Through Louise’s exultant reaction to widowhood, Chopin portrays marriage as an inherently repressive institution, and posits that neither social norms nor love can justify gendered oppression.

Chopin is careful to indicate that Louise does not have a bad marriage. Louise initially experiences genuine grief over Brently’s death, and admits that she will grieve again when she sees Brently’s body. Louise even acknowledges that there was mutual love between her and her husband. Louise is not escaping from a terrible partner but from the concept of marriage. In late 19th-century America, women had few opportunities to achieve financial security or social acceptance outside of marriage; they were barred from many occupations, unable to vote, and in many cases unable to represent themselves legally or financially. True independence as an unmarried woman was both difficult to achieve and considered socially reprehensible. Widowhood provides Louise with a kind of loophole to reclaim agency over her own life without sacrificing social or financial capital. Young and childless, she is the sole inheritor of her husband’s wealth. Widowhood was more socially accepted than being a never-married woman in the 1890s, as it was indicative of prior participation in the expected, heteronormative social constructs. As a widow, Louise attains independence without social ostracization.