocalyptic feeling.

The popular picture of the decline of the Weimar Republic—in which hyperinflation produced mass unemployment, which produced an unstoppable wave of fascism—is far from the truth. The hyperinflation had ended in 1923, and the period right afterward, in the mid-twenties, was, in Germany as elsewhere, golden. The financial crash of 1929 certainly energized the parties of the far left and the far right. Still, the results of the July, 1932, election weren’t obviously catastrophic. The Nazis came out as the largest single party, but both Hitler and Goebbels were bitterly disappointed by their standing. The unemployed actually opposed Hitler and voted en masse for the parties of the left. Hitler won the support of self-employed people, who were in decent economic shape but felt that their lives and livelihoods were threatened; of rural Protestant voters; and of domestic workers (still a sizable group), perhaps because they felt unsafe outside a rigid hierarchy. What was once called the petite bourgeoisie, then, was key to his support—not people feeling the brunt of economic precarity but people feeling the possibility of it. Having nothing to fear but fear itself is having something significant to fear.

It was indeed a “normal” election in that respect, responding not least to the outburst of “normal” politics with which Hitler had littered his program: he had, in the months beforehand, damped down his usual ranting about Jews and bankers and moneyed élites and the rest. He had recorded a widely distributed phonograph album (the era’s equivalent of a podcast) designed to make him seem, well, Chancellor-ish. He emphasized agricultural support and a return to better times, aiming, as Ryback writes, “to bridge divides of class and conscience, socialism and nationalism.” By the strange alchemy of demagoguery, a brief visit to the surface of sanity annulled years and years of crazy.

The Germans were voting, in the absent-minded way of democratic voters everywhere, for easy reassurances, for stability, with classes siding against their historical enemies. They weren’t wild-eyed nationalists voting for a millennial authoritarian regime that would rule forever and restore Germany to glory, and, certainly, they weren’t voting for an apocalyptic nightmare that would leave tens of millions of people dead and the cities of Germany destroyed. They were voting for specific programs that they thought would benefit them, and for a year’s insurance against the people they feared.

Ryback spends most of his time with two pillars of respectable conservative Germany, General Kurt von Schleicher and the right-wing media magnate Alfred Hugenberg. Utterly contemptuous of Hitler as a lazy buffoon—he didn’t wake up until eleven most mornings and spent much of his time watching and talking about movies—the two men still hated the Communists and even the center-left Social Democrats more than they did anyone on the right, and they spent most of 1932 and 1933 scheming to use Hitler as a stalking horse for their own ambitions.

Schleicher is perhaps first among Ryback’s too-clever-for-their-own-good villains, and the book presents a piercingly novelistic picture of him. Though in some ways a classic Prussian militarist, Schleicher, like so many of the German upper classes, was also a cultivated and cosmopolitan bon vivant, whom the well-connected journalist and diarist Bella Fromm called “a man of almost irresistible charm.” He was a character out of a Jean Renoir film, the regretful Junker caught in modern times. He had no illusions about Hitler (“What am I to do with that psychopath?” he said after hearing about his behavior), but, infinitely ambitious, he thought that Hitler’s call for strongman rule might awaken the German people to the need for a real strongman, i.e., Schleicher. Ryback tells us that Schleicher had a strategy he dubbed the Zähmungsprozess , or “taming process,” which was meant to sideline the radicals of the Nazi Party and bring the movement into mainstream politics. He publicly commended Hitler as a “modest, orderly man who only wants what is best” and who would follow the rule of law. He praised Hitler’s paramilitary troops, too, defending them against press reports of street violence. In fact, as Ryback explains, the game plan was to have the Brown Shirts crush the forces of the left—and then to have the regular German Army crush the Brown Shirts.

Schleicher imagined himself a master manipulator of men and causes. He liked to play with a menagerie of glass animal figurines on his desk, leaving the impression that lesser beings were mere toys to be handled. In June of 1932, he prevailed on Hindenburg to give the Chancellorship to Papen, a weak politician widely viewed as Schleicher’s puppet; Papen, in turn, installed Schleicher as minister of defense. Then they dissolved the Reichstag and held those July elections which, predictably, gave the Nazis a big boost.

Ryback spends many mordant pages tracking Schleicher’s whirling-dervish intrigues, as he tried to realize his fantasy of the Zähmungsprozess . Many of these involved schemes shared with the patriotic and staunchly anti-Nazi General Kurt von Hammerstein-Equord (familiar to viewers of “Babylon Berlin” as Major General Seegers). Hammerstein was one of the few German officers to fully grasp Hitler’s real nature. At a meeting with Hitler in the spring of 1932, Hammerstein told him bluntly, “Herr Hitler, if you achieve power legally, that would be fine with me. If the circumstances are different, I will use arms.” He later felt reassured when Hindenburg intimated that, if the Nazi paramilitary troops acted, he could order the Army to fire on them.

Yet Hammerstein remained impotent. At various moments, Schleicher, as the minister of defense, entertained what was in effect a plan for imposing martial law with himself in charge and Hammerstein at his side. In retrospect, it was the last hope of protecting the republic from Hitler—but after President Hindenburg rejected it, not out of democratic misgivings but out of suspicion of Schleicher’s purposes, Hammerstein, an essentially tragic figure, was unable to act alone. He suffered from a malady found among decent military men suddenly thrust into positions of political power: his scruples were at odds with his habits of deference to hierarchy. Generals became generals by learning to take orders before they learned how to give them. Hammerstein hated Hitler, but he waited for someone else of impeccable authority to give a clear direction before he would act. (He went on waiting right through the war, as part of the equally impotent military nexus that wanted Hitler dead but, until it was too late, lacked the will to kill him.)

