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Females in 20th century literature
Women in a patriarchal society
Females in 20th century literature
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The Yellow Wallpaper (1892) and “The Chrysanthemums (1937) are two famous articles about feminist. The woman in both of two stories are trapped in their marriage and in male-donated society. However, the different ends of those stories reflect author’s point of view about woman’s role in society.
The narrator in The Yellow Wallpaper was trapped in her marriage and her husband orders. Under the name “helping” her, John - her husband - control and treat her like a child. As a part of resting cure, she is forbidden to think about her condition: “I sometimes fancy…about the house.” Her thoughts are interrupted by John’s instructions, everything in her mind is her husband’s voice which telling her what she should think. And she is forced to hide
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The woman in this story is Elisa who is describe as an attractive, eager, powerful, energetic woman. She is professional in her job however her life is unsatisfying because she lives in a society which is gender roles prohibit women from their potential and full development. There is no chance for intelligent woman like. She really like her job “ Oh, those are…anybody around here”, she says with “the irritation and resistance melted” in her face. She is gifted at growing plants however she is not allowed to make business deals, only her husband can decide it. The only thing Elisa can do is “working in her flower garden, looked down across the yard and saw”. She stays far away from her husband and the strangers and receives the information of the business deal indirectly through her husband. Moreover, her husband also limit her ability to work. When Elisa suggests that she wants to “work out in the orchard” because she has a gift with planting, Henry recognizes this fact too but he denies her “Well, it sure works with flowers”. Again, the male donated society limits her development.
Not only lacking of chances in career, Elisa also lacking of sexual fulfillment. It leads her to act in irrational ways as “kneeling there,…like a fawning dog”. Because of her frustrated desires, her actions and her language when she talks to the tinker – a complete stranger - are nearly pornographic. It reveals the relationship
... The women had no choice but to go along with the men’s choices. Nineteenth century women did not have much of a role in society, and it was meant to stay that way. “The Yellow Wallpaper” is classified as a feminist text because it portrays the desire for women to escape the society that has neglected them for so many years. Works Cited Ford, Karen.
The author describes the chrysanthemums as “too small and easy for her energy” and Elisa herself boasts of her strength when Henry tries to compliment her before their outing. In fact, Steinbeck’s use of language is very important in “The Chrysanthemums”, and the constrained, repetitive diction parallels the constricted nature of Elisa’s life on the isolated ranch. Ironically, Elisa loses her new-found confidence after realizing that the tinker had taken advantage of her, and cries “weakly like an old woman”, in stark contrast to her oft-mentioned strength and vigour, which are traits rarely attributed to women. Throughout the story, Elisa veils her traditional femininity under masculine qualities and
Elisa’s inner feelings are most apparent with the portrayal of her working in the garden, the conversation she has with the “Fixer-Guy”, and finally, when she and her husband are going out to dinner. Steinbeck offers an array of different details concerning the character of Elisa Allen. The main detail being that she is a strong woman on the inside although she seems to struggle in showing it throughout the story. Because of the "Pot Fixer," she is able to act, although for a short time, like that strong woman. Steinbeck unfortunately brings Elisa full-circle, back to where she started. She notices on the way to dinner her chrysanthemum sprouts at the roadside. This, along with her husband’s hesitation to allow her curiosity, puts her back where she started, canceling her emergence. One must ask after reading this short story if Elisa will continue this discontented lifestyle. Or will she be able to blossom beautifully for good, as do her chrysanthemums?
One day, when her husband Henry goes to work a traveling salesman stops by the house looking for some new work. There is a sense of slight flirtation at first, but that's just because Elisa is so excited to have conversation with someone else other than her husband. However, once he tries to reveal his sales pitch Elisa becomes irritated and short with the man. It wasn't until the salesman made mention of her chrysanthemum's that, " the irritation and resistance melted from Elisa...
... real love, she may be able to find fulfillment in her flowers more than she ever has. They can be released into the male world and survive, beautiful and strong, though fragile, just as she has. The chrysanthemums are not Elisa's frustration, they are her hope in a world she sees without hope. Therefore, when the tinker simply drops the flowers on the side of the road, the symbolic weight of the chrysanthemums must be considered. Higdon states that "the crucial question remains whether or not Elisa has been destroyed" (Higdon, 668). The reader can see how the flowers represent mostly a positive symbol of growth and life. Elisa may not have anywhere to turn for real understanding, since men are not able to explore her inner-qualities, but it is better that she grows flowers than shutting off her own emotions and feelings and using others like the men around her.
The Yellow Wallpaper and The Awakening were two works written during the Age of Expression. The entire country was going through an era of Reconstruction; politically, socially, culturally and econmically . The Yellow Wallpaper and The Awakening are feminist works aimed at the psychological, social, and cultural injustices during the era. According to Mizruchi, “ Cosmopolitanism aroused dis-ease: depression and disaection were prevalent in a society whose pace and variety seemed relentless. Yet the same circumstances also instilled hope. For it was widely recognized that the burgeoning heterogeneity of a newly global America would be a source of enduring vitality.”(Mizruchi, 2008) The wives portrayed in these works defeated the attitudes of their husbands during this patriarchal culture.
