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Maria Paz Romero Morales

Carmen Cortés Zaborras

Estudios Ingleses

May 29th 2023

Feminist Analysis of The Yellow Wallpaper

Resumen/Abstract

1. Introduction

1.1 Corpus

1.2 Objetives

1.3 Methodology

2. State of the art

2.1. 19th century America

2.2 Women during the 19th Period in America

2.2.1 Women’s Role in the Private and public spheres

2.2.2 Women’s mental health

2.3 Gothic narrative

2.3.1 Themes

2.3.2 Techniques
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2.3.3 The Female Gothic

2.3.4 Gothic elements in The Yellow Wallpaper

3. Charlotte Perkins Gilman

3.1 The Yellow Wallpaper

3.1.1 Feminist literary analysis

4 . Conclusion

5. Bibliography

Resumen

La era victoriana se caracteriza por ser un período de crisis económica que

desencadenó crisis sociales e individuales en las sociedades occidentales. En este contexto, la

cultura, especialmente la literatura, se convirtió en una herramienta para expresar diversas

problemáticas y explorar la psicología humana característica de esa época. Debido a que la

sociedad de ese tiempo relegaba a las mujeres y las separaba de su propia identidad, se ha

profundizado en las obras escritas por mujeres para presenciar la evolución del movimiento

feminista, a través delgracias al cual lograron avanzar y descubrir su propia voz.

Un ejemplo destacado de esto es la obra autobiográfica The Yellow Wallpaper de

Charlotte Perkins Gilman, que se centra en la experiencia más personal de la autora y narra la

situación de vulnerabilidad de las mujeres que sufrieron los efectos de una sociedad

dominada por hombres y cómo fueron tratadas en relación cona las enfermedades mentales
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asignadas por la sociedad. A lo largo de su narración, Gilman también muestra destellos de

técnicas y elementos propios de la narrativa gótica, que fueron desarrollados de manera

innovadora por escritoras para exponer sus miedos y deseos más profundos.

Palabras clave: salud mental femenina, feminismo, narrativa gótica, Era Victoriana

Abstract

The Victorian era is often characterized as a period of economic crisis that triggered social

and individual crises in Western societies. In this context, culture, especially literature, became a tool

to express various issues and explore the human psychology characteristic of that era. Because the

society of that time relegated women and separated them from their own identity, works written by

women have been delved into to witness the evolution of the feminist movement, through which they

managed to advance and discover their own voice.

A prime example of this is the autobiographical work "The Yellow Wallpaper" by Charlotte

Perkins Gilman, which focuses on the author's more personal experience and narrates the vulnerable

situation of women who suffered the effects of a male-dominated society and how they were treated

in relation to the mental illnesses assigned by society. Throughout her narrative, Gilman also shows

glimpses of techniques and elements typical of the gothic narrative, which were innovatively

developed by women writers to expose their deepest fears and desires.

Palabras clave: women’s mental health, feminism, gothic narrative, Victorian Era

1. Introduction
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Victorian literature has been popularly studied and analyzed due to the important

historical context in which it is found, thanks to the skill of the authors of the time it has been

possible to deepen the different concepts that defined society as a whole, at the same time we

have been able to discern the individualism that characterizes it. In order toTo refer to this

rich literary period, it is necessary to mention the most important women authors, taking into

account that this work will focus on women. The most prolific to mention would be Charlotte

Brontë, creator of one of the most important concepts such as the madwoman in the attic, and

others like Elizabeth Gaskell or George Elliot. As it has previously mentioned, these works

will be focused from a feminist point of view in contrast with the protagonism of a society

centered on men and all that surrounds them. As for the influences that we find in the

different literary works, the most important to mention is the Gothic as it is represented a

deepening of the most hidden feelings from individualism and the effects of changes in

society as a wholesociety (Punter, Wiley, J. & Sons, 2012).

1.2 Corpus

Charlotte Perkins Gilman's renowned work of short fiction, The Yellow Wallpaper,

was first published in 1982 in the New England Magazine. It is widely regarded as her finest

literary achievement. Initially, Gilman faced challenges in finding a publisher for the short

story. Horace Scudder of The Atlantic declined to print it, expressing his reluctance to inflict

the same misery upon others that he had experienced himself. However, over time, The

Yellow Wallpaper started to gain recognition and support. In 1920, American writer William

Dean Howells included it in his anthology titled The Great Modern American Stories. Early

reviewers predominantly labeled The Yellow Wallpaper as a horror story and noted Gilman's

adept use of Gothic elements.

