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The yellow wallpaper literary analysis
The yellow wallpaper literary analysis
The yellow wallpaper literary analysis
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How the Wallpaper Peeled: The Consequences of Misogyny in The Yellow Wall Paper Motherhood is something that the narrator does not experience throughout her story although while looking on the surface she seems to follow the typical bildungsroman or typical familial triangle. What distorts this triangle and forces her to reject motherhood appears to be her evident postpartum depression, but in reality, she does not experience motherhood properly due to the deep-rooted problem of her not being able to love her child. Her incapability of loving her child stems from poor, misogynistic relationship with her husband and his treatment towards her. In order for her to love her child and accept motherhood, she would have to accept John as her husband, and therefore part of her familial triangle. Before, it was an incredibly distorted triangle, although appearing much more normal and even. Currently she is the only one existing within her triangle by having her husband be away most of the time, and having her child be with the nanny. In order for her to accept motherhood she would have to bring her husband back into the previously mentioned triangle. She would not only have to accept him physically, but also sexually and emotionally. He would essentially be emotionally married to her …show more content…
again, and she obviously cannot accept that due to a combination of their current relationship. In order to accurately present the argument that the narrator’s rejection of motherhood stems from her self-awareness and intelligence, which causes her to resent her husband, and therefore their child, there will be two sections and a counter argument.
The first section will prove that the narrator is aware of the inherent misogyny that she faces daily in her household. Then, the first section will prove how said intelligence and self-awareness prevents her from having a proper relationship with her husband. The second section will tie together the idea that because of how self aware the narrator is, she can no longer have a relationship with her husband, and therefore her
child. It is no secret that the narrator’s husband, John, repeatedly mistreats and misdiagnoses the narrator due to his misogynistic views and opinions. This repeated treatment perpetuates her feelings towards her husband, forcing a rift between the two. Starting with the treatment towards the narrator, his opinions on her mental illness and writing are what initiate the rift between the two. When she describes John’s opinions of her mental health, she claims that “John laughs at me,…and he scoffs openly at any talk of things not to be felt and seen and put down in figures” (Gilman 131). She also claims “he does not believe I am sick!” (Gilman 131). Although her husband is a professional medical doctor, it is obvious he does not take mental health seriously. Due to her sarcastic and almost exasperated tone, it is evident that the narrator is angered by her husband’s opinions, especially when it is inhibiting her progress and health. In addition to his poor opinions on her mental health, he does not believe the narrator should write, which adds to her resentment towards him. Her furthered resentment towards him continues to distort the familial triangle, and will continue to distort it until the triangle becomes broken, a failed bildungsroman. She is “absolutely forbidden to ‘work’”, to which she thoroughly disagrees with, and believes “that congenial work, with excitement and change, would do me good” (Gilman 131). This evidently upsets her, but she realizes that there is not much she can do to oppose her husband (Gilman 132). While the narrator cannot do her work, the husband gets to go out and work, which is only the tip of the misogynistic iceberg, as he also has a mistress. She claims that “John is away all day, and even some nights” and “does not know how much I really suffer” (Gilman 134). This proves that the husband is not as doting as he claims to be, and yet continues to still ignore her mental illness while only focusing on his sexual desires. This act of sexism and misogyny initiated by her husband further distances the husband and wife, therefore further distancing the narrator from her child. A counterargument could be made that the narrator did not choose motherhood at all, and was forced into the role, and forced out when she was no longer needed, so she was essentially rejected from the role, not the other way around. This can be seen by how the husband prevents the narrator from being with the baby, as her only job was to give birth to the baby: “Mary is so good with the baby. Such a dear baby! And yet I cannot be with him” (Gilman 134). In addition, as previously proven, the husband leaves the wife at home all of the time, while he is permitted to leave and to work, and see his mistress. Due to the husband’s behavior towards the narrator, it is clear that she is no longer necessary, hence why he rejects her from the role of motherhood. This objection is invalid because the narrator technically had a choice. Although not an easy choice, she ultimately chose to reject motherhood. She says the reason she cannot be with the baby is because “it makes me so nervous” (Gilman 134). She refers to the baby as an “it”, which is quite odd considering it is her baby after all. She is essentially removing herself from the situation, while making excuses to disassociate herself from the baby. By distancing herself from the baby, it makes it easier for her to reject motherhood. In addition, her comment about her child and how it is a “dear baby” further