The extra-parliamentary actions that were fleetingly contemplated in the months after the election—a war in the streets, or, more likely, a civil confrontation leading to a military coup—seemed horrific. The trouble, unknowable to the people of the time, is that, since what did happen is the worst thing that has ever happened, any alternative would have been less horrific. One wants to shout to Hammerstein and his cohorts, Go ahead, take over the government! Arrest Hitler and his henchmen, rule for a few years, and then try again. It won’t be as bad as what happens next. But, of course, they cannot hear us. They couldn’t have heard us then.

Ryback’s gift for detail joins with a nice feeling for the black comedy of the period. He makes much sport of the attempts by foreign journalists resident in Germany, particularly the New York Times’ Frederick T. Birchall, to normalize the Nazi ascent—with Birchall continually assuring his readers that Hitler, an out-of-his-depth simpleton, was not the threat he seemed to be, and that the other conservatives were far more potent in their political maneuvering. When Papen made a speech denying that Hitler’s paramilitary forces represented “the German nation,” Birchall wrote that the speech “contained dynamite enough to change completely the political situation in the Reich.” On another occasion, Birchall wrote that “the Hitlerites” were deluded to think they “hold the best cards”; there was every reason to think that “the big cards, the ones that will really decide the game,” were in the hands of people such as Papen, Hindenburg, and, “above all,” Schleicher.

Ryback, focussing on the self-entrapped German conservatives, generally avoids the question that seems most obvious to a contemporary reader: Why was a coalition between the moderate-left Social Democrats and the conservative but far from Nazified Catholic Centrists never even seriously attempted? Given that Hitler had repeatedly vowed to use the democratic process in order to destroy democracy, why did the people committed to democracy let him do it?

Many historians have jousted with this question, but perhaps the most piercing account remains an early one, written less than a decade after the war by the émigré German scholar Lewis Edinger, who had known the leaders of the Social Democrats well and consulted them directly—the ones who had survived, that is—for his study. His conclusion was that they simply “trusted that constitutional processes and the return of reason and fair play would assure the survival of the Weimar Republic and its chief supporters.” The Social Democratic leadership had become a gerontocracy, out of touch with the generational changes beneath them. The top Social Democratic leaders were, on average, two decades older than their Nazi counterparts.

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Worse, the Social Democrats remained in the grip of a long struggle with Bismarckian nationalism, which, however oppressive it might have been, still operated with a broad idea of legitimacy and the rule of law. The institutional procedures of parliamentarianism had always seen the Social Democrats through—why would those procedures not continue to protect them? In a battle between demagoguery and democracy, surely democracy had the advantage. Edinger writes that Karl Kautsky, among the most eminent of the Party’s theorists, believed that after the election Hitler’s supporters would realize he was incapable of fulfilling his promises and drift away.

The Social Democrats may have been hobbled, too, by their commitment to team leadership—which meant that no single charismatic individual represented them. Proceduralists and institutionalists by temperament and training, they were, as Edinger demonstrates, unable to imagine the nature of their adversary. They acceded to Hitler’s ascent with the belief that by respecting the rules themselves they would encourage the other side to play by them as well. Even after Hitler consolidated his power, he was seen to have secured the Chancellorship by constitutional means. Edinger quotes Arnold Brecht, a fellow exiled statesman: “To rise against him on the first night would make the rebels the technical violators of the Constitution that they wanted to defend.”

Meanwhile, the centrist Catholics—whom Hitler shrewdly recognized as his most formidable potential adversaries—were handicapped in any desire to join with the Democratic Socialists by their fear of the Communists. Though the Communists had previously made various alliances of convenience with the Social Democrats, by 1932 they were tightly controlled by Stalin, who had ordered them to depict the Social Democrats as being as great a threat to the working class as Hitler.

And, when a rumor spread that Hitler had once spat out a Communion Host, it only made him more popular among Catholics, since it called attention to his Catholic upbringing. Indeed, most attempts to highlight Hitler’s personal depravities (including his possibly sexual relationship with his niece Geli, which was no secret in the press of the time; her apparent suicide, less than a year before the election, had been a tabloid scandal) made him more popular. In any case, Hitler was skilled at reassuring the Catholic center, promising to be “the strong protector of Christianity as the basis of our common moral order.”

Hitler’s hatred of parliamentary democracy, even more than his hatred of Jews, was central to his identity, Ryback emphasizes. Antisemitism was a regular feature of populist politics in the region: Hitler had learned much of it in his youth from the Vienna mayor Karl Lueger. But Lueger was a genuine populist democrat, who brought universal male suffrage to the city. Hitler’s originality lay elsewhere. “Unlike Hitler’s anti-Semitism, a toxic brew of pseudoscientific readings and malignant mentoring, Hitler’s hatred of the Weimar Republic was the result of personal observation of political processes,” Ryback writes. “He hated the haggling and compromise of coalition politics inherent in multiparty political systems.”

Second only to Schleicher in Ryback’s accounting of Hitler’s establishment enablers is the media magnate Alfred Hugenberg. The owner of the country’s leading film studio and of the national news service, which supplied some sixteen hundred newspapers, he was far from an admirer. He regarded Hitler as manic and unreliable but found him essential for the furtherance of their common program, and was in and out of political alliance with him during the crucial year.

