"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.
Objectification of Women in Society In Anne Sexton’s poem- “In celebration of my uterus”, “Cinderella”, and “Buying the Whore” Anne expresses female objectification that nowadays society has towards women. Anne Sexton, an American writer born in Newton, Massachusetts, was frustrated by her family life, where her father was an alcoholic and her mom frustrates her literacy aspiration. According to Poetry Foundation, her poems are considered “confessional poetry,” she expresses her intimate emotional anguish that characterized her life. The central issue on her poems is: being a woman. In “Celebration of my uterus” talks about wanting to be more than just and an object for men and the struggle of being a woman.
Altogether, Mrs. Mallard claims that, “there would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature” (Chopin, 16). This is the most important of Mrs. Mallard’s thoughts, as she never officially states a specific way when her husband oppressed her. However, the audience can clearly suggest that this is a hint towards marriage in general that it suffocates both men and women. Marriage is an equal partnership in which compromise and communication become the dominant ideals to make the marriage better. It is suggested that Mrs. Mallard also oppressed her husband just as much as he did to her when she sinks into the armchair and is, “pressed down by a physical exhaustion
The Oppression of Women and The Yellow Wallpaper The Yellow Wallpaper by Charlotte Perkins Gilman is a fictionalized autobiographical account that illustrates the emotional and intellectual deterioration of the female narrator who is also a wife and mother. The woman, who seemingly is suffering from post-partum depression, searches for some sort of peace in her male dominated world. She is given a “rest cure” from her husband/neurologist doctor that requires strict bed rest and an imposed reprieve form any mental stimulation. As a result of her husband’s controlling edicts, the woman develops an obsessive attachment to the intricate details of the wallpaper on her bedroom wall. The woman’s increasingly intense obsession with the wallpaper ultimately leaves the reader with many questions about nineteenth-century male-female relationships, and perhaps even insanity.
The roles in which gender is the main factor has been fought over but the fact of the matter is that it is still being fought over today. Not only is a gender role an old disagreement, but it is also the hidden symbolic meaning behind Charlotte Perkins Gilman’s The Yellow Wallpaper. In her short story published in 1899, author Charlotte Perkins Gilman effectively use symbolic patterns to comment on how societal oppressions create insanity. Although John thinks he is being supportive by enforcing the “rest cure” for his wife, his lack of listening reflects the roles determined by gender. Men have grown up in a society in which changing what they do not approve of, even women, is okay.
His presence throughout the tale provides for the narrator's motive. John refuses to accept her wife's condition; he does not believe that there is anything truly wrong with her. If a physician of high standing, and one's own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression, a slight hysterical tendency - what is one to do? (246) The narrator is possessed by her hus... ... middle of paper ... ...ion. Sven Birkerts.
While Suess argues that women become obsessed with the way in which they are repressed culturally or psychologically, “The Yellow Wallpaper” shows how women are systematically stripped of their self identity. In the first lines of the novel, the narrator is depicted as being weak and lacks confidence within herself; thus, she has given up on trying to govern her own actions and thoughts and places her own responsibility on her husband. The narrator describes how she has willingly given up making her own life choices, and prefers that her husband control her life, she states “He is very careful and loving, and hardly lets me stir without special direction. I have a schedule prescription for each hour in the day; he takes all care from me, and I feel so basely ungrateful not to value it more”(Gilman 487). Patriarchal views have manifested themselves within the narrator.
John believed his precise agenda for his wife would remove any unneeded stress on her by planning all her moves for her. This strict timeline shows her slow removal of choice over her life enforced by her husba... ... middle of paper ... ...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. Works Cited YILDIRIM, Aşkın Haluk.
"The Changing Role of Womanhood: From True Woman to New Woman in Charlotte Perkins Gilman's "the Yellow Wallpaper":." N.p., n.d. Web. 05 Feb. 2014. Thrailkill, Jane F. "Doctoring "The Yellow Wallpaper"" JSTOR.