Feminist Perspective of The Yellow Wallpaper

    "The Yellow Wallpaper," tells the story of a woman driven to insanity as a result of Victorian "relaxation therapy," a once-commonly recommended period of inactivity intended to heal hysteria and anxiety problems in women.        
    One of the primary goals of feminist writing is to discover what kind of voice females have or do not have in a world governed by men. Women are currently considered less important than males in humanity, and language is one of the tools used to undermine men's superiority over women.
      Despite the fact that the arena in literature is frequently depicted from a man's perspective, female writers have continued in writing. In Charlotte Perkins Gilman's The Yellow Wallpaper, the author used modest symbolism to enlighten the reader on how the main character is truly feeling, despite the fact that the direct text goes either talk like a man or no longer speak at all. Despite these expectations, males have unique experiences than women, and women had to find a way to express them, by discovering their distinctive fashion that includes particular difficulties, such as mental illness, and women focus on self-expression.     
       As the story progresses, the characters' male subjugation and the resulting mental contamination take shape. The writer quickly establishes who is dominant in her marriage, stating "John and myself" even when writing in her private journal. Even in her inner thoughts, she respects the males in her life. As soon as she could, the reader realizes the approach in which her relationship is built; it becomes clear that she has totally active creativeness. She refers to the house as "a haunted house," which also foreshadows the ending of the story. Her hatred against John is shown in little ways that are difficult to pinpoint, such as "John laughs at me, of course." She's used to John dismissing her ideas as a joke. At some point in the story's introduction, we learn all about John's character growth as a wise and aggressive doctor. She hints that she is the polar opposite of John's attributes by describing him and highlighting how dissimilar the two are. He is realistic, whereas she is a dreamer. The combination of John and the narrator represents the basic matching of men and women.
"He does not agree with I'm sick," demonstrates men's supremacy. The narrator has been unable to establish whether she is unwell or not, which is one of the easiest decisions someone can make. Her brother is the equivalent of any other male parent who makes decisions for her. Although she disagrees, she isn't very loud about it. The narrator no longer utilizes a variety of symbolisms while describing herself, John, and her brother. However, the symbolism begins to evolve with the statement "So I shall allow it by myself and communicate about the home." She chooses a different outlet for her emotions in matters concerning the house because she cannot dispute in the arena of men. She describes the mansion and its surroundings as lovely, then adds, "There were greenhouses as well, but they're all ruined now." It is common knowledge that greenhouses are areas of new lives and growth, with the fact that they may be broken signifying the patchwork of emerging new lifestyles. The narrator became pregnant, and the image of a shattered greenhouse should represent her grief over the pregnancy and not having the child developing inside her any longer. John wants her to control and trade her storytelling ideas, and his persistent condemnation of her actual nature is inescapable. Even in the text, she does not aggressively or explicitly disagree with John. The characteristics of the house, particularly the wallpaper, might be seen as a sign of the narrator's marital and desired sentiments. Even though the narrator prefers the beautiful downstairs, John chooses to keep them both in the upstairs nursery. "I don't like our room at all." The narrator's dislike for the nursery may also represent the fact that she did not want to have a toddler in the first place, as seen by the fact that she does not address the baby by name or show any desire to engage with it. She feels imprisoned, her unpleasant nursery room is terrible, and "the windows are closed." This was originally a safety measure for the children who lived in the nursery, but it now creates a cage-like setting for the narrator and acts as a continual reminder for children. It is also a clear sign of the narrator's confinement over which she has no control. Her hatred for the mechanical room is heightened by her hatred for the wallpaper. It "promises every aesthetic vice," she says. The wallpaper may be around at first look. However, upon new emphasis, it is clear that it is a symbol of her marriage. . She describes the wallpaper as "dull yet annoying," and John is either abandoning her, which is tiresome, or attempting to govern her life, which is irritating.
The fact that the narrator has been put in this room, which represents her marriage, irritates her, and she or he expresses this by saying, "I might not be that idiotic as to make him sore just for a whim." He forces her to stay upstairs just because it is his preference while he is relatively uncommon. The narrator explains the wallpaper and her feelings about it by saying, "I am getting downright angry with its impertinence and everlastingness." Her marriage is something she can't avoid, and she has no desire to be in it. Her groans and weak spot are driving her to a mental breakdown. She begins to evolve to see a woman in the sample, "stooping down and slithering about." If her marriage is the wallpaper, the lady behind it may be seen in the narrator's mind. Her escalating unhappiness elevates the woman to a new level of prominence. She lacks purpose since she isn't always suitable to jot down, which accounts for her overactive imagination to communicate.
"The faint discern at the back of seemed to shake the pattern, just as if she wanted to get out," her female behind the pattern feels. The narrator wishes to break free from her marriage, just as the girl wishes to break free from the pattern. The use of the term pattern isn't an accident either, as these kinds of interactions are the everyday pattern followed by society at the time. As time passes, the speaker becomes more engrossed in her obsession with the woman behind the wallpaper, which may be her only path out of a situation she can't change.
As a result, the speaker falls victim to vanity, ripping at the paper and running across the room, causing her husband to collapse. She hasn't managed to break free from her dating boundaries, but she is attempting to release the girl from behind the wallpaper pattern. Her obsession with the wallpaper is closely linked to her need for control over her life and relationships; she will be able to exercise her control over the wallpaper, but she will be helpless to change her marriage.