distances the narrator from her child. The child being a dear baby is something that a complete, uninvolved stranger would say about the child, not its own mother. Due the strained and inherently misogynistic relationship with her husband, she becomes incapable of being a proper mother to her child. Her child is essentially the product of the toxic relationship that exists between her and her husband, as well as a product of the husband himself. Although it has previously been proved that the narrator chose to reject motherhood, it was never decided what kind of choice that was, and how much of that decision was truly hers. As shown in the previous two paragraphs, the narrator could not love her child; she distanced herself from the baby, and chose to not be around it (Gilman 134). Her obvious disdain towards her husband stems from her clear intelligence and self-awareness, while his opinions add on to the increasing resentment that she feels towards him Each additional thing that he does, such as having his sister spy on the narrator for him, wanting to sleep in a separate bed than her, not actually treating her mental illness are each an additional reason concerning why she cannot lover her husband, and therefore her child (Gilman 136,131,132). Furthermore, the triangle in which she would forced to be a part of if she chose to accept motherhood, would include her husband, as the typical triangle includes a husband, wife, and child. On an emotional level, the narrator has no desire to have that form of a relationship with her husband, as proven by her remarks and opinions on his medical diagnoses. Moreover, when referring to the husband’s mistress and his sexual promiscuity, the author goes to say that “he is away all day, and even some nights when his cases are serious. I am glad my case is not serious!” (Gilman 134). This proves she also has no sexual interest in her husband which further adds to the idea that no triangle can exist where both her, her husband, and her child can coexist. One may say that she does not need to accept her husband to a accept motherhood, but in actuality she does. Mary takes care of the baby, assuming she is a nanny employed by the husband, as the narrator cannot work (Gilman 134,131). The husband also has complete control of where the narrator goes, due to the fact that he put her in the house and has his sister spy on her (Gilman 131, 136). As these are just a few possible scenarios, overall, there is no possible way where the author could accept motherhood while continuing to reject her husband. And she cannot accept both due to the failed relationship between the narrator and her husband. All of these inconsistencies within society, and particularly her household are slowly building throughout the short story, which in turn, are adding to the overall resentment to her husband, and therefore her child. As previously stated, she would have to love her husband to be able to embrace motherhood and properly love her child, but frankly, she cannot and never will. She is too smart, too self aware, to be blindly pushed into it all, and still lay there as a docile wife who embraces motherhood while ignoring her husband’s obvious affairs. In reality, these affairs would have occurred regardless because the only thing he required from her was an heir. In order for her to embrace motherhood, she would have to choose it. And she never did. She simply could not. She was thrust into that triangle by society and social expectations. Hence, her only option was rejecting motherhood entirely. Her decision to reject motherhood entirely was one that had grave consequences; consequences that are still not entirely clear at this point. Whether or not this was the right decision is also undetermined at this point. Her immediate rejection of motherhood led to a severe mental break, which affected both her and her husband. If she had chosen to attempt motherhood, it is assumed that a mental break would have occurred regardless, but an analysis could be performed to theorize to the possible consequences of having the narrator attempt motherhood. The consequences of having the narrator take care of the baby could be severe due to her post partum depression, which would still go untreated because of the husband’s ignorance towards mental illness or lack of care towards his wife (so we must pick our poison).
The excerpt I chose to read for this assignment was Chapter 1 from Jeanette Walls’ “The Glass Castle: A Memoir” titled “A Woman on the Street” This chapter of the novel depicts the main character and her mother’s relationship. The mother has decided to live her life in poverty for reasons yet to be explained to the reader. It is said that this is how she wishes to live. Her daughter, the main character, is ashamed by her mother and the way she is living and intends to try to help better her life, however her mom insists that she isn't the one who needs help. This readings goal is to establish the core relationship of the novel, and set up the beginning of how the story may begin to change.
Misogynistic Confinement Yellow Wallpaper depicts the nervous breakdown of a young woman and is an example as well as a protest of the patriarchal gender based treatments of mental illness women of the nineteenth century were subjected to. The narrator begins the story by recounting how she speculates there may be something wrong with the mansion they will be living in for three months. According to her, the price of rent was way too cheap and she even goes on to describe it as “queer”. However, she is quickly laughed at and dismissed by her husband, who as she puts it “is practical in the extreme.” As the story continues, the reader learns that the narrator is thought to be sick by her husband John, yet she is not as convinced as him.
