To what extent, and in what ways, would you describe any TWO or THREE of the following as feminist plays: Overtones, Trifles, A Man's World, Machinal?

        However one could disagree with this perception and it could be perceived that even though the women are given names, they are only given last names; Mrs. Hale and Mrs. Peters are not given first 

names. The role that society has cast them in is one that is defined by their husbands therefore suggesting a lack of identity. It suggests that they still have no identity other than that they are a ‘property’ of their husbands’. Glaspell suggests how women are owned by men, like ‘Machinal’ women are made to marry to better themselves.

        Another importance of names in ‘Trifles’ is the name "Wright" which plays off the social stereotype of women seeking "Mr. Right," so they also represent the roles of men and women in the larger society. The best example of the importance of names, especially married names, is the image of Minnie Foster. Minnie's name has a significance, "Minnie" being "mini" or "minimized," which is descriptive of her relationship with John and in general of women's relationships with men ."I hear she used to wear pretty clothes and be lively when she was Minnie Foster."8 John Wright abuses Minnie by denying her personality and individuality, and eventually Minnie kills John to escape that abuse. The similarity between the Wrights and men and women in general, allows Glaspell to suggest the idea that it is only a matter of time before women who are forced to subjugate themselves to a male dominated society get fed up and seek revenge on their oppressors.

         ‘Overtones’ is another play in which lies Feminist critique within the characters, however in slightly different ways from ‘Machinal’ and ‘Trifles’. Within ‘Overtones’ the characters do not bare their husbands’ names like in ‘Trifles’ and they are not stripped of a name completely like in ‘Machinal’. Instead they are all given their own names, Harriet, Margaret, Hattie and Maggie. Their names do however represent their personalities and place in society and present feminism. Harriet and Margaret, the two ‘cultured’ women are given full names, which symbolises their status within society, they have to act proper, implying how these women are oppressed by social rules inflicted on them by their marriages. Hattie and Maggie the two ‘primitive’ women are given ‘personality’ names, shortened to reveal their true individuality in which they differ from their cultured selves. Perhaps representing the ‘New Cultured woman’ that feminists strived to become; women who are independent of men or who do not allow men to control them.

        In ‘Overtones’ the oppression of women is made more apparent by the two characters’ situations in life. The two characters Harriet and Margaret are trapped in unhappy marriages to which they owe their discontent and sad situation to their total dependence on what their husbands can provide. This is also the case for Helen in ‘Machinal’ and Mrs Wright in ‘Trifles’ and conveys the same message to the audience – that the women during the time the plays were written were trapped and unhappy due to a male dominated society.

        One could imply that ‘Overtones’ displays feminism through the inner personalities, the women’s “Primitive Self”. It would seem the outer “Cultured Woman” portrays how women were expected to act in society in those years. A Victorian idealism where women were expected to stay at home, look after the children and have tea with their friends. Whereas the inner “Primitive” selves are striving for their outer more “Cultured” personality to let them break free. Inside is who each woman really is and Gerstenberg suggests to the audience, that they are the ‘real’ women who signify those oppressed by society and their husbands. The cultured woman represents the women in society who, for their husband and social status, have to behave but beneath in their primitive but ‘real’ role they represent the women in society who just want someone or something to make them happy – which is what all the female characters in the play wish for.

        However one could argue that even though the inner selves are striving to be happy and become someone better, they still rely on men to make them happy, just not the men they are with. They still represent those whose identity and social status is not theirs and are controlled by the men they are with. Yet it is clear to the audience that they would still not be happy if they had what they wanted. Here it seems Gerstenberg implies that if women didn’t depend on men and made their own life and decisions they would be a lot happier and wouldn’t be as oppressed as they are.  

        Feminism can furthermore be seen through the form of Expressionism in ‘Machinal’. Judith E Barlow states in her introduction that, “Machinal’ uses expressionist techniques to create a parable about an ordinary ‘young woman’ who lives in a mechanised, materialistic world. One could propose that the machines and mechanical world in which Helen lives could be a representation of the ever growing dominance of men in society. Machines and mechanical objects and sounds throughout the play appear very masculine, the sounds are harsh, loud and fast and the machines are ominous and dark, all quite masculine qualities, as a feminist would see it. In episode eight, this is seen through the movements and words of the all-male courtroom; “Routine, Mechanical...”9 They dominate every aspect of Helen’s life and the society Treadwell writes of. Treadwell seems to show through the expressionist use of machines that women simply could not escape the male dominated society in which they were living. They worked in a masculine environment, they were expected to marry, and men took advantage of them; they could not live in a world that allowed them to be themselves. This entrapment can be reflected in the claustrophobia of Helen’s

character, “All those bodies pressing / I had to get out / like I was dying!”10 By allowing Helen to be claustrophobic, presenting a woman as scared and having no way out, Treadwell portrays how a male dominated society has women trapped.

