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History Of Mental Illness During The Late 19Th Century
Themes in wide sargasso sea
Mental health illness in the late 19th century
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The Victorian Era’s knowledge of mental health was generally inaccurate and misconstrued. People of Victorian society believed people who showed signs of madness are hazardous to society and should be locked away in an insane asylum. This greatly exaggerated response to ‘madness’ occurred in Wide Sargasso Sea by Jean Rhys. In Wide Sargasso Sea, Antoinette Mason-Rochester, gradually becomes ‘mad’. Antoinette's husband, Rochester, unable to deal with her so called madness, sends her away to an insane asylum in England, removing her from her native island Jamaica. While applying the psychoanalytic lens to Wide Sargasso Sea by Jean Rhys, readers can see Antoinette Mason-Rochester not as a dangerous mad woman, but as a character struggling with
Antoinette became so paranoid from her mindset of being harassed that she became “so afraid, [she didn’t] know why, but so afraid. All the time”(105). As an attempt to cope, she tried staying away from people and or situations that made her uncomfortable (Monroe). Antoinette found refuge in nature whenever she felt threatened by people. She would wander into the lands near her home with the mindset that “if the razor grass cut [her] legs and arms [she] would think ‘It’s better than people”(25). She was forced to find comfort in nature because “there was no one to tell [and] no one to listen”(83) about the trauma she experienced. The lack of someone to confide in made her turn towards herself. In addition to avoiding situations, Antoinette denied a situation even took place to protect herself from the possible pain of a situation. She believed if she “[said] nothing [then] it may not be true”(54). Antoinette tries her best to cope with the trauma she faced as a child. She cannot succeed because the unconscious methods she uses to protect herself bottles up all of her emotions to the point where she will
When Marie tries to ask the protagonist to take a walk, this action shows that she is trying to achieve Pauline’s dream by getting her outside of the house. Therefore, she could finally feel the true meaning of freedom. Nevertheless, Pauline’s mother’s response demonstrates that she wants her daughter’s safety more than anything. The mother tries to keep Pauline away from the danger, so the protagonist can at last have a healthier life. However, Agathe’s reply shows that her mother is willing to sacrifice Pauline’s dream to keep her secure. Therefore, the author uses contrasting characters to mention that safety is more valuable. Furthermore, the protagonist starts to describe Tante Marie and reveals that she always has her hair “around her shoulder” (85). When Pauline describes Marie, Pauline shows how her Tante is open-minded. In fact, Marie helps Pauline to let go of her limitations and to get a taste of her dream. Therefore, Marie always wants Pauline to go outside and play hockey or even to take a walk. These actions that Pauline’s Tante takes show how she is determinate to make Pauline’s dream come true. Thus, the author
Previously, the narrator has intimated, “She had all her life long been accustomed to harbor thoughts and emotions which never voiced themselves. They had never taken the form of struggles. They belonged to her and were her own.” Her thoughts and emotions engulf her, but she does not “struggle” with them. They “belonged to her and were her own.” She does not have to share them with anyone; conversely, she must share her life and her money with her husband and children and with the many social organizations and functions her role demands.
The childhood of Frances Piper consists of inadequate love, loss of innocence and lack of concern, ultimately leading to her disastrous life. As a six year old child, she encounters several traumatic events, explicitly the death of her loved ones and the loss of her innocence. Over the course of one week, there have been three deaths, two funerals and two burials in the Piper family. “Frances was crying so hard now that Mercedes got worried. ‘I want my Mumma to come ba-a-a-a-ack.’”( McDonald 174). As a young child, there is nothing more upsetting than losing a mother. A family is meant to comfort each other to fulfill the loss of a loved one; however, this is not the case in the Piper family. Mercedes, only a year older than Frances, tries to console her even though she herself is worried. The loss of motherly love and affection has a tremendous impact on her future since now her sole guardian, James, expresses no responsibility towards her. Instead, he molests Frances on the night of Kathleen’s funeral to lessen the grief of his lost daughter. As a result “These disturbing experiences plague Frances with overwhelming feelings of low self worth and guilt that haunt h...
In “To Set Our House in Order” Margaret Laurence, it conveys the message that alienation is self-inflicted on the character “Grandmother MacLeod” as a result of a tragic event. In this case alienation is used as a coping mechanism for the Grandmother who lost her son Roderick in the battle of Somme. In the story she tells Vanessa, “When your Uncle Roderick got killed, I thought I would die. But I didn’t die” (Laurence 94). This shows how she now avoids affection and emotion in fear of becoming vulnerable. In consequence the Grandmother is in a state of emotional withdrawal which is shown where it states, “For she did not believe in the existence of fear, or if she did she never let on” (93). By doing so she decides she is better off trying to feel no emotion which supports the fact her alienation is self-inflicted.
Charlotte Perkins Gilman’s narrative entitled “The Yellow Wallpaper” portrays a nameless wife who gradually descends into psychosis due to a prescribed treatment of the time known as the “rest cure.” Gilman’s work is an excellent example of feminine oppression so prominent in the late nineteenth century. Women of the period were considered the weaker sex. They were at the will of their husbands who made decisions concerning all aspects of life, including medical treatments, living arrangements and social activities. The intellectual stagnation and oppression of the narrator can be directly linked to her downward spiral into madness. The uses of literary elements in the story help demonstrate this theory.
...treatment of mental illnesses and that their ways of treatment and cures were ineffective and often detriments to their patients. She shows Charlotte as a victim to the male idea that women were not competent nor capable. This piece shows the power of diagnosis and its empowerment of the male physician's voice and how it took over and disempowered the female patient's opinion and thoughts on her own treatment and life choices.
