The short stories “Souls Belated” and “The Yellow Wallpaper” have in common ‘Marriage’ as main theme. However, the marriage is treated quite differently in both short stories. In "Souls Belated", Lydia chooses to take control of her destiny, to deviate from conventions and to choose what is good for her. She is the strongest character of the couple. Whereas, in "The Yellow Wallpaper", the name of the main character who is also the narrator of the story is not known. She is identified as being John’s wife. This woman, contrary to Lydia in "Souls Belated" is completely locked up in her marriage. This essay will first describe and compare the characters of Lydia and John's wife in the context of marriage, and then it will look at how marriage is described, treated and experienced by couples in these two short stories. Firstly, this part will focus on the characters of Lydia in "Souls Belated" and John's wife in "The Yellow Wallpaper" into the context of marriage and their perceptions of material duties. To find out what their roles in the relationship are, it is important to understand the characters of Lydia and John's wife, how they describe their marriages and their behaviour, in order to see how their choices affect in a positive or negative outcomes in their marriages. In “Souls Belated”, at the end of the story, the omniscient narrator confides Gannett's thoughts on Lydia, and these thoughts help describe the character of Lydia in the way Gannett sees her. “He had never thought of her as a woman who wept and clung: there was a lucidity in her intuitions that made them appear to be the result of reasoning.” (Wharton, 411). Lydia is here the portrait of an independent, clever and rational woman. She seems to be a stronger... ... middle of paper ... ...s: General • Hughes Gertrude Reif. (Spring 1986). Subverting the Cult of Domesticity: Emily Dickinson’s Critique of Woman’s Work. Legacy. Vol. 3, No. 1, pp. 17-2 • Professor Catherine Lavender for History 386 (Women's Pasts--Women in New York City, 1890-1940), The Department of History of The College of Staten Island of The City University of New York, Fall Semester 1998. • Trumbull, John. Declaration of Independence, 4 July, 1776 • Welter, Barabara. (Summer, 1966). The Cult of True Womanhood: 1820-1860. American Quarterly. Vol. 18, No. 2, Part 1, pp. 151-174 • Wolff, C. Griffin. (1990). Four stories by American women. New York, N.Y.: Penguin Books. o Introduction, p. xiii-xxvi • Gilman, C. Perkins., Shulman, R. (1998). The yellow wall-paper and other stories. Oxford: Oxford University Press. o Appendix B ‘Why I wrote “The Yellow Wallpaper”?’ p. 331
In terms of gender ideals of medieval society, the main characters in the story are very conventional. To begin with the story meshed nicely with the social conventions that Gayle Rubin explains in Traffic of Women. Accor...
Through the use of symbolism, and characterization that involves an instance of imagery, the author advocates this notion through the newlywed’s decision of neglecting her personal feminine taste to make her husband’s preferences her own, and embracing her title of submissive partner by kissing the hand. Also, the choice of words to describe each partner differs tremendously, as the author seems to give more importance to the man by making him appear handsome, and particularly strong. On the contrary, the young woman appears to be weak and minor, which supports this idea of submissive women in a couple through the perception of the woman being way behind her husband. This story demonstrates a great symbolic significance when it comes to the hand, which can lead to other important ideas surrounding the message the author is trying to
A woman’s self-worth and self-esteem are vital to experiencing happiness in a marriage. In addition, low self-esteem will cause a woman to feel abandoned, because she is not getting enough emotional support from her husband. Cisneros demonstrated this through the character of Cleofilas in the story. For example, Cleofilas often reminds herself why she loves Juan Pedr...
Finally, even though, for a long time, the roles of woman in a relationship have been established to be what I already explained, we see that these two protagonists broke that conception and established new ways of behaving in them. One did it by having an affair with another man and expressing freely her sexuality and the other by breaking free from the prison her marriage represented and discovering her true self. The idea that unites the both is that, in their own way, they defied many beliefs and started a new way of thinking and a new perception of life, love and relationships.
Each window Jeffries observes contains a plot which portrays a different view of marriage. At first, the newlyweds show a relationship full of joy and happiness with much hope for the future. The husband is shown as he carries his bride over the threshold as they enjoy their first moments together in their new home. Then the blinds are pulled and thus sexual relations are implied. As ti...
“Like a river flows so surely to the sea darling, so it goes some things are meant to be.” In literature there have been a copious amount of works that can be attributed to the theme of love and marriage. These works convey the thoughts and actions in which we as people handle every day, and are meant to depict how both love and marriage can effect one’s life. This theme is evident in both “The Storm” by Kate Chopin and “The Yellow Wallpaper” by Charlotte Gilman; both stories have the underlying theme of love and marriage, but are interpreted in different ways. Both in “The Storm” and in “The Yellow Wallpaper,” the women are the main focus of the story. In “The Storm” you have Calixta, a seemingly happy married woman who cheats on her husband with an “old-time infatuation” during a storm, and then proceeds to go about the rest of her day as if nothing has happened when her husband and son return. Then you have “The Yellow Wallpaper” where the narrator—who remains nameless—is basically kept prisoner in her own house by her husband and eventually is driven to the point of insanity.
