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Mental illness and oppression in literature
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The Yellow Wallpaper” by Charlotte Perkins Gilman and “The Metamorphosis” by Franz Kafka both incorporate “irreal” elements throughout their works. These elements provide an alternative point of view where the lives of main characters are recreated and imagined as part of their surroundings. It’s almost as if the characters are watching their lives from an outside vantage point, rather than living in the moment, which makes it easier to cope with their difficult circumstances. These two works are complementary in establishing relationships, exposing internal conflicts, and escaping the reality that these characters yearn for in their lives.
Charlotte Perkins Gilman presents her content in a journalistic style. The point of view is in first
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They both feel trapped within their own lives, emotionally and physically. She saw the woman in the wallpaper as a companion in her days of isolation and self-meditation, and she realized that she needed to break free of her husband’s expectations and live her life her desired way. This gave readers insight to the emotional tendencies of the main character and motivations from discovering the meaning of the intricate wallpaper design. This is achieved when she states, “I’ve got out at last in spite of you and Jane. I’ve pulled off most of the paper, so you can’t put me back!” …show more content…
His altered state of consciousness was a necessity to regain control of is his life, where he got the necessary break from not only work, but also family expectations. Just like the narrator in “The Yellow Wallpaper,” the emotional tendencies are evident throughout the whole story; however, at the end when he dies in this new state, he is finally content with his life and the conflicts are resolved between his priorities and his families.
Overall, both characters in “The Yellow Wallpaper” and “The Metamorphosis” incorporate “irreal” elements that alter the characters’ lives to describe their internal conflicts, as well as the escape from reality that was necessary to regain their happiness and motivation to deviate away from their families’ desires. Both characters became a part of their surroundings, allowing readers to enhance their understanding of the real elements, such as the motives behind the characters in the works and read it from the character’s point of
Franz Kafka's The Metamorphosis is so strikingly absurd that it has engendered countless essays dissecting every possible rational and irrational aspect of the book. One such essay is entitled "Kafka's Obscurity" by Ralph Freedman in which he delves down into the pages of The Metamorphosis and ferrets out the esoteric aspects of Kafka's writing. Freedman postulates that Gregor Samsa progresses through several transformations: a transformation of spatial relations, a transformation of time, and a transformation of self consciousness, with his conscious mutation having an antithetical effect on the family opposite to that of Gregor. His conjectures are, for the most part, fairly accurate; Gregor devolves in both his spatial awareness and his consciousness. However, Freedman also asserts that after Gregor's father throws the wounding apple, Gregor loses his sense of time. While his hypothesis certainly appears erudite and insightful, there really is no evidence within the book itself to determine whether if Gregor has a deteriorating sense of time. If Freedman had only written about Gregor's spatial and conscious degradation, then his entire thesis would be accurate.
The feelings of loneliness and betrayal are feelings that we all feel one too many. Some have these feelings for a few simple days, and then those feelings soon pass. For others, however, this is a feeling that is felt for most of their lives. Our loneliness may make us feel alone, when our loneliness is actually common. In The Metamorphosis by Franz Kafka, the topic of alienation is an ongoing theme from beginning to end. I have interest in this passage because it reveals the writers understanding of a feeling that we all get from time to time. This novella helps us relive these emotions with an understanding that we are not alone in our loneliness.
“I never saw a worse paper in my life. One of those sprawling flamboyant patterns committing every artistic sin.” Just like anyone’s first impression of a misfit, Jane from Charlotte Perkins Gilman’s “Yellow Wallpaper” is unsettled by the wallpaper in her room from the first time she lays eyes on it. A misfit being someone, or something in this case, that doesn’t fit in, explains why the yellow wallpaper is the misfit character in this story. Society views those who differ as deviants, and “normal” people are expected not to accept these misfit characters for what they are. By just showing their true colors and not hiding behind society’s expectations misfits make the ones who choose to hide uncomfortable. The more time one may spend with one
In a female oppressive story about a woman driven from postpartum depression to insanity, Charlotte Gilman uses great elements of literature in her short story, The Yellow Wallpaper. Her use of feminism and realism demonstrates how woman's thoughts and opinions were considered in the early 1900?s.
...ow Wallpaper" and Henry Isben’s play A Doll's House both prove that independence is key in a woman’s life in order to feel free; yet social norms of the Victorian Age cause freedom to come at a high cost. Nora, the heroine in A Doll’s House, escapes from her husband’s confinement by leaving her family. While this seems revolutionary, Nora’s freedom will only cause confusion in her life. Had she not had her personal awakening on individualism, she would have remained happy with her family. In the “Yellow Wallpaper”, the narrator achieves freedom through madness. The narrator thinks she is free when she goes mad, yet this is only a brief feeling, as she will most likely realize the publicity of her mental state will only increase the restrictions upon her. In both texts, the heroines break for freedom will only result in more confusion and confinement in their lives.