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It wasn't until Elaine R. Hedges' postscript in a 1973 edition of the story that it began

to attract scholarly attention. Presently, contemporary analysts interpret The Yellow

Wallpaper as a feminist critique of the oppression of women in society, appreciating its

compelling character portrayal, intricate symbolism, and thematic profundity. Scholars often

overlook the true extent of The Yellow Wallpaper's presence in pre-1973 publications,

leading to a distorted view of its history. According to Sandra M. Gilbert and Susan Gubar's

account in the Norton Anthology of Literature by Women, the story was first published in

The New England Magazine in May 1892 and later included in William Dean Howells'

Great Modern American Stories in 1920 (1147). Despite Howells' efforts, the story remained

largely overlooked for over five decades until Elaine Hedges brought attention to its merits in

her "Afterword" to the Feminist Press edition of 1973, where she praised it as a "small

literary masterpiece" (Schumaker 588). Gilbert and Gubar further note that, between 1920

and 1973, the story went unnoticed and unread (1148). Additionally, a few sources mention

that a slim book version of the story was published in 1899 by Small, Maynard & Company,

a Boston-based publisher. The precise date of The Yellow Wallpaper's initial publication has

been subject to ambiguity, adding to the enigmatic nature of the story. Critics Lisa Kasmer,

Annette Kolodny, and Janice Haney-Peritz, like Gilbert and Gubar, identify the publication

date as May 1892. However, there are conflicting sources that suggest the story appeared in

The New England Magazine in January 1892. Interestingly, in Gilman's autobiography, she

recalls the date as May 1891 (119). Nonetheless, this source has been proven to be inaccurate

in several details. It is likely that Gilman was referring to "The Giant Wistaria," which was

published in the June 1891 issue of The New England Magazine (Dock 58). Some scholars

choose to avoid this minor confusion altogether by simply noting the year 1892 as the

publication date. Nevertheless, the 1899 book edition is indeed accurate in stating that the

story was first published in January 1892.

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The majority ofMost critics and anthologists have adopted a version of those

mentioned above incomplete and misleading publishing history. However, a few

bibliographers have made efforts to address this issue. In Gary Scharnhorst's 1985 Gilman

bibliography, a total of nine reprintings are listed, including a Finnish translation and the

1899 book edition, spanning the period between the 1892 magazine publication and the 1973

Feminist Press edition (60, 63). Nevertheless, independent research that collates various

sources reveals well over twenty reprintings of the story prior to its feminist "recovery" in

1973, dispelling the myth that The Yellow WallPaper remained obscure throughout its

century-long existence. Notably, it was printed for the fourth time during Gilman's lifetime

(1860-1935) in the New York Evening Post on January 21, 1922. A copy of this printing was

discovered in the Gilman Papers at Radcliffe College. The fifth appeared in American

Mystery Stories (New York: Oxford UP, American Branch, 1927), the sixth in Golden Book

18 (October 1933), a literary magazine, and the seventh in A Book of the Short Story (New

York: American Book, 1934). The fifth and seventh printings were featured in scholarly

collections. Furthermore, a Finnish translation by Irene Tokoi was published in Nykyaika, 15

(June 1934), bringing the total number of appearances during Gilman's lifetime to eight.

1.3 Objectives

With this in mind, theThe objective of this thesis will be to analyze the work of

Charlotte Perkins Gilman from the perspective of feminism and through having regard to the

Gothic influence. In this literary work, we glimpse the small changes that began to emerge

regarding the issue of women through an autobiography that represents the concerns and

desires of a socially marginalized woman, and how social stigmas and the power of men lead

her to a figurative death of her identity as a woman or in contraposition, to a liberation of the

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oppressing system. It will also explore how she represents the different roles of women in

society and how she is affected by the effects of feminization of mental illness and

consequently the different treatments to which they were subjected.