        Expressionism is also seen in the structure of the play, where Treadwell sets the action within nine episodes. This is representative of the Maternity cycle, and symbolises pregnancy. One may notice the ninth episode is titled "A Machine,"11 which could symbolise a woman's role in society is to produce children; to be a machine within the male-dominated society. It could also highlight Helen’s own pregnancy and heightens her emotions of not wanting to love her baby - she has been forced into this pregnancy and the structure further entraps her in this relationship where she cannot be herself. Here Treadwell could be suggesting how a women’s expectations in society to provide children entraps them even further into this oppression, she could be making a statement that society needs to break away from these expectations, to allow women the freedom to choose their life, to choose who they want to create a family with and if they even wish to create a family.

        Feminism can also be portrayed through each author’s use of language and stage directions. ‘Trifles’ begins with a set of stage directions that mirrors the domination of men in society, “...the outer door opens and the sheriff comes in, followed by the county attorney,” and later, “followed by the two women.” 12 By allowing the men to enter first followed by the women, Glaspell is displaying to the audience the authority of men over women, of how the men were always given priority over their wives which could be seen as feminist, as it almost criticises and asks why are the women always left behind?. The description of the women as they enter who are described as, “a slight wiry woman, a thin nervous face.../...Mrs Hale...more comfortable looking, but she is disturbed now and looks fearfully about,”12 display typical traits of feminist characters, either the characters are seen as being the new cultured woman that stands for herself, which could be seen as Mrs Wright, or they present a feeble, oppressed damsel in distress almost, that fear men and society. Here Glaspell seems to be creating two fearful women who dislike their place in society but do nothing to help their situation. The women “Stand close together”12 showing they would rather protect themselves together than by themselves, and also highlights how their husbands do not even offer them protection. The men storm in and get down to business without even noticing their wives. This could be seen as feminist in two ways. One is that Glaspell displays a criticism of how selfish and arrogant the men in society were then, that they looked out for themselves and their own sex, were career driven and hardly noticed their wives. However it could also display how the women do not need their husbands for protection, they have each other; displaying two women united in the cause for justice over the oppression of women, especially as they later go on to solve the crime, proving that they do not need the help of men.

        

        The language in the play is mainly male dominated in the first few pages, the women do not speak unless to criticise the men’s investigation, or to defend themselves or Mrs Wright. One section of speech that stands out from the men is “...as what his wife wanted made much difference to john...”13 this statement almost suggests that even Mr Hale noticed that Mr Wright’s wife was second best, that her opinion did not matter. The County Attorney then fires back, “Lets talk about that later, Mr Hale. I do want to talk about that, but...”13 Instinctively one could suggest that the later comment about him wanting to talk about it could be that of Glaspell’s, that “later this issue will be addressed, but for now, I want to show through this character the dominance of men over women by his objection to talk about Mrs Wrights oppression.” 13 

        The women appear used to the men working without their involvement, as the opening dialogue takes place without their interruption and they do not speak again until they are addressed, albeit to defend Mrs. Wright, “Stiffly; There’s a great deal of work to be done on a farm.” 13 However, the first thing Mrs. Hale says when the men leave is bold and distances her from the men: "I'd hate to have men coming into my kitchen, snooping around and criticising," 13 By giving men more speech over the women in the first few pages, Glaspell shows the oppression of women; the men continually talking and criticising the women creates almost the feeling of being trapped and ruled over.

        Later though when the women are left alone and begin to talk, Mrs. Hale describes Minnie as "kind of like a bird herself— real sweet and pretty, but kind of timid and— fluttery," 13 When they discover the bird Glaspell seems to create a metaphor; that there is a comparison between Minnie and the bird. The bird is caged just as Minnie is trapped in the abusive relationship with John. Figuratively John Wright strangles the life out of Minnie like he literally strangles the bird. The broken bird cage could represent Minnie's freedom from the restrictive role of "Mrs. Wright." The bird/bird-cage metaphor is also representative of the role women are forced into in society, the bird being women and the cage being the male dominated society.