"The Yellow Wallpaper," by Charlotte Perkins Gilman, depicts a woman in isolation, struggling to cope with mental illness, which has been diagnosed by her husband, a physician. Going beyond this surface level, the reader sees the narrator as a developing feminist, struggling with the societal values of the time. As a woman writer in the late nineteenth century, Gilman herself felt the adverse effects of the male-centric society, and consequently, placed many allusions to her own personal struggles as a feminist in her writing. Throughout the story, the narrator undergoes a psychological journey that correlates with the advancement of her mental condition. The restrictions which society places on her as a woman have a worsening effect on her until illness progresses into hysteria. The narrator makes comments and observations that demonstrate her will to overcome the oppression of the male dominant society. The conflict between her views and those of the society can be seen in the way she interacts physically, mentally, and emotionally with the three most prominent aspects of her life: her husband, John, the yellow wallpaper in her room, and her illness, "temporary nervous depression." In the end, her illness becomes a method of coping with the injustices forced upon her as a woman. As the reader delves into the narrative, a progression can be seen from the normality the narrator displays early in the passage, to the insanity she demonstrates near the conclusion.
Prior to the twentieth century, men assigned and defined women’s roles. Although all women were effected by men determining women’s behavior, largely middle class women suffered. Men perpetrated an ideological prison that subjected and silenced women. This ideology, called the Cult of True Womanhood, legitimized the victimization of women. The Cult of Domesticity and the Cult of Purity were the central tenets of the Cult of True Womanhood. Laboring under the seeming benevolence of the Cult of Domesticity, women were imprisoned in the home or private sphere, a servant tending to the needs of the family. Furthermore, the Cult of Purity obliged women to remain virtuous and pure even in marriage, with their comportment continuing to be one of modesty. Religious piety and submission were beliefs that were more peripheral components of the ideology, yet both were borne of and a part of the ideology of True Womanhood. These were the means that men used to insure the passivity and docility of women. Religion would pacify any desires that could cause a deviation from these set standards, while submission implied a vulnerability and dependence on the patriarchal head (Welter 373-377).
There are multiple possible causes for the internal conflict the narrator faces. The first being nervous depression and the other is the fact that her life is being controlled by her husband. Her husband is in full control because in the beginning of the story, John, her husband, influences how she should act. He decides the actions that should be taken in regards to her health and sanctity. Although she finds herself disagreeing with his synopsis, she is confined and does not admit how she feels to him. This also brings about another a major conflict that occurred in the 19th century, men being dominant and woman being categorized as inferior. Evidence can be found when the narrator states, “If a physician of high standing, and one’s own husband assures friends and relatives that there is nothing the matter with o...
In “the Yellow Wallpaper,” Gilman used that the first feminist wave, which was the period that she raised up, for the background. Especially, she used the men’s power in the book when she started to telling the story:
"The Yellow Wallpaper" by Charlotte Perkins Gilman is a self-told story about a woman who approaches insanity. The story examines the change in the protagonist's character over three months of her seclusion in a room with yellow wallpaper and examines how she deals with her "disease." Since the story is written from a feminist perspective, it becomes evident that the story focuses on the effect of the society's structure on women and how society's values destruct women's individuality. In "Yellow Wallpaper," heroine's attempt to free her own individuality leads to mental breakdown.
The mother understands her husbands trust and she will not read his diaries. “... She saw where he had hidden the current volume, was tempted to open it and see what it was he didn’t want her to know, and then thought better of it and replaced the papers, exactly as they were before” (p. 44). The mother does not need to read the diaries to know what her husband is like. She knows that what her husband thinks is secret and unkind because she also has unkind thoughts.
A woman driven crazy by post partum depression and a dangerous treatment summarizes the short story of “The Yellow Wallpaper”. The story was influenced by the 19th century women’s depression and their vision of life. Through phantasmagoric symbolism in “The Yellow Wallpaper” Gilman is able to speak volumes on the destruction and autonomy of feminist self-expression, the restrictions of gender roles, and the patriarchal paradigm.