In the first place, we will deal with the Victorian historical context, centered in

America taking into accountconsidering the story's background. According to this the

consequent topic to treat will be the private and public roles they played in society, it will

discuss the different political, economic, and social changes that affected them through the

reflection of Perkin’s own experience in order toto understand their internal feelings. And to

conclude the corpus it will be presented the proper analysis of the story in question bearing in

mind the different factors already mentioned, followed by the final conclusion which will be

given as a result of the dissertation about Victorian feminism in The Yellow Wallpaper.
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1.4 Methodology

The textual analysis methodology employed in studying The Yellow Wallpaper by

Charlotte Perkins Gilman involves a careful examination of the text itself, focusing on its

language, structure, themes, and literary devices. This methodology aims to uncover deeper

meanings and interpretations embedded within the story. Here are some key steps and

approaches typically employed in this type of analysis. The analysis of The Yellow

Wallpaper by Charlotte Perkins Gilman involves a close reading of the text, examining word

choice, sentence structure, symbolism, and imagery to fully grasp the narrative's nuances. It

also focuses on identifying and analyzing literary devices like metaphors, similes, and

foreshadowing, which contribute to the story's overall meaning. Additionally, the historical

context is considered, exploring the role of women, prevailing attitudes towards mental

health, and Gilman's personal experiences. A feminist perspective is applied, examining

themes of gender roles, power dynamics, and patriarchal oppression. The psychological

analysis delves into the protagonist's mental state and the symbolism of The Yellow

Wallpaper, exploring themes of confinement and societal constraints on mental health.

Comparative analysis with other works provides insights into recurring themes and

sociopolitical commentary.
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By employing these analytical approaches, we can gain a comprehensive

understanding of the text's meaning and significance, shedding light on the author's intentions

and the broader implications of the story.

1. State of the art

2.1 19th century America

The Late Victorian period was a period of changes and uncertainty in American

society, marked by major shifts in economic, social, and cultural structures (Chew, S. 1980:

1448). During this time, the United States experienced rapid industrialization, consequent

urbanization and the emergence of new classes that also experienced significant changes in

politics, religion, and art.

One of the notable advancements in the 19th century was the expansion of the

industrial economy. Innovations like the steam engine and inventions in textiles brought

about a transformation in production and distribution, leading to the establishment of

factories across the nation. This shift from an agrarian society to an industrial one gave rise to

a new working class, fundamentally altering perceptions of life and labor. Industrialization

also brought about urbanization, as individuals sought employment in cities and reshaped

social class structures. The emergence of the middle class introduced new professions such as

lawyers, doctors, and accountants, while the working class continued to face challenges such

as low wages. These processes of industrialization and urbanization had far-reaching effects

on American society, influencing politics, culture, and the arts. Political movements

advocating for abolition, women's rights, populism, and progressivism arose to address the
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social and economic disparities caused by industrialization. In the realm of arts, movements

like Romanticism and Transcendentalism emphasized individualism, emotion, and nature,

shaping American culture. The advent of technologies like photography and the telegraph

further revolutionized artistic expression and communication. Overall, the 19th century

witnessed significant transformations and developments in American society, driven by

industrial growth, urbanization, and the accompanying social and economic changes (Chew,

S. 1980: 1448).

2.2 Women during the 19th Century

The role of women went through a process of political, economic, and social changes

since the Revolutionary War. Before this image of women was oriented to be subordinate to

men, and to take care of the family and to be a good woman from a moral point of view. The

fact of being a society seen through the eyes of men led to the prohibition of their right to

vote or even to own property (Miller, Marla). Through biology it is argued and assigned

identity to men and women, so in other words the supposed biological inferiority of women

compared to men was what decided that they were not fully constructed to expose themselves

to society. In conclusion, biology was the excuse to argue the power of a patriarchal society

and to avoid the presence of women in the public eye (Bray, 2004: 28-29).

However, as will be explained in the next point, thanks to different political and

economic changes, different social changes were unleashed that allowed them to change their

vision of society and their contribution as women.

2.2.1 Women’s roles

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Underwent a redefinition during this time, centringcentering around the concept of the

"True Woman." This ideal portrayed women as confined to the domestic sphere, responsible

for household duties and child-rearing while upholding purity and modesty. While women

were respected as moral figures in religion and held in high regard by men, they were

expected to be submissive to their husbands and focused on their domestic responsibilities.