Hugenberg had begun constructing his media empire in the late nineteen-teens, in response to what he saw as the bias against conservatives in much of the German press, and he shared Hitler’s hatred of democracy and of the Jews. But he thought of himself as a much more sophisticated player, and intended to use his control of modern media in pursuit of what he called a Katastrophenpolitik —a “catastrophe politics” of cultural warfare, in which the strategy, Ryback says, was to “flood the public space with inflammatory news stories, half-truths, rumors, and outright lies.” The aim was to polarize the public, and to crater anything like consensus. Hugenberg gave Hitler money as well as publicity, but Hugenberg had his own political ambitions (somewhat undermined by a personal aura described by his nickname, der Hamster) and his own party, and Hitler was furiously jealous of the spotlight. While giving Hitler support in his media—a support sometimes interrupted by impatience—Hugenberg urged him to act rationally and settle for Nazi positions in the cabinet if he could not have the Chancellorship.

What strengthened the Nazis throughout the conspiratorial maneuverings of the period was certainly not any great display of discipline. The Nazi movement was a chaotic mess of struggling in-groups who feared and despised one another. Hitler rightly mistrusted the loyalty even of his chief lieutenant, Gregor Strasser, who fell on the “socialist” side of the National Socialists label. The members of the S.A., the Storm Troopers, meanwhile, were loyal mainly to their own leader, Ernst Röhm, and embarrassed Hitler with their run of sexual scandals. The N.S.D.A.P. was a hive of internal antipathies that could resolve only in violence—a condition that would endure to the last weeks of the war, when, standing amid the ruins of Germany, Hitler was enraged to discover that Heinrich Himmler was trying to negotiate a separate peace with the Western Allies.

The strength of the Nazis lay, rather, in the curiously enclosed and benumbed character of their leader. Hitler was impossible to discourage, not because he ran an efficient machine but because he was immune to the normal human impediments to absolute power: shame, calculation, or even a desire to see a particular political program put in place. Hindenburg, knowing of Hitler’s genuinely courageous military service in the Great War, appealed in their meetings to his patriotism, his love of the Fatherland. But Hitler, an Austrian who did not receive German citizenship until shortly before the 1932 election, did not love the Fatherland. He ran on the hydrogen fuel of pure hatred. He did not want power in order to implement a program; he wanted power in order to realize his pain. A fascinating and once classified document, prepared for the precursor of the C.I.A. , the O.S.S., by the psychoanalyst Walter Langer, used first-person accounts to gauge the scale of Hitler’s narcissism: “It may be of interest to note at this time that of all the titles that Hitler might have chosen for himself he is content with the simple one of ‘Fuehrer.’ To him this title is the greatest of them all. He has spent his life searching for a person worthy of the role but was unable to find one until he discovered himself.” Or, as the acute Hungarian American historian John Lukacs, who spent a lifetime studying Hitler’s psychology, observed, “His hatred for his opponents was both stronger and less abstract than was his love for his people. That was (and remains) a distinguishing mark of the mind of every extreme nationalist.”

In November of 1932, one more Reichstag election was held. Once again, it was a bitter disappointment to Hitler and Goebbels—“a disaster,” as Goebbels declared on Election Night. (An earlier Presidential election had also reaffirmed Hindenburg over the Hitler movement.) The Nazi wave that everyone had expected failed to materialize. The Nazis lost seats, and, once again, they could not crack fifty per cent. The Times explained that the Hitler movement had passed its high-water mark, and that “the country is getting tired of the Nazis.” Everywhere, Ryback says, the cartoonists and editorialists delighted in Hitler’s discomfiture. One cartoonist showed him presiding over a graveyard of swastikas. In December of 1932, having lost three elections in a row, Hitler seemed to be finished.

The subsequent maneuverings are as dispiriting to read about as they are exhausting to follow. Basically, Schleicher conspired to have Papen fired as Chancellor by Hindenburg and replaced by himself. He calculated that he could cleave Gregor Strasser and the more respectable elements of the Nazis from Hitler, form a coalition with them, and leave Hitler on the outside looking in. But Papen, a small man in everything except his taste for revenge, turned on Schleicher in a rage and went directly to Hitler, proposing, despite his earlier never-Hitler views, that they form their own coalition. Schleicher’s plan to spirit Strasser away from Hitler and break the Nazi Party in two then stumbled on the reality that the real base of the Party was fanatically loyal only to its leader—and Strasser, knowing this, refused to leave the Party, even as he conspired with Schleicher to undermine it.

Then, in mid-January, a small regional election in Lipperland took place. Though the results were again disappointing for Hitler and Goebbels—the National Socialist German Workers’ Party still hadn’t surmounted the fifty-per-cent mark—they managed to sell the election as a kind of triumph. At Party meetings, Hitler denounced Strasser. The idea, much beloved by Schleicher and his allies, of breaking a Strasser wing of the Party off from Hitler became obviously impossible.

Hindenburg, in his mid-eighties and growing weak, became fed up with Schleicher’s Machiavellian stratagems and dispensed with him as Chancellor. Papen, dismissed not long before, was received by the President. He promised that he could form a working majority in the Reichstag by simple means: Hindenburg should go ahead and appoint Hitler Chancellor. Hitler, he explained, had made significant “concessions,” and could be controlled. He would want only the Chancellorship, and not more seats in the cabinet. What could go wrong? “You mean to tell me I have the unpleasant task of appointing this Hitler as the next Chancellor?” Hindenburg reportedly asked. He did. The conservative strategists celebrated their victory. “So, we box Hitler in,” Hugenberg said confidently. Papen crowed, “Within two months, we will have pressed Hitler into a corner so tight that he’ll squeak!”