At the end of the story Jane has it in her mind that there is a woman in this wallpaper. This lady that Jane says that in the wallpaper needs to be set free. Jane begins to tear down the wallpaper, the next day Jennie comes in tearing down this wallpaper and Jane see her and gets mad. Jane provides this evidence by saying “How she betrayed herself that time! But I am here, and no person touches this paper but me,—not alive!”(Dulaney) So Jane then gets the key and locks herself in this room. Jane takes the key and throw it out the window. “I wonder if they all come out of that wallpaper
Charlotte Perkins Gilman was born in Hartford, Connecticut in1860. Her father the grandson and the nephew of Henry Ward Beecher and Harriet Beecher Stowe deserted his family shortly after her birth. During her lonely childhood, she tried to establish a relationship with him. (Gilman) After becoming a tutor and a brief stint at Rhode Island School of Design, she took a job designing post cards and began to write, publishing a short newspaper article in 1883. From 1889 to 1891, she edited the Pacific Monthly in Los Angeles, and during the 1890s she toured the nation lecturing on women rights. In 1900 she married her first cousin, George Houghton Gilman, who shared many of her
This particular introduction, unlike most other works contains the climax to the story. This paper will show the importance of these introductory lines. “When Gregor Samsa woke up one morning from unsettling dreams, he found himself changed into a monstrous vermin.” This line greatly moves the plot, more so than any other line. It is the climax of the novel, and everything following it helps build the conclusion of the story. The juxtaposition of “unsettling” and “dreams” is ironic, as dreams are peaceful and never unsettling, only nightmares are unsettling. Gregor has transformed into a “monstrous vermin.” The remainder of the first paragraph gives details of exactly what the monstrous vermin is.
People today live in an absurd world, where they are constantly working and on the go, they forget what matters most to them like their dreams and aspirations and become work zombies. That is why the stories of the Metamorphosis by Franz Kafka and The Death of Ivan Ilych by Leo Tolstoy speak to me, they comment on the absurdity of mundane daily life and tasks that we have become accustomed to and make you think about the life that you are living. The main characters of the two stories, Gregor Samsa and Ivan Ilych, become overwhelmed by the amount of pressures that they put on themselves and by their families. The two characters epitomize what the workers of today have become and the worst part is they never realize how unhappy they have become until it is too late. I know many of us feel the burden of working to much and not living the way we want to. These stories are very bleak and don't offer hope for the main characters, they failed to adapt and perished because of it. The stories make you feel that as if there is no escaping the absurdity of life, as is the
Franz Kafka’s beginning of his novel, “The Metamorphosis,” begins with what would seem a climactic moment: “As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.” From this point on, the reader is determined to make sense of this transformation. However, the reader later comes to realize that Gregor is actually not an insect, but this metamorphosis into a vermin was purely symbolic. It symbolizes the degrading lifestyle that Gregor leads to support his family. This leads the reader to understand Gregor’s absurd dilemma.
While it may seem as though the speaker is becoming deranged, her bold action of tearing down the wallpaper is symbolic of her finally breaking free of the stereotypical roles of a woman. The author illustrates this in the last lines of the story, “I’ve got out at last, said I, “in spite of you and Jane! And I’ve pulled off most of the paper so you can’t put me back!” (pg. 167)
The Metamorphosis by Franz Kafka has a reoccurring theme showing the drive for freedom and the need for breaking free. Gregor Samsa experiences the drive for freedom every day that he goes to work to provide for his family. Gregor is a typical struggling salesman, under the burden of his job, attempting to pay off his family’s debts. Gregor Samsa undergoes a metamorphosis that changes his physical appearance from a human into a “monstrous vermin.” When Gregor starts to wake up, he feels strange and out of place in his bed, “lying on his back as hard as armor plate...vaulted brown belly, arch- shaped ribs, and many legs.” (3) Gregor, unsure of what has happened to him, feels helpless in this situation and tries desperately to get out of bed to open his door and explain to his family and business partner what horrible travesty had just taken place. The author shows this struggle by explaining that Gregor had “…rocked onto his back…” (3) trying to leave his bed, including that “ He must have tried it one hundred times.” (3) Gregor is trapped in this new body unable to take action on his human desires. Gregor is incapable of completing most human tasks as a bug that will grant his freedom, creating this new sense of “useless (ness)” in Gregor to his family and workplace. This fall of Gregors freedom results in the rise of power from another family member. In chapter one this theme is portrayed throughout the first stages of his metamorphosis. Mahatma Gandhi once said, “Freedom is not worth having if it does not include the freedom to make mistakes.” While this metamorphosis is not Gregors fault, as he woke up not having a clue wh...
Frank Kafka is considered one of the most influential writers of all time. Helmut Richter would agree with this statement. Richter agreed that Kafka was a very prominent figure in world literature and was amazed by his mechanics and word usage. I feel that his essay is supportive of Kafka’s writing, but also leaves out many important details in its brevity. Richter did not include Kafka’s flaws and tendencies in his essay.
Surroundings affect how one participates in everyday life. Two settings seem entirely different, yet they create similar situations through availability of freedom offered by each setting. Life of Pi by Yann Martel possesses corresponding situations and distinct differences with “The Yellow Wallpaper” by Charlotte Perkins Gilman. Both compositions utilize confinement to intensify their settings, but the means of confinement have different bounds, and the things they can interact with are extremely separate. Characters of both works communicate with other beings based entirely on their setting. These stories revolve solely around the place of occurrence.
Life is a never-ending metamorphosis. It is always changing, always transforming. Sometimes a change is followed by positive results, but on the darker side, a metamorphosis can lead to damage or suffering. But of course, the concept of metamorphosis can also be related into the wonderful yet unrealistic world of magic and sorcery. Metamorphosis can mean a rapid transformation from one object to another or a distinct or even degenerative change in appearance, personality, condition, or function. The concept of metamorphosis is commonly used in pieces of literature to describe an extreme change in character or form.