ProfessorClass23 April 2014
The story starts with stage directions that commence the five main characters of the play. It was in a depressing setting of the scruffy kitchen in an abandoned farmhouse. The setting institutes the melancholy, sympathetic disposition of the play. Additionally, the play situate in the kitchen instead of at the scene of the crime like the bedroom. The play subsists in a confidential, familial, and feminine domain relatively than the primarily male communal realm, revealing the focal point of the effort on the women. The main characters originally emerge in a disconnected faction that traces the gentleman into the kitchen. It directly suggests a detachment between the two sexual categories that develops increasingly outstanding throughout the play. Men emerge self-assured and professional; women are apprehensive and anxious, signifying their sense of separation and anguish. Women linger at the entrance and unreservedly state themselves as audience relatively than performers. A big difference is that the gentlemen only be given a first name in contrast to women, are called by their spouses' family names, suggesting at the fake imposition of gentleman’s individuality in the feminine self. In spite of the testosterone supremacy that subsists throughout the preponderance of this fraction of the play, the women seem to oppose the category forced by the men. The bird and the birdcage symbolize Mrs. Wright herself. She is incapable to get free in her cage that is her marriage to her husband. The phone is in point of fact a representation of liberty for Mrs. Wright who is prohibited and overpowered by her spouse. The voice and glee of Mrs. Wright's are also believed to be a representation. This means emancipation and peculiarity. Knotting means she assassinated her spouse by tying (and knotting) a rope around her neck.