“The big joke on democracy is that it gives its mortal enemies the tools to its own destruction,” Goebbels said as the Nazis rose to power—one of those quotes that sound apocryphal but are not. The ultimate fates of Ryback’s players are varied, and instructive. Schleicher, the conservative who saw right through Hitler’s weakness—who had found a way to entrap him, and then use him against the left—was killed by the S.A. during the Night of the Long Knives, in 1934, when Hitler consolidated his hold over his own movement by murdering his less loyal lieutenants. Strasser and Röhm were murdered then, too. Hitler and Goebbels, of course, died by their own hands in defeat, having left tens of millions of Europeans dead and their country in ruins. But Hugenberg, sidelined during the Third Reich, was exonerated by a denazification court in the years after the war. And Papen, who had ushered Hitler directly into power, was acquitted at Nuremberg ; in the nineteen-fifties, he was awarded the highest honorary order of the Catholic Church.

Does history have patterns or merely circumstances and unique contingencies? Certainly, the Germany of 1932 was a place unto itself. The truth, that some cycles may recur but inexactly, is best captured in that fine aphorism “History does not repeat itself, but it sometimes rhymes.” Appropriately, no historian is exactly sure who said this: widely credited to Mark Twain , it was more likely first said long after his death.

We see through a glass darkly, as patterns of authoritarian ambition seem to flash before our eyes: the demagogue made strong not by conviction but by being numb to normal human encouragements and admonitions; the aging center left; the media lords who want something like what the demagogue wants but in the end are controlled by him; the political maneuverers who think they can outwit the demagogue; the resistance and sudden surrender. Democracy doesn’t die in darkness. It dies in bright midafternoon light, where politicians fall back on familiarities and make faint offers to authoritarians and say a firm and final no—and then wake up a few days later and say, Well, maybe this time, it might all work out, and look at the other side! Precise circumstances never repeat, yet shapes and patterns so often recur. In history, it’s true, the same thing never happens twice. But the same things do. ♦

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What to Know About Trump’s Cash as He Faces Penalties of $537 Million

Donald J. Trump and his lawyers have bragged in public about his cash hoard. Court papers tell a different story.

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This is a moment of financial truth for Donald J. Trump.

The former president, who has lost two recent civil cases, is under pressure to find enough cash to stave off enormous asset seizures while he appeals judgments against him totaling at least $537 million.

One, $454 million, was imposed by a New York State judge last month in Mr. Trump’s civil fraud trial . The other, $83.3 million, was awarded in January by a federal jury in a defamation case brought by the writer E. Jean Carroll.

Mr. Trump has long bragged he is a billionaire many times over. While much of his wealth is tied up in real estate, he testified under oath less than a year ago that he had “substantially in excess of $400 million in cash.” And after last month’s verdict, Alina Habba, one of Mr. Trump’s lawyers, said that he is worth “ billions and billions and billions of dollars ” and “happens to have a lot of cash.”

But a filing Wednesday by Ms. Habba and other lawyers raised questions about just how liquid he actually is . They offered a New York appeals court a bond of only $100 million while he appeals. Mr. Trump’s lawyers said that to secure the full $454 million set by Justice Arthur F. Engoron, he would probably need to sell properties.

Unless the appeals court cuts him a break, in each case Mr. Trump would have to post cash or a bond in the full amount, plus an additional percentage to account for interest. If he fails, the state’s attorney general, Letitia James, who brought the fraud cause, has warned she will move quickly to seize some of his buildings .

How much cash does Mr. Trump have?

Mr. Trump has been exaggerating his net worth for decades and his company, the Trump Organization, is privately held. That means it is not subject to the same scrutiny as public corporations like Apple or Microsoft.

Mr. Trump’s current cash position is most likely known only by a handful of people inside his orbit.

In early 2017, as Mr. Trump was preparing to leave for the White House, his reserves were running low, according to prosecutors with the attorney general’s office: He had roughly $86 million in cash, $26 million of which was tied up in a partnership and not readily accessible. That was significantly less than in previous years, documents show.

Since then, Mr. Trump has sold assets, including his license to operate a golf course in the Bronx and a lease on a hotel in Washington, D.C. His proceeds from the hotel lease alone were roughly $130 million before taxes, according to a document filed in Ms. James’s case.

That is big money, but there are a lot of real and potential demands on Mr. Trump. He needs to fund the daily operations of his businesses, many of which have lost money over the years and have themselves required one-time cash infusions.

And Mr. Trump for years was fighting the Internal Revenue Service over an audit, according to documents obtained by The New York Times and published in 2020 . It is unknown whether the audit is resolved, but at the time it was estimated that an unfavorable ruling could cost him more than $100 million.

Can he post assets for the bonds?

Mr. Trump’s lawyers have said they plan to seek a bond, rather than post cash, as they proceed with their appeals.

An appeal bond is a guarantee filed with the court by a financial institution that promises that a judgment will be paid. But appeal bonds are risky, and a company providing one would be on the hook if Mr. Trump loses.

Defendants usually pay steep fees to the company, as much as 3 percent of the bond, and must provide collateral for the full amount. Firms usually require primarily cash, stocks and bonds: things that can be liquidated quickly.