In conclusion, through these two characters Janie and Estrella, it is shown that social immobility is something that causes people to lose their innocence and become restricted. Through these two characters, the readers are able to women going through many instances of trouble, and overcoming the boundaries and restrictions. Janie shows the readers that materialistic marriages are bound to be inevitably unhappy in the end, and women can achieve happiness in a marriage through love and choice. Estrella in her own way shows how social immobility causes many problems for people in the migrant working social class but hope is something needed to overcome the demons and hardships in life.
In “The Yellow Wall-paper by Charlotte Perkins Gilman, the unnamed female protagonist is going through a rough time in her life. (For now on, this paper will refer to this unnamed character as the “the narrator in ‘Wall-paper,’” short for “The Yellow Wall-paper. The narrator is confined to room to a room with strange wall-paper. This odd wall-paper seems to symbolize the complexity and confusion in her life. In “The Story of an Hour” by Kate Chopin, the protagonist, Mrs. Mallard must also deal with conflict as she must deal with the death of her spouse. At first there is grief, but then there is the recognition that she will be free. The institute of marriage ties the two heroines of these two short stories together. Like typical young women of the late 19th century, they were married, and during the course of their lives, they were expected to stay married. Unlike today where divorce is commonplace, marriage was a very holy bond and divorce was taboo. This tight bond of marriage caused tension in these two characters.
...e relationship with men, as nothing but tools she can sharpen and destroy, lives through lust and an uncanny ability to blend into any social class makes her unique. Her character is proven as an unreliable narrator as she exaggerates parts of the story and tries to explain that she is in fact not guilty of being a mistress, but a person caught in a crossfire between two others.
Welter, Barbara. “The Cult of True Womanhood: 1820-1860.” Nineteenth Century Literature March 1966: 102-106. Jstor. On-line. 10 Nov. 2002.
“The Yellow Wallpaper” tells the story of a woman who is trapped in a room covered in yellow wallpaper. The story is one that is perplexing in that the narrator is arguably both the protagonist as well as the antagonist. In the story, the woman, who is the main character, struggles with herself indirectly which results in her descent into madness. The main conflicts transpires between the narrator and her husband John who uses his power as a highly recognize male physician to control his wife by placing limitations on her, forcing her to behave as a sick woman. Hence he forced himself as the superior in their marriage and relationship being the sole decision make. Therefore it can be said what occurred externally resulted in the central conflict of” “The Yellow Wallpaper being internal. The narrator uses the wallpaper as a symbol of authenticy. Hence she internalizes her frustrations rather then openly discussing them.
In the short story, Concerning Love, a few friends were having lunch and began talking about love and love stories. The whole short story mainly regards the story of one of the men, Alehin. During his younger years, he meets the wife of his friend, Anna, and realizes his love that he has always had for her even before they met. Anna is a kind and generous woman; however, she is not a respectable character because she has interest for Alehin behind her husband’s back. Secretly, she was in love with another man. She often thought about him and paid special attention to him when he visited. The narrator in The Yellow Wallpaper is never named, but she is also married. Her character faces internal conflict, and most people would consider her crazy. She claims to see a living woman moving in her wallpaper and says that she can smell it. In contrast to Anna who is a socialite, the main character from The Yellow Wallpaper almost never leaves her room let alone her bed. Her singular main focus is on the yellow wallpaper in her room. The woman from The Yellow Wallpaper and Anna from Concerning Love do
Also, the paper will discuss how ignoring oneself and one’s desires is self-destructive, as seen throughout the story as the woman’s condition worsens while she is in isolation, in the room with the yellow wallpaper, and at the same time as her thoughts are being oppressed by her husband and brother. In the story, the narrator is forced to tell her story through a secret correspondence with the reader since her husband forbids her to write and would “meet [her] with heavy opposition” should he find her doing so (390). The woman’s secret correspondence with the reader is yet another example of the limited viewpoint, for no one else is ever around to comment or give their thoughts on what is occurring. The limited perspective the reader sees through her narration plays an essential role in helping the reader understand the theme by showing the woman’s place in the world. At the time the story was written, women were looked down upon as being subservient beings compared to men....
Marriage is a powerful union between two people who vow under oath to love each other for better, for worse, for richer, for poorer, in sickness and in health. This sacred bond is a complicated union; one that can culminate in absolute joy or in utter disarray. One factor that can differentiate between a journey of harmony or calamity is one’s motives. Jane Austen’s Pride and Prejudice is a novel of manners, where Elizabeth Bennet and her aristocratic suitor Mr. Darcy’s love unfolds as her prejudice and his pride abate. Anton Chekhov’s “Anna on the Neck” explores class distinction, as an impecunious young woman marries a wealthy man. Both Jane Austen’s Pride and Prejudice and Anton Chekhov’s “Anna on the Neck” utilize
Abrams 1604 - 1606. Peterson, Linda H. "What Is Feminist Criticism?" Wuthering Heights. Ed. Linda H. Peterson, Ph.D. Boston: Bedford Books, 1992.