As a result, one of the primary goals of feminist writing is to discover what kind of voice females have or do not have in a world governed by men. Women are currently considered less important than males in humanity, and language is one of the tools used to undermine men's superiority over women.
      
    One of the primary goals of feminist writing is to discover what kind of voice females have or do not have in a world governed by men. Women are currently considered less important than males in humanity, and language is one of the tools used to undermine men's superiority over women.
      Despite the fact that the arena in literature is frequently depicted from a man's perspective, female writers have continued in writing. In Charlotte Perkins Gilman's The Yellow Wallpaper, the author used modest symbolism to enlighten the reader on how the main character is truly feeling, despite the fact that the direct text goes either talk like a man or no longer speak at all. Despite these expectations, males have unique experiences than women, and women had to find a way to express them, by discovering their distinctive fashion that includes particular difficulties, such as mental illness, and women focus on self-expression.     
       As the story progresses, the characters' male subjugation and the resulting mental contamination take shape. The writer quickly establishes who is dominant in her marriage, stating "John and myself" even when writing in her private journal. Even in her inner thoughts, she respects the males in her life. As soon as she could, the reader realizes the approach in which her relationship is built; it becomes clear that she has totally active creativeness. She refers to the house as "a haunted house," which also foreshadows the ending of the story. Her hatred against John is shown in little ways that are difficult to pinpoint, such as "John laughs at me, of course." She's used to John dismissing her ideas as a joke. At some point in the story's introduction, we learn all about John's character growth as a wise and aggressive doctor. She hints that she is the polar opposite of John's attributes by describing him and highlighting how dissimilar the two are. He is realistic, whereas she is a dreamer. The combination of John and the narrator represents the basic matching of men and women.
"He does not agree with I'm sick," demonstrates men's supremacy. The narrator has been unable to establish whether she is unwell or not, which is one of the easiest decisions someone can make. Her brother is the equivalent of any other male parent who makes decisions for her. Although she disagrees, she isn't very loud about it. The narrator no longer utilizes a variety of symbolisms while describing herself, John, and her brother. However, the symbolism begins to evolve with the statement "So I shall allow it by myself and communicate about the home." She chooses a different outlet for her emotions in matters concerning the house because she cannot dispute in the arena of men. She describes the mansion and its surroundings as lovely, then adds, "There were greenhouses as well, but they're all ruined now." It is common knowledge that greenhouses are areas of new lives and growth, with the fact that they may be broken signifying the patchwork of emerging new lifestyles. The narrator became pregnant, and the image of a shattered greenhouse should represent her grief over the pregnancy and not having the child developing inside her any longer. John wants her to control and trade her storytelling ideas, and his persistent condemnation of her actual nature is inescapable. Even in the text, she does not aggressively or explicitly disagree with John. The characteristics of the house, particularly the wallpaper, might be seen as a sign of the narrator's marital and desired sentiments. Even though the narrator prefers the beautiful downstairs, John chooses to keep them both in the upstairs nursery. "I don't like our room at all." The narrator's dislike for the nursery may also represent the fact that she did not want to have a toddler in the first place, as seen by the fact that she does not address the baby by name or show any desire to engage with it. She feels imprisoned, her unpleasant nursery room is terrible, and "the windows are closed." This was originally a safety measure for the children who lived in the nursery, but it now creates a cage-like setting for the narrator and acts as a continual reminder for children. It is also a clear sign of the narrator's confinement over which she has no control. Her hatred for the mechanical room is heightened by her hatred for the wallpaper. It "promises every aesthetic vice," she says. The wallpaper may be around at first look. However, upon new emphasis, it is clear that it is a symbol of her marriage. . She describes the wallpaper as "dull yet annoying," and John is either abandoning her, which is tiresome, or attempting to govern her life, which is irritating.
The fact that the narrator has been put in this room, which represents her marriage, irritates her, and she or he expresses this by saying, "I might not be that idiotic as to make him sore just for a whim." He forces her to stay upstairs just because it is his preference while he is relatively uncommon. The narrator explains the wallpaper and her feelings about it by saying, "I am getting downright angry with its impertinence and everlastingness." Her marriage is something she can't avoid, and she has no desire to be in it. Her groans and weak spot are driving her to a mental breakdown. She begins to evolve to see a woman in the sample, "stooping down and slithering about." If her marriage is the wallpaper, the lady behind it may be seen in the narrator's mind. Her escalating unhappiness elevates the woman to a new level of prominence. She lacks purpose since she isn't always suitable to jot down, which accounts for her overactive imagination to communicate.
"The faint discern at the back of seemed to shake the pattern, just as if she wanted to get out," her female behind the pattern feels. The narrator wishes to break free from her marriage, just as the girl wishes to break free from the pattern. The use of the term pattern isn't an accident either, as these kinds of interactions are the everyday pattern followed by society at the time. As time passes, the speaker becomes more engrossed in her obsession with the woman behind the wallpaper, which may be her only path out of a situation she can't change.
As a result, the speaker falls victim to vanity, ripping at the paper and running across the room, causing her husband to collapse. She hasn't managed to break free from her dating boundaries, but she is attempting to release the girl from behind the wallpaper pattern. Her obsession with the wallpaper is closely linked to her need for control over her life and relationships; she will be able to exercise her control over the wallpaper, but she will be helpless to change her marriage.
As a result, one of the primary goals of feminist writing is to discover what kind of voice females have or do not have in a world governed by men. Women are currently considered less important than males in humanity, and language is one of the tools used to undermine men's superiority over women.