In New York, a defendant typically also owes 9 percent interest to the plaintiff until the judgment is paid or the appeal resolved, an amount reflected in the size of the bond.

A 2023 public filing on Mr. Trump’s finances showed that he had investments, including stocks and bonds, worth hundreds of millions of dollars that he could pledge as collateral, assuming he still owns them. Their exact value is not known, because he was only required to list the value in a broad range. He also could sell a building to free up cash, but that could take months; he is required to post cash or a bond in both cases in a matter of weeks.

Mr. Trump also owns a stake in Trump Media & Technology Group, his social media company, which could be worth as much as $4 billion if a long-delayed merger closes this month. But Mr. Trump’s shares are subject to a lockup period and come with market and other risks, making them unattractive collateral.

What comes next?

On Wednesday, a single appellate judge turned down Mr. Trump’s request for relief in the fraud case. This month he will get another chance when his lawyers are heard by a panel of five appellate court judges . For now he is required to post cash or a bond by March 25.

Then there are the cases involving Ms. Carroll.

Mr. Trump already has deposited about $5.6 million with the Manhattan federal court while he appeals a verdict last May in which a jury awarded her $5 million after finding Mr. Trump sexually abused her decades ago and then defamed her in a 2022 social media post.

But Mr. Trump's lawyers last month asked a judge, Lewis A. Kaplan, to delay the execution of the January $83.3 million judgment until the resolution of Mr. Trump’s post-trial motions. Mr. Trump has about a week remaining to post a bond.

Mr. Trump’s lawyers in a filing Feb. 23 said their motions would focus on the “excessiveness” of the award. They argued that it would require “a sizable bond which will come with very substantial, nonrecoverable financial costs.”

“These costs plainly constitute irreparable injury,” his lawyers wrote.

As an alternative, Mr. Trump’s lawyers asked the judge to let Mr. Trump post a bond “in a fraction of the amount” of the judgment until the motions are resolved.

Ms. Carroll’s lawyers urged the judge in a filing Thursday to deny the request.

They argued that Mr. Trump had offered no information about his finances or the nature and location of his assets; he had not specified what percentage of his assets were liquid or explain how Ms. Carroll might go about collecting; and he did not address the risks from the separate judgment obtained by Ms. James’s office or the 91 felony charges Mr. Trump faces “that might end his career as a businessman permanently.”

“He simply asks the court to ‘trust me,’” Ms. Carroll’s lawyers wrote, “and offers, in a case with an $83.3 million judgment against him, the court filing equivalent of a paper napkin, signed by the least trustworthy of borrowers.”

Kitty Bennett contributed research.

Susanne Craig is an investigative reporter. She has written about the finances of Donald J. Trump and Robert F. Kennedy Jr. and has been a journalist for more than 30 years. More about Susanne Craig

Benjamin Weiser is a reporter covering the Manhattan federal courts. He has long covered criminal justice, both as a beat and investigative reporter. Before joining The Times in 1997, he worked at The Washington Post. More about Benjamin Weiser

The intermittent fasting trend may pose risks to your heart

Intermittent fasting — when people only eat at certain times of day — has exploded in popularity in recent years. But now a surprising new study suggests that there might be reason to be cautious: It found that some intermittent fasters were more likely to die of heart disease.

The findings were presented Monday at an American Heart Association meeting in Chicago and focused on a popular version of intermittent fasting that involves eating all your meals in just eight hours or less — resulting in at least a 16-hour daily fast, commonly known as “time-restricted” eating.

The study analyzed data on the dietary habits of 20,000 adults across the United States who were followed from 2003 to 2018. They found that people who adhered to the eight-hour eating plan had a 91 percent higher risk of dying from heart disease compared to people who followed a more traditional dietary pattern of eating their food across 12 to 16 hours each day.

The scientists found that this increased risk also applied to people who were already living with a chronic disease or cancer. People with existing cardiovascular disease who followed a time-restricted eating pattern had a 66 percent higher risk of dying from heart disease or a stroke. Those who had cancer meanwhile were more likely to die of the disease if they followed a time-restricted diet compared to people with cancer who followed an eating duration of at least 16 hours a day.

The study results suggest that people who practice intermittent fasting for long periods of time, particularly those with existing heart conditions or cancer, should be “extremely cautious,” said Victor Wenze Zhong, the lead author and the chair of the department of epidemiology and biostatistics at the Shanghai Jiao Tong University School of Medicine in China.

“Based on the evidence as of now, focusing on what people eat appears to be more important than focusing on the time when they eat,” he added.

Zhong said that he and his colleagues conducted the new study because they wanted to see how eating in a narrow window each day would impact “hard endpoints” such as heart disease and mortality. He said that they were surprised by their findings.

“We had expected that long-term adoption of eight-hour time restricted eating would be associated with a lower risk of cardiovascular death and even all-cause death,” he said.

Losing lean muscle mass

The data didn’t explain why time-restricted eating increased a person’s health risks. But the researchers did find that people who followed a 16:8 time-restricted eating pattern, where they eat during an eight-hour window and fast for 16, had less lean muscle mass compared to people who ate throughout longer periods of the day. That lines up with a previous clinical trial published in JAMA Internal Medicine , which found that people assigned to follow a time-restricted diet for three months lost more muscle than a control group that was not assigned to do intermittent fasting.

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Holding onto muscle as you age is important. It protects you against falls and disability and can boost your metabolic health. Studies have found that having low muscle mass is linked to higher mortality rates, including a higher risk of dying from heart disease, said Zhong.

