The women side with Minnie and understand why she chose to kill her husband.As the women note, Minnie used to sing before she married John Wright.When she was a free-spirited, single woman her name was Minnie. Minnie is embodied in her kitchen and sewing things. The bare kitchen can be seen as symbol of the lives of the former inhabitants.
One of the constant themes and focuses of the story is the divide between the psychology of men and women.
Their respective social roles allow them to perceive very different aspects of Minnie's life.
The main "players" in the murder, Minnie (the murderer) and John Wright (the murdered), are never seen on stage.
Their lives and personalities are fleshed out in the dialogue of other characters. Instead, through the libretto, Lewis Hale reenacts the events surrounding the discovery of Mr. Phyllis Mael analyzes "Trifles" in regards to developmental psychology.
Trifles is seen as an example of early feminist drama. The men, meanwhile, are blinded by their cold, emotionless investigation of material facts.
The female characters find the body of a canary, with its neck wrung, killed in the same way as John Wright, thus leading them to the conclusion that Minnie was the murderer.
Martha theorizes that after Minnie's marriage, she was prevented, by her husband, from singing or doing anything else which would have yielded her pleasure.
Minnie's plight is represented by Martha as a spiritual death, symbolized in the strangling of her songbird companion.
The two women, having pieced together the murder, face the moral dilemma of telling the men about the motive or protecting Minnie, whom they see as a victim.
Their choice raises questions about solidarity among women, the meaning of justice, and the role of women in society as a source of justice.