"The Yellow Wallpaper," by Charlotte Perkins Gilman, tells the story of a woman's descent into madness as a result of the "rest and ignore the problem cure" that is frequently prescribed to cure hysteria and nervous conditions in women. More importantly, the story is about control and attacks the role of women in society. The narrator of the story is symbolic for all women in the late 1800s, a prisoner of a confining society. Women are expected to bear children, keep house and do only as they are told. Since men are privileged enough to have education, they hold jobs and make all the decisions. Thus, women are cast into the prison of acquiescence because they live in a world dominated by men. Since men suppress women, John, the narrator's husband, is presumed to have control over the protagonist. Gilman, however, suggests otherwise. She implies that it is a combination of society's control as well as the woman's personal weakness that contribute to the suppression of women. These two factors result in the woman's inability to make her own decisions and voice opposition to men.
Cisneros starts the essay by reflecting on an anthology for a work that she wrote where she stated “I am the only daughter in a family of six sons. That explains everything” (Cisneros 366). Right after she introduces herself as how she sees herself now as the statement that she had written she feels does not explain enough about her to the reader. Next, she then goes into her story of how she sees herself and what has made her who she is. This explanation is taken throughout the entire essay as she explains how she got to where she was in her career. Her thesis is that growing up alone in isolation made her work hard to prove herself to her father. The thesis is very obvious in the essay and Cisneros successfully uses proves her thesis as she explains her childhood with her dad in the center of attention. Although others may argue that Cisneros’ relationship affects who she is in a negative way, Cisneros successfully proves the relationship between the two positively affects who she
Gender roles seem to be as old as time and have undergone constant, but sometime subtle, revisions throughout generations. Gender roles can be defined as the expectations for the behaviors, duties and attitudes of male and female members of a society, by that society. The story, “The Yellow Wallpaper,” is a great example of this. There are clear divisions between genders. The story takes place in the late nineteenth century where a rigid distinction between the domestic role of women and the active working role of men exists (“Sparknotes”). The protagonist and female antagonists of the story exemplify the women of their time; trapped in a submissive, controlled, and isolated domestic sphere, where they are treated as fragile and unstable children while the men dominate the public working sphere.
"The Yellow Wallpaper" motivated the female mind of creativity and mental strength through a patriarchal order of created gender roles and male power during the nineteenth century and into the twentieth century. While John represented characteristics of a typical male of his time, the yellow wallpaper represented a controlling patriarchal society; a sin of inequality that a righteous traitor needed to challenge and win. As the wallpaper deteriorates, so does the suppressing effect that male hierarchy imposed on women. Male belief in their own hierarchy was not deteriorating. Females began to think out of line, be aware of their suppression, and fight patriarchal rule. The progression of the yellow wallpaper and the narrator, through out the story, leads to a small win over John. This clearly represents and motivates the first steps of a feminist movement into the twentieth century.
Charlotte Perkins Gilman's "The Yellow Wallpaper" has been interpreted in many ways over the years. Modernist critics have applied depth psychology to the story and written about the symbolism of sexual repression in the nursery bars, the chained-down bed, and the wallpaper. Genre critics have discussed the story as an example of supernatural gothic fiction, in which a ghost actually haunts the narrator. But most importantly, feminist critics (re)discovered the story in the 1970s and interpreted it as a critique of a society that subjugated women into the role of wife and mother and repressed them so much that all they could ever hope to be was an "angel in the house."
The Yellow Paper is a short story published in 1892, and written by Charlotte Perkins Gilman. Charlotte tells of a disheartening tale of a woman who struggles to free herself from postpartum depression. The Yellow Paper gives an account of an emotionally and intellectual deteriorated woman struggles to break free from a mental prison her husband had put her into, in order to find peace. The woman lived in a male dominated society and wanted indictment from it as she had been driven crazy, because of the Victorian “rest-cure” (Gilman 45). Her husband decided to force her to have a strict bed rest by separating her from her only child. He took her to recuperate in an isolated country estate all alone. The bed rest her husband forced into made her mental state develop from bad to worst. The Yellow Paper is a story that warns the readers about the consequences of fixed gender roles in a male-dominated world. In The Yellow Paper, a woman’s role was to be a dutiful wife and she should not question her husband’s authority and even whereabouts. Whereas, a man’s role was to be a husband, main decision maker, rational thinker and his authority was not to be questioned by the wife.