He stressed that the findings were not definitive. The study uncovered a correlation between time-restricted eating and increased mortality, but it could not show cause and effect. It’s possible for example that people who restricted their food intake to an eight-hour daily window had other habits or risk factors that might explain their increased likelihood of dying from heart disease. The scientists also noted that the study relied on self-reported dietary information. It’s also possible that the participants did not always accurately report their eating durations.

A trendy form of dieting and weight control

Intermittent fasting has been widely touted by celebrities and health experts who say it produces weight loss and a variety of health benefits. Another form of intermittent fasting involves alternating fasting days with days of eating normally. Some people follow the 5:2 diet, in which they eat normally for five days a week and then fast for two days.

But time-restricted eating is generally considered the easiest form of intermittent fasting for people to follow because it doesn’t require full-day fasts. It also typically doesn’t involve excessive food restriction. Adherents often eat or drink whatever they want during the eight-hour eating period — the only rule is that they don’t eat at other times of day.

Some of the earliest studies on time-restricted eating found that it helped prevent mice from developing obesity and metabolic syndrome. These were followed by mostly small clinical trials in humans, some of which showed that time-restricted eating helped people lose weight and improve their blood pressure , blood sugar and cholesterol levels. These studies were largely short-term, typically lasting one to three months, and in some cases showed no benefit .

One of the most rigorous studies of time-restricted eating was published in the New England Journal of Medicine in 2022. It found that people with obesity who were assigned to follow a low-calorie diet and instructed to eat only between the hours of 8 a.m. and 4 p.m. daily lost no more weight than people who ate the same number of calories throughout the day with no restrictions on when they could eat. The two diets had similar effects on blood pressure, blood sugar, cholesterol, and other metabolic markers.

The findings suggest that any benefits of time-restricted eating likely result from eating fewer calories.

More questions about intermittent fasting

Christopher Gardner, the director of nutrition studies at the Stanford Prevention Research Center, said he encouraged people to approach the new study with “healthy skepticism.” He said that while the findings were interesting, he wants to see all the data, including potential demographic differences in the study subjects.

“Did they all have the same level of disposable income and the same level of stress,” he said. “Or is it that the people who ate less than eight hours a day worked three jobs, had very high stress, and didn’t have time to eat?”

Gardner said that studying intermittent fasting can be challenging because there are so many variations of it, and determining its impact on longevity requires closely following people for long periods of time.

But he said that so far, the evidence supporting intermittent fasting for weight loss and other outcomes is mixed at best, with some studies showing short-term benefits and others showing no benefit at all. “I don’t think the data are very strong for intermittent fasting,” he added. “One of the challenges in nutrition is that just because something works really well for a few people doesn’t mean it’s going to work for everyone.”

He said that his biggest complaint with intermittent fasting is that it doesn’t address diet quality. “It doesn’t say anything about choosing poorly when you’re eating,” he said. “What if I have an eight-hour eating window but I’m eating Pop Tarts and Cheetos and drinking Coke in that window? I’m not a fan of that long term. I think that’s potentially problematic.”

Do you have a question about healthy eating? Email [email protected] and we may answer your question in a future column.

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P&O Ferries has paid some crew less than half UK minimum wage

Company is using legal loophole UK government promised to close two years ago, Guardian analysis suggests

P&O Ferries, which controversially sacked about 800 workers in 2022 , has paid some crew members less than half the UK minimum wage thanks to an ongoing legal loophole the British government promised to close two years ago.

Agency workers at the company, which is owned by the Dubai-based DP World, have in some cases been earning about £4.87 an hour – even lower than the £5.15 an hour the company suggested was its lowest pay rate – an analysis of recent payslips conducted by the Guardian and ITV News suggests.

The low-cost crew, who replaced many of the workers P&O axed two years ago, are being hired from countries including India, the Philippines and Malaysia.

They are understood to be working 12-hour daily shifts, without a day off for months at a time, on the Dover to Calais route. One worker described the whole experience as like being in “jail”.

Grant Shapps, who was the UK’s transport secretary when P&O fired its workers in March 2022, had promised to legislate to improve pay for cross-Channel ferry workers. At the time he accused the ferry company of operating like “pirates of the high sea” and wrote to the company to state : “This government will not stand by while the requirement to treat seafarers with due respect and fairness is brazenly ignored.”

While the British government has so far failed to deliver legally binding pay rates equivalent to the UK minimum wage, the French government is poised this week to make its own response to P&O’s sackings, with the introduction of legislation that will force cross-Channel operators to pay their workers the French minimum wage of at least €11.65 (£9.95) an hour.

The UK minimum wage now stands at £10.42 an hour and will rise to £11.44 an hour from April – but the rates do not apply to maritime workers employed by an overseas agency who work on foreign-registered ships in international waters.

Louise Haigh, the shadow transport secretary, said: “Ministers cannot sit back any longer and allow these exploitative employment practices to continue at sea.”

A spokesperson for the Department for Transport said the government had “worked swiftly within the parameters of the parliamentary system” to address a “complex issue involving the minimum wage, ports, and international maritime law”. The department is expecting its Seafarers’ Wages Act, which will ensure workers onboard ferries are paid at least an equivalent to the UK national minimum wage, will come into force this summer.

Sunday marked the second anniversary of P&O’s sacking of hundreds of workers without consultation or notice. The company replaced them with overseas agency staff on pay rates which it told parliament in March 2022 averaged £5.50 an hour – with the lowest-paid earning about £5.15 an hour .

