The Symbolism of Sex and Gender Roles in Trifles


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Murder, torment, and anarchy are just three of the remarkable issues that can be found all through the one demonstration play called Trifles, composed by Susan Glaspell in the year, 1916, and mirrors the writer’s distraction with culture-bound thoughts of sex roles and gender. In accordance with the title of the play, ‘Trifles’ by G. Susan recommends that the worries from the women are always viewed as simple trifles, insignificant issues that bear practically no significance to the genuine work of society, which, obviously, is being done by the male counterpart. Susan questions, and in this manner calls the peruser or viewers to likewise address the general estimation of women’s and men’s viewpoints and work by setting up a drama filled with tensions that unfurls through the improvement of two particular accounts or narratives, one male and female. As Holstein contends in her paper, be that as it may, the questioning G. Susan incites isn’t really just about roles of women in the society at large but instead how learning and point of view are esteemed or cheapened within explicit settings.

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Holstein argues that the two parallel accounts or narratives of Trifles are based upon ‘the distinctions in men’s and women’s recognitions and practices as they are grounded in the home space’ (282). As indicated by Holstein, the men in the play approach the Wright’s residence, where Mr. Wright has been discovered killed, as a scene of crime, while the women who go with them during the examination approach the house as a home. Holstein recognizes that the men and the women have two altogether different explanations behind being there. The men, to satisfy their commitments as law experts, but for the ladies, to set up some personal effects to convey to the detained Mrs. Wright. However, she argues that in Susan Glaspell’s ‘Trifles’ the way that the alterability of their intentions is unbending, on account of the men, and adaptable, with respect to the women, decides how they see the scene. There are two basic results of this positioning with respect to the women. In the first place, Holstein expresses that the women ‘method for knowing leads them not just to learning; it likewise prompts the choice about acceptable behavior on that information’ (282). She portrays along these lines of knowing as the capacity to ‘remember [Mrs. Wright’s] whole hitched life as opposed to just to look into one vicious moment’ (287). Second, because of receiving along these lines of knowing, the women can pick up power ‘in being devalued, for their low status enables them to stay silent at the play’s end’ (285). Since the men don’t anticipate that the women should make a commitment or contribution to the examination or findings, they are unengaged in the women’s sharp impressions and significant discoveries that fathomed the murder case.  

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