        In ‘Overtones’ the language again portrays feminism. In scene one, Harriet and Hetty discuss their marriage, “we are one woman, the wife of Charles Goodrich.”14 Here already just through this statement one could assume feminist criticism. They are saying they are one woman, but instead of saying ‘Harriet’ or ‘Hetty’ or such, they say the “wife of Charles Goodrich,” which simply implies they are known as this, not for the individual they are, but as the ‘wife’ and the property of someone. That without Charles they would be nothing in society. Gerstenberg makes this bold statement to perhaps signify how women were perceived in her time, that without a husband they had no status, no belonging in society, yet she later through her characters criticises this by Harriet stating, “He doesn’t suspect that my calm, suave manner hides your hatred.”15 Her character has to lie about her true feelings because otherwise she’ll be nowhere, deep down through Hetty it is apparent she hates her husband, as she is forced to be with him; Gerstenberg presents an trapped and unhappy woman through the Characters of Harriet and Hetty, showing how women were forced to be someone they didn’t wish to be through the institution of marriage. This is again apparent through a later statement of Harriet, “Hetty, dear, is it not my custom to impress people?” 15 Here one could see also that Gerstenberg highlights that Harriet is not being herself, she represents a woman who is forced into repression by an unhappy marriage in a male dominated society; something many women were forced into during Gerstenbergs’ time of writing.  

Within ‘Overtones’ the use of certain stage directions plays a role in creating a feminist reading to its audience. On page nine, “Harriet takes a scarf of chiffon...and drapes it on Hetty, covering her face...paler in shade so that it pales Hetty’s darker gown to match Harriet’s lighter one.” 15 This in some ways could be seen as a little expressionist, rather like ‘Machinal’, as one could say that this stage direction is a way of showing how the outer character Harriet, is suppressing Hetty, the character that wishes to break free and live the life she should be living. The scarf is a shield, to stop Hetty from interacting with Harriet who is trying so hard to impress and not show what she is really feeling inside. The colouring is significant too as it allows Hetty’s dress to become more like Harriet’s, which could imply the connotation that Hetty is being suppressed by Harriet, making sure that this other personality, the person Harriet wants to be can’t escape, as she knows that society won’t allow it; she could and seems to be scared of the consequences. Perhaps mirroring the feelings of women in society that they were scared to be whom they really wanted to be because of the consequences; consequences that characters like Mrs Wright and Helen were made to endure, although perhaps not as extreme. As supported in the essay ‘Modernism and Gender’ by Marianne DeKoven who argues, “The female modernists generally feared punishment for desiring that change,”16 the change being that of the ‘Women's Movement’ to form the ‘Newly empowered woman’.

        In ‘Machinal’ the language and stage directions within the third episode could be seen as feminist critique. Almost as soon as they enter the room Helen “pulls the hair automatically around her ears,”17 and is portrayed as a timid woman in fear of her husband, symbolising the growing number of women in Treadwell’s time who were like this, because they feared male dominance or perhaps what may become of them if they rebelled against this. Later she “sees the dancers going round and round in couples,”18 and inquires about “a view of the Ocean!” 18 The couples dancing empower Treadwell’s idea that she is trapped in a loveless marriage, wishing to break free, as does the talk about the Ocean. The couples symbolise the world Helen wishes she was in. Helen gets quite upset when she realises there’s no ‘Ocean view’, that with just a glimpse of the ocean – which is a symbol of new life and freedom – she could feel less trapped, the fact that she can’t see it, seems to give her that continued feeling of claustrophobia.

        Later George talks to Helen when she is sitting on his knee, "you got to relax little girl,"19 this statement is very belittling, and the fact he repeats it later, further empowers this mocking and degrading phrase, suggesting how men were seen as more important than women, that women allowed themselves to be talked to like this.

        

        In Conclusion it is apparent that Sophie Treadwell’s ‘Machinal’, Susan Glaspell’s ‘Trifles’ and Alice Gerstenberg’s ‘Overtones’ all present feminist criticism on how women were oppressed by a male dominated society. It is evident that all three plays go to the extent of warning, “countless women forced to enter loveless marriages in order to survive in a world in which jobs were scarce for men and non-existent for women.”20 However they are, “not just a reflection...” they are a call for women to use their powerlessness as a tool to manipulate the system, and serve as a warning to men that a system of domination and oppression cannot be tolerated forever.         

 

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