However, payslips of P&O workers from the past four months, which have been seen by the Guardian and ITV News, suggest crew members may be earning even less than the company said. The average hourly rate on the payslips appears to be about £4.87, excluding holiday pay, according to the Guardian’s analysis. The UK minimum wage, which experts say would also exclude holiday pay, has been above that level for 20 years .

Darren Newman, the founder of Darren Newman Employment Law, said: “Describing the hourly rate to include holiday pay is not a genuine reflection of how much a worker has been paid for the work they have done. For comparison purposes with UK rates, holiday pay should be excluded before working out the hourly rate that the worker is receiving.”

P&O Ferries said it did “not recognise” the pay rates of below £5 an hour and a spokesperson added: “We always pay at least the minimum wage required by national and international law.”

He added that all crew on the firm’s Dover to Calais route earned the equivalent of £5.20 an hour – a figure that appears to be higher because it includes holiday pay, according to the Guardian’s calculations.

After the 2022 sackings, Shapps echoed public outrage, telling the Commons’ transport select committee that it was “completely unsustainable” for P&O’s chief executive, Peter Hebblethwaite, to remain in position.

He then wrote to Hebblethwaite , promising: “I will be bringing a comprehensive package of measures to parliament to ensure that seafarers are protected against these types of actions in the way that parliament and this government already intended.

“Through that package, I intend to block the outcome that P&O Ferries has pursued, including paying workers less than the minimum wage.”

Hebblethwaite told a joint hearing of the Commons business and transport committees in March 2022 that P&O Ferries decided not to consult trade unions before sacking the workers in order to “save this business”. He rejected calls to resign.

The new UK law, which aims to force ferry operators to pay rates equivalent to the UK minimum wage, is still not active despite receiving royal assent . This means cross-Channel ferry workers can continue to be legally paid less than the UK minimum wage two years on from Shapps’s comments.

P&O crew members interviewed by the Guardian and ITV News said they worked 12-hour shifts, seven days a week, for up to 17 weeks at a time. The workers said they must remain on the ship until their contract ends.

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“It’s the same place, the same people, you cannot go outside,” one crew member said. “[It’s the] mental stress. You go crazy. Every day it’s sleep, work. Sleep, work. That’s it.”

Another crew member said the work felt “like [being in] a jail”.

All of the payslips inspected by the Guardian and ITV News were issued to workers from far-flung countries by a Maltese recruitment business, the documents further suggest.

In addition to his promise to eradicate maritime pay below the UK’s minimum wage, Shapps also told P&O he would review its contracts with the government .

However, figures obtained last year by the Labour party showed that about $291m (£230m) had been paid to P&O Ferries and its parent DP World by the UK government between March 2022 and July 2023.

The Insolvency Service, which can fine companies and disqualify directors, conducted a criminal investigation into the way P&O sacked its staff, as it appeared to have breached employment law by failing to consult on the redundancies.

However, it was concluded there was no realistic prospect of a conviction – the agency’s civil investigation is continuing.

A spokesperson for P&O Ferries said: “ We always pay at least the minimum wage required by national and international law.

“In addition to wages we provide all meals, modern accommodation, gym and sauna, and travel to and from their home country including flights for international workers coming on to our ships.

“We provide an industry-leading support package and work hard to ensure their welfare, wellbeing and mental health are properly cared for.

“The tough but necessary changes we made to the business mean that P&O Ferries and 2,200 jobs have been saved. In 2023 we transported goods worth hundreds of millions of pounds between the UK and Europe; and carried 3.5 million tourists across the Channel on our modern fleet.”

A Department for Transport spokesperson added: “We have worked at pace to bring forward our Seafarers’ Wages Act, consulting extensively with industry and unions to ensure we have ironclad legislation in place to help prevent this from happening again, while working to strengthen seafarer rights around the world.

“We expect to bring this into force in the summer, around the same time as French legislation, forming an international minimum wage corridor across the Dover strait.”

• P&O Ferries
• Shipping industry
• Minimum wage
• Employment law

More on this story

Nothing has been done to stop repeat of P&O Ferries scandal, unions say

P&O Ferries: prospect of fine over mass sackings is ‘less than remote’

Port of Dover declares critical incident as coaches face long wait to board ferries

One year on, has P&O Ferries got away with illegally sacking all its crew?

Home Office cancels Border Force contract with P&O Ferries after mass sackings

TUC chief calls for directors of P&O Ferries to be disqualified

P&O Ferries boss ‘will have to go’, transport secretary tells MPs

P&O Ferries ship left stranded in Irish Sea for two hours after breakdown

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Home — Essay Samples — Literature — The Story of An Hour — The Main Themes of The Story of an Hour

The Main Themes of The Story of an Hour

• Categories: Kate Chopin The Story of An Hour

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Published: Dec 3, 2020

Words: 557 | Page: 1 | 3 min read

The essay delves into the unsettling lives and crimes of two notorious American serial killers, Ted Bundy and Jeffrey Dahmer, from their troubled childhoods to their heinous acts in adulthood. Despite the distinct modus operandi and victim profiles—Bundy targeted young women, while Dahmer preyed on young men—parallel threads run through their histories, notably traumatic family backgrounds and experiences that possibly served as a catalyst for their future crimes. Both exhibited early signs of psychopathy and violent tendencies and were marked by some degree of familial mental health issues. Their killings were closely tied to their sexual gratifications and their need to exert control. A notable discourse lies in the exploration of whether their horrifying acts were shaped more decisively by nature or nurture, with the author speculating that a confluence of both factors was likely. Both men, after committing a string of horrifying and repulsive crimes, met their own grim fates, closing dark chapters in American criminal history.