Her tense mind is then further pushed towards insanity by her husband, John. As one of the few characters in the story, John plays a pivotal role in the regression of the narrator’s mind. Again, the narrator uses the wallpaper to convey her emotions. Just as the shapes in the wallpaper become clearer to the narrator, in her mind, she is having the epiphany that John is in control of her.
This frustration is evident when Elisa is first introduced. Her figure is described as "blocked and heavy" because she is wearing heavy gloves, heavy shoes, a "man's black hat," and a big apron that hides her printed dress (Steinbeck 330). Her home has the masculine qualities of being "hard-swept" and hard-polished" (Steinbeck 330). Elisa is bored with her husband and with her life (McMahan 455). Obviously, Elisa is unhappy with the traditional female role and is attempti...
Restraints are set by parents on their children to aid with the developmental process and help with the maturity level. Restrictions and the ability to control exist in our society and our lives. We encounter restraints daily: job, doors, people, and the most frequently used and arduous become intangible. In the following stories tangible and intangible scenarios are presented. Autonomy, desires, and talents spurned by the husbands in John Steinbeck’s “The Chrysanthemums and Charlotte Gilman’s “The Yellow Wallpaper.” The authors share views regarding a similar theme of male domination and imprisonment. “The Yellow Wallpaper” involves the treatment of a depressed woman who is driven insane in a male imposed detention in her own room. On the other hand, Elisa Allen in the “The Chrysanthemums” struggles internally to find her place in a fully male dominated society with definite gender roles. The mirror-like situations bring upon a different reaction for both the women in different ways. The importance of symbolism, control from their husbands, and the lack of a healthy marriage will be discussed in this paper in two stories.
The stories “The Yellow Wallpaper” and “Trifle” both depict suppressed female roles in society during the late 19th century. While both contain strong symbols of feminism the authors chose to go about presenting them differently. Both hammered on the topics that once a woman was married they seemed to lose all freedom. As well as both showing that women had extremely set roles in society.
This is carried over into her relationship with her husband. Elisa feels that Henry does not
After the tinker comes to Elisa’s house, the author gives me an idea about sexual discrimination through the conversation between the tinker and Elisa. At their first conversation, this tinker keeps asking whether she has any items for repairing or not. He says he can fix anything and makes them better than new one. Elisa keeps saying she has nothing to fix. In this context, the tinker already ignores Elisa’s capability.
Women have been mistreated, enchained and dominated by men for most part of the human history. Until the second half of the twentieth century, there was great inequality between the social and economic conditions of men and women (Pearson Education). The battle for women's emancipation, however, had started in 1848 by the first women's rights convention, which was led by some remarkable and brave women (Pearson Education). One of the most notable feminists of that period was the writer Charlotte Perkins Gilman. She was also one of the most influential feminists who felt strongly about and spoke frequently on the nineteenth-century lives for women. Her short story, "The Yellow Wallpaper" characterizes the condition of women of the nineteenth century through the main character’s life and actions in the text. It is considered to be one of the most influential pieces because of its realism and prime examples of treatment of women in that time. This essay analyzes issues the protagonist goes through while she is trying to break the element of barter from her marriage and love with her husband. This relationship status was very common between nineteenth-century women and their husbands.
Elisa Allen embodies the image of a simple woman eager to escape the confines of a gender defined role in society. Readers are introduced to Elisa as a 35 year old, strong woman living with her husband, Henry, on a ranch in Salinas Valley (Steinbeck 460). Elisa’s masculinity is highlighted from the attire she is wearing to the strength in her hands. Henry affirms that Elisa is capable in her endeavors when he states, “you’ve got a gift with things,” in regards to her garden (Steinbeck 460). Even though Elisa is delighted at Henry’s suggestion that she work in the orchard, the idea does not seem to get a second thought (Steinbeck 460). The idea of a woman working in the orchard is dismissed on the premise that the orchard is not a woman’s place. In Elisa’s account with the man in the wagon, her sexuality exudes in her graphic explanation of picking off the flower buds and being under the stars, to the point that she almost physically touches the man (Steinbeck 463). Her desire would go unsatisfied, as it would not be appropriate for her to act on her impulse. Elisa is searching for fulfillment in life but finds her role to be trivial. Intrigued by the idea of traveling, as the gentleman in the wagon does, she states, “It must be very nice. I wish women could do such things.” She is shot down as the man replies, “It ain’t the right kind of a life for a woman” (Steinbeck 464). This conversation clearly depicts the prevalent inequality of the sexes. Furthermore, once the man leaves in the caravan Elisa cements her urge for something more, looking out at the horizon whispering, “That’s a bright direction. There’s a glowing there” (Steinbeck 464-465).
When Elisa’s husband Henry comes over and compliments her garden and ability to grow things, Elisa is smug with him and very proud of her skill with the flowers. Her "green thumb" makes her an equal in her own eyes. When Elisa’s husband asks her if she would like to go to dinner, her feminine side comes out. She is excited to go eat at a restaurant and states that she would much rather go to the movies than go see the fights, she "wouldn’t like the fight’s" at all (paragraph 21). Elisa is taken aback by her own submissiveness and quickly becomes preoccupied with her flowers as soon as her husband leaves.