The narrator’s journey into insanity is caused by her husband isolating her from societal influences and also the long period of time in which she was imprisoned without anything or anyone to stimulate her intellect. While some critics may claim that she was insane upon entering the mansion, it is clear that she was able to think and reason well and be able to hypothesize during the first few weeks of her confinement. By feeling demoralized and useless in the presence of her husband, and also not being able to vocalize her own treatment options, she slowly became the incompetent women that needed her husband to dictate her life. In the end, she escaped the realism that she felt was holding her from expressing herself and became an individual not scared to express what she was to her husband.
No person is inherently mad; humans have caused other humans to drown their own sanity which can then submerge that person into an ocean of madness. Historically, madness had become a common occurrence with women due to several stress factors they must endure on a daily basis: finding a husband, baring children, raising children, find a suitable job, retaining femininity, and more. Authors Charlotte Gilman and Jhumpa Lahiri explored the psyche of two women who were facing very stressful situations. Gilman’s The Yellow-Wallpaper, introduces her readers to an unnamed nineteenth century woman who is slowly falling into madness. The protagonist must endure the “rest cure” where she must live without artistic expression, human contact, or freedom to go where she pleases. After months of enduring, she is ultimately shoved into madness by her husband, whom originally started her treatment. Lahiri’s protagonist, Aparna, is forced into an arranged marriage, and then moves to Boston with her new husband to live a new life with their daughter, Usha. Aparna is being neglected by her husband, finds it difficult to adjust to Boston culture, and spends most of her time being a house wife. She finally finds a friend, and possibly a love, in another Bengali man named Pranab. Once he was engaged and then married, Aparna revels to Usha that she was on the brink of committing suicide. Both characters were being controlled and had little to no say in what they could or could not do. These restraints with the added on stress that they faced cause both to the edge of madness. Women who had to withstand the struggles of doing what is expected of them while still attempting to do what they desire encounter many restraints that force them to stray away fr...
Written in the 19th century, the short story titled "The Yellow Wallpaper," by Charlotte Perkins Stetson highlights how a mentally disturbed and misunderstood woman's condition degenerates into madness while under the care of her busy but caring husband. The story brings out pertinent issues in the care and treatment of mentally ill female patients during the 19th century. In a bid to comprehend the article thoroughly, the paper analyses the historical background of the short story by examining how isolation affects a person suffering from depression, and the role the wallpaper plays in worsening the condition of the woman in the story. The essay also analyses the treatment procedure of the mentally ill in the 19th century and discusses how
• This experience made her very secluded and reserved. She thought a lot about suicide but found comfort in writing. She became an observer rather than a participator in everyday life.
Charlotte Gilman explained the requirement and use for self-expression by showing its importance to the protagonist. The message is clear that the oppressive nature of the nineteenth century and its patriarchic ways is not a healthy way for all members of a society to live. The restrictions of her every day creative and active duties caused her to be overly obsessive with the room she was encased in. It became evident that the more detailed her obsession became, the further she fell into her insanity. By symbolizing the protagonist’s descent into psychosis after the rest cure, Gilman illustrates that imagination and expressive freedom are important to every one of both sexes.
Charlotte Brontë's 1847 novel Jane Eyre depicts the passionate love Jane Eyre and Edward Rochester have for each other, and as Bertha Mason stands in the way of the happiness of Brontë's heroine, the reader sees Mason as little more than a villainous demon and a raving lunatic. Jean Rhys' serves as Mason's defendant, as the author's 1966 novella Wide Sargasso Sea, a prequel to Jane Eyre, seeks to explore and explain Bertha's (or Antoinette Cosway's) descent into madness. Rhys rejects the notion that Antoinette has been born into a family of lunatics and is therefore destined to become one herself. Instead, Rhys suggests that the Cosways are sane people thrown into madness as a result of oppression. Parallels are drawn between Jane and Antoinette in an attempt to win the latter the reader's sympathy and understanding. Just as they did in Jane Eyre, readers of Wide Sargasso Sea bear witness to a young woman's struggle to escape and overcome her repressive surroundings. Brontë makes heavy use of the motif of fire in her novel and Rhys does the same in Wide Sargasso Sea. In Rhys' novella, fire represents defiance in the face of oppression and the destructive nature of this resistance.
...aced with tremendous abuse and violence in various forms. However as she matured, her awareness of the specific racial violence, rampant throughout the region, grew as did her method of combating and resisting it. In the end, no matter which method she used to resist this violence, whether it be through ignoring it or actively fighting against it, it always found a way to impact her. Although, similar to the sources used for our second paper, Anne’s account of events in her life has never been fully verified and the fact that she can clearly remember events and dialog from such a young age can breed a lot of skepticism. This could also be seen as a sign of just how effected she was by the various forms of violence throughout her life, long after any physical scars had healed.
Hay, Eloise Knapp. The Political Novels of Joseph Conrad: a Critical Study. Chicago: University of Chicago, 1972. 120. Print.
In William Shakespeare 's Hamlet, Charlotte Gilman 's “The Yellow Wallpaper”, and Ken Kesey 's One Flew Over the Cuckoo 's Nest, the poor treatment of primary characters labeled insane by secondary characters results in the deterioration of the primary characters mental state. All three of these works take place in a time where mental instability is frowned upon. The way in which society views those with mental instabilities influences the view and treatment of the mentally unstable by the people around them.