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24 pages 48 minutes read

Susan Glaspell

Trifles

Fiction | Play | Adult | Published in 1916

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Character Analysis

Mrs. Hale

While at first glance, one might expect Mrs. Wright or one of the men to be the protagonists of the play, Mrs. Hale—the Wrights’ neighbor—is the true protagonist. Glaspell achieves this not by giving Mrs. Hale the most lines, but by making her insight and surreptitious action the driving force of the entire play. From the outset of the play, Mrs. Hale is outspoken about the men's obtuse and disrespectful dismissal of Mrs. Wright’s possessions and life experience. The men, tellingly, fail to see this outspokenness as a threat to their investigation, and simply let Mrs. Hale talk and move freely about the kitchen while condescendingly pacifying her, or dismissing her assertions while they undertake “important work” elsewhere. This gives Mrs. Hale the perfect opportunity to both piece together the details of the crime with Mrs. Peters and to smuggle the crucial piece of evidence—the dead canary—out of the house. In this way, she is able to spin the men's derisive dismissal of her into an asset. The dramatic irony attendant to her actions achieves much of Glaspell’s thematic work in this play. 

Mrs. Peters

Mrs. Peters is pulled into ambivalence by the opposing forces of her role as the Sheriff’s wife and her empathy for the experience she, as a woman, shares with Mrs. Wright. Initially, she is careful to chide Mrs. Hale to rely upon and defer to the justice of the law. However, when the murdered canary reminds her of a kitten she lost at the hands of a reckless and violent boy—and of her inability to avenge the innocent life stolen due to people holding her back—she is convinced to come to Mrs. Wright’s aid. Through this arc, Glaspell asserts that while the mandate of loyalty and service to the husband is a powerful one, the oppression and emotional violence of patriarchy ends up producing its own greatest enemy: solidarity among those who suffer beneath it. 

George Henderson and Henry Peters

While County Attorney George Henderson and Sheriff Henry Peters’ legal roles and characters are technically distinct, in the play they essentially function as two iterations of the same person, and the same instinct. They are virtually indistinguishable from one another, apart from their professional distinctions, because they treat the women in the same manner and are of the same one-track mind—convinced of their own importance and expertise while the women solve the crime right beneath their noses. In the play, they function to concretize the macro (e.g. legal and societal) and micro (e.g. marital and personal) aspects of patriarchal violence and oppression. Their interpersonal dealings with the women display their utter disrespect and derision of the lives, possessions, and trials of women, while their legal and social power over the women and the entire situation poses a looming and ever-present danger. 

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