Some time ago, women had been treated unfairly; they fought for equal rights of women and their acts have influenced culture. In the nineteenth century around the 1800s, the oppressive exploitation that exists in ‘The Yellow Wallpaper was excessively motivated by the society of the author to achieve the same ...
level as men; although the authoritarian movements reached modern times. Therefore, in order to assess this patrial oppression; for decades, women have been challenged as to how men and women are disparate. We need to learn from the compare and contrast from the past to the present what are, economic and social in America based on the female character written by Charlotte Perkins Gilman. Also, there is the use of ironies in the story; the structure of the tale, often reveals that males rule throughout the past period.
In many literary compositions, women fought with society to achieve the same position as men in the story âThe Yellow Wallpaperâ written by the popular author, Charlotte Perkins Gilman, which was published in the year of 1892. The writer considers herself based on her companion, John, economically which is financially compares to John and Johnâs wife. Also, psychologically; it represents clearly in the scene that John’s wife always wonders why she’s stuck in the tiny room with yellow wallpaper all the time. âJohn says it is good for meâ (Gilman 665). In that time, John considers his spouse as more significant as she is; how men are viewed in a civilization describes the psychological in the story.
Public reliance on women with people such as their spouses or any other people in this world often forces women to develop into the feminine. The author described the economic from the protagonist in the story in 1890 that â ‘The progressive individuation of human beings requires a personal home, one room at least for each person (Gilman 258). This is the reason why Johnâs wife got sick and became worst by staying in the yellow room alone day by day and her husband was always as work. For many years, people have been talking about the differences between men and women, that women have to sit at home all the time and not guys. Time has changed people’s thoughts a bit year after year and there was more progress in culture.
The economy of women had been created a long ago by the quote, âIn the meantime, why deprive women of the same right to vote as that enjoyed by men? That is all the present Bill asks. It amazes me to find that so many progressive women opposed to this simple measureâ(Nugent 73). It revealed how unfair; at the time, the government did not allow women to have their own voting rights which made their lives more complicated to feel like a pigeon being stuck in a cage. On the other hand, women nowadays can make their own money than women from the past.
In the late 1892s from âThe Yellow Wallpaperâ attached a strong gender division of labor in colonial America. Every one of us always noticed the social of oppression with a huge problem that women never treated like men in the past. For instance, the narrator in the story of â The Yellow Wallpaperâ distinguishes the yellow room of her that â rings and things in the wallâ and âwindow barred for little childrenâ (Gilman). The author explained the meaning of why the protagonist stuck in and felt like a little baby because she has never been herself and never allowed herself to be happy. Also, her husband, John, controlled everything from her. Women are forced to stay at home to take care of their children, cook for their families, then clean up around the house and they have no chance to work and get paid like a man. However, men will be so different from women that they can go out to do whatever they want, be free to choose the job that suits them. Of course, at that time or now in this society, men are always the main breadwinner in the family. Move on to the present 2019, the civilizationâs society took a long time to change based on the quote, âMaathai’s journey toward self-definition and personal change are captured in Unbowed (2006). Ebola (2015) states, ‘… her autobiography becomes a powerful tool for self-identification that recounts her personal experiences and offers lessons to readers about the importance of being in control.’ (pp. 148-149)â. Modern women utilize their inherent strength and intelligence to succeed in building things that society; it was considered impossible and battle against their justice from time immemorial.
It is too difficult to think deeply about the noteworthy life of women demonstrate in the whole plot centers around the short story âThe Yellow Wallpaperâ which many acknowledge would view as pure frivolity of women throughout the situational and dramatic ironies. From the text, situational irony describes the acts of a protagonist from the opposite the intended outcome. For example, the narrator requests for herself that she always feel âalone a good deal just now. John is kept in town very often by serious cases, and Jennie is good and lets me alone when I want her toâ(Gilman 93). The condition of the protagonist turns into more serious into the narrative as she relates to the clients of John. Furthermore, the author uses dramatic irony which means the audience or the reader will know the situation in the story more and the protagonists donât know yet. For instance, âIâm feeling ever so much betterâ (Gilman 172), the women in the story believe that sheâs not sick at all; however, she did become insane much more because of John, her husband, was the only one who gave her the imagination about everything from the frightening yellow wallpaper that she asked to change over and over multiple time and furthermore, she did not allow to see her little baby, read, or write anything. Overall, she never gets better by the control of her husband, John, which represents the theme that everyone always has their own life and no one can control it. As a well-known,
In conclusion, we have seen that â The Yellow Wallpaperâ written by Charlotte Perkins Gilman shows many terrifying and awesome tale of the gothic. Addition, it helps to show the patriarchal oppression of feminist theory that compares and contrast female from the past to modern women in America today based on the short story and approach from society today in the world. Nevertheless, we may be able to avert most of the mental hallucinations in the forthcoming to understand the reading of the craziness in âThe Yellow Wallpaperâ.
Works Cited
- Muzzey, Annie L. ‘The Hour and the Woman.’ Twentieth-Century Literary Criticism, edited by Dennis Poupard, vol. 9, Gale, 1983. Literature Resource Center, https://link-gale-com.ezproxy.gwclib.nocccd.edu/apps/doc/H1420013892/LitRC?u=hunt25841&sid=LitRC&xid=bd38d36d. Accessed 9 Nov. 2019. Originally published in The Arena, vol. 22, no. 2, Aug. 1899, pp. 263-272.
- Nugent, Ann. ‘Nellie Alma Martel and the Women’s Social and Political Union, 1905-09.’ Hecate, vol. 31, no. 1, 2005, p. 142+. Literature Resource Center, https://link-gale-com.ezproxy.gwclib.nocccd.edu/apps/doc/A136511134/LitRC?u=hunt25841&sid=LitRC&xid=94ea502f. Accessed 9 Nov. 2019.
- Perkins Gillman, Charlotte. âThe Yellow Wallpaperâ Golden West College English 110 handout from Thesera Lavarini, Fall 2019, Huntington Beach, California.
- Roth, Marty. ‘Gilman’s Arabesque Wallpaper.’ Mosaic: A journal for the interdisciplinary study of literature, vol. 34, no. 4, 2001, p. 145+. Literature Resource Center, https://link-gale-com.ezproxy.gwclib.nocccd.edu/apps/doc/A81223363/LitRC?u=hunt25841&sid=LitRC&xid=44226f46. Accessed 9 Nov. 2019.
- Thomas, Heather Kirk. ”[A] Kind of Debased Romanesque with Delirium Tremens’: Late-Victorian Wall Coverings and Charlotte Perkins Gilman’s ‘The Yellow Wallpaper.’.’ Short Story Criticism, edited by Janet Witalec, vol. 62, Gale, 2003. Literature Resource Center, https://link-gale-com.ezproxy.gwclib.nocccd.edu/apps/doc/H1420051949/LitRC?u=hunt25841&sid=LitRC&xid=8b40e9f6. Accessed 9 Nov. 2019. Originally published in The Mixed Legacy of Charlotte Perkins Gilman, edited by Catherine J. Golden and Joanna Schneider Zangrando, University of Delaware Press, 2000, pp. 189-206.
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