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Intermittent fasting linked to higher risk of cardiovascular death, research suggests

Intermittent fasting, a diet pattern that involves alternating between periods of fasting and eating, can lower blood pressure and help some people lose weight , past research has indicated.

But an analysis presented Monday at the American Heart Association’s scientific sessions in Chicago challenges the notion that intermittent fasting is good for heart health. Instead, researchers from Shanghai Jiao Tong University School of Medicine in China found that people who restricted food consumption to less than eight hours per day had a 91% higher risk of dying from cardiovascular disease over a median period of eight years, relative to people who ate across 12 to 16 hours.

It’s some of the first research investigating the association between time-restricted eating (a type of intermittent fasting) and the risk of death from cardiovascular disease.

The analysis — which has not yet been peer-reviewed or published in an academic journal — is based on data from the Centers for Disease Control and Prevention’s National Health and Nutrition Examination Survey collected between 2003 and 2018. The researchers analyzed responses from around 20,000 adults who recorded what they ate for at least two days, then looked at who had died from cardiovascular disease after a median follow-up period of eight years.

However, Victor Wenze Zhong, a co-author of the analysis, said it’s too early to make specific recommendations about intermittent fasting based on his research alone.

“Practicing intermittent fasting for a short period such as 3 months may likely lead to benefits on reducing weight and improving cardiometabolic health,” Zhong said via email. But he added that people “should be extremely cautious” about intermittent fasting for longer periods of time, such as years.

Intermittent fasting regimens vary widely. A common schedule is to restrict eating to a period of six to eight hours per day, which can lead people to consume fewer calories, though some eat the same amount in a shorter time. Another popular schedule is the "5:2 diet," which involves eating 500 to 600 calories on two nonconsecutive days of the week but eating normally for the other five.

Zhong said it’s not clear why his research found an association between time-restricted eating and a risk of death from cardiovascular disease. He offered an observation, though: People who limited their eating to fewer than eight hours per day had less lean muscle mass than those who ate for 12 to 16 hours. Low lean muscle mass has been linked to a higher risk of cardiovascular death .

Cardiovascular and nutrition experts who were not involved in the analysis offered several theories about what might explain the results.

Dr. Benjamin Horne, a research professor at Intermountain Health in Salt Lake City, said fasting can increase stress hormones such as cortisol and adrenaline, since the body doesn’t know when to expect food next and goes into survival mode. That added stress may raise the short-term risk of heart problems among vulnerable groups, he said, particularly elderly people or those with chronic health conditions.

Horne’s research has shown that fasting twice a week for four weeks, then once a week for 22 weeks may increase a person’s risk of dying after one year but decrease their 10-year risk of chronic disease.

“In the long term, what it does is reduces those risk factors for heart disease and reduces the risk factors for diabetes and so forth — but in the short term, while you’re actually doing it, your body is in a state where it’s at a higher risk of having problems,” he said.

Even so, Horne added, the analysis “doesn’t change my perspective that there are definite benefits from fasting, but it’s a cautionary tale that we need to be aware that there are definite, potentially major, adverse effects.” 

Intermittent fasting gained popularity about a decade ago, when the 5:2 diet was touted as a weight loss strategy in the U.K. In the years to follow, several celebrities espoused the benefits of an eight-hour eating window for weight loss, while some Silicon Valley tech workers believed that extreme periods of fasting boosted productivity . Some studies have also suggested that intermittent fasting might help extend people’s lifespans by warding off disease .

However, a lot of early research on intermittent fasting involved animals. In the last seven years or so, various clinical trials have investigated potential benefits for humans, including for heart health.

“The purpose of intermittent fasting is to cut calories, lose weight,” said Penny Kris-Etherton, emeritus professor of nutritional sciences at Penn State University and a member of the American Heart Association nutrition committee. “It’s really how intermittent fasting is implemented that’s going to explain a lot of the benefits or adverse associations.”

Dr. Francisco Lopez-Jimenez, a cardiologist at Mayo Clinic, said the timing of when people eat may influence the effects they see. 

“I haven’t met a single person or patient that has been practicing intermittent fasting by skipping dinner,” he said, noting that people more often skip breakfast, a schedule associated with an increased risk of heart disease and death .

The new research comes with limitations: It relies on people’s memories of what they consumed over a 24-hour period and doesn’t consider the nutritional quality of the food they ate or how many calories they consumed during an eating window.

So some experts found the analysis too narrow.

“It’s a retrospective study looking at two days’ worth of data, and drawing some very big conclusions from a very limited snapshot into a person’s lifestyle habits,” said Dr. Pam Taub, a cardiologist at UC San Diego Health.

Taub said her patients have seen “incredible benefits” from fasting regimens.

“I would continue doing it,” she said. “For people that do intermittent fasting, their individual results speak for themselves. Most people that do intermittent fasting, the reason they continue it is they see a decrease in their weight. They see a decrease in blood pressure. They see an improvement in their LDL cholesterol.” 

Kris-Etherton, however, urged caution: “Maybe consider a pause in intermittent fasting until we have more information or until the results of the study can be better explained,” she said.

Aria Bendix is the breaking health reporter for NBC News Digital.