Society perceived men as the builders of civilization, while women were expected to serve as

symbols of protection and purity. The notion of the True Woman was instilled in young girls

from an early age through training in domestic skills, obedience, and chastity until

marriage, emphasizing their role in motherhood and transmitting moral values for the

success of society. This idea was reinforced not only at home but also through schools,

churches, medical texts, and literature. Despite being portrayed as pillars of morality and

virtue, women were also seen as delicate and weak due to the belief that their physical

condition was more fragile than men's. It was believed that women should avoid physical and

emotional strain to protect their health and delicate nervous systems. Consequently, women

were expected to rely on men for protection and financial support, as their only income came

from their husbands' salaries. This created a dependent relationship in which women were

subordinate to men within the family structure. However, significant historical events such as

commercialization, industrialization, and advancements in transportation led to a mass

exodus of men from agricultural areas, leaving women with limited marriage prospects and

forcing them to seek employment. During the Civil War, women filled the vacant positions

left by men and took on roles as teachers, government workers, overseers of plantations,

nurses, and volunteers. This period of transformation challenged the oppressive ideals of the

True Woman, as women had to adapt and take on responsibilities traditionally assigned to

men. Widows and spinsters emerged as a new generation, shaping a redefined concept of
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womanhood that challenged notions of purity and fragility. Women's rights movements and

the abolition of slavery further contributed to social changes, empowering women to fight for

their freedom and equality in society. In conclusion, the social changes of this period allowed

women to break free from the constraints of purity and fragility, enabling them to assert their

rights and claim their rightful place in society (Cogan 5, 6, 7).

In conclusion, as a result ofbecause of the societal transformations that occurred

during this era, including the abolition of slavery and the movements advocating for women's

rights, individuals were able to challenge the perception of purity and fragility assigned to

them. This empowered them to strive for their freedom and assert their rightful position

within society.

2.2.2 Women’s mental health

In the 19th century, women faced institutionalization for behaviors that went against

the norms of a male-dominated society. Their limited rights included not having the authority

to make decisions about their own mental well-being. Research suggests that some women

were admitted to mental institutions under questionable circumstances. Today, many of the

symptoms that led to women's institutionalization during this period would not be considered

grounds for such drastic measures. Symptoms like religious fervor, epilepsy, and menstrual

suppression were used as grounds to label women as mentally ill. These diagnoses and

symptoms reveal that women were often categorized as insane without proper evaluation,

influenced by societal attitudes toward women.

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By today's standards, these symptoms would be deemed controversial. Presently,

conditions such as post-loss melancholy, using offensive language, or the absence of

menstrual cycles (amenorrhea) would not meet the criteria for institutionalization. Moreover,

the specific diagnoses resulting from these symptoms were unique to that time. Conditions

like epilepsy and nymphomania were not regarded as illnesses, but rather as forms of

insanity. Women were also diagnosed with insanity when they displayed signs of fatigue or

exhaustion, despite the fact thateven though these symptoms were understandable given the

societal expectations and daily struggles women faced during that era.

There were also diagnoses of hysteria, agoraphobia, and anorexia, which were argued

to be a result of the public exposure women experienced, rather than their domestic

environment (Gilbert & Gubar, 2000: 53). Focusing on anorexia, patriarchal pressure played

a significant role, as women were expected to conform to men's established standards of

sexuality and physical appearance. This pressure led them to strive for thinness and fragility,

sometimes even contributing to the development of the disease itself (Smith, A. 2010).

According to male tradition, engaging in activities that stimulated women's minds and

imagination was considered detrimental to their mental health. Consequently, they were

prohibited from such activities. This gave rise to a new form of treatment known as the rest

cure or confinement, introduced by an American physician. He argued that women suffering

from neurasthenia were often thin and deficient in various ways. The prescribed solution was

to subject them to extended periods of rest and high-fat diets to ensure they received

sufficient nutrients and address issues like anemia. During this rest period, patients were not

allowed to engage in any physical exertion without the doctor's approval and were only

permitted to receive massages from nurses. However, this treatment was not applicable to all
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women, as some were still expected to fulfill their domestic responsibilities while being in

charge of their male family members (Stiles, 4).

Pistoni, R. 'A Woman in Bed in a Sick Room' (Painter in Rome), active 1872

2.3. Gothic Narrative

The word Gothic is related to the Goths, who invaded the Roman Empire and spread

throughout the current United Kingdom in the 3rd century. This term continued to have

importance during the Middle Ages, associated with poetry and chivalry. However, during
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the 18th and 19th centuries as part of the development of the two currents, neoclassicism and

romanticism, gothic emerged as an artistic genre (Ellis, 23).

The opposition to the reason of Neoclassicism and the importance of feelings and

emotions of Romanticism resulted in the violation of physical laws and thus gave free rein to

the imagination. The latter represents one of the main ideas of the Gothic since the fear of the

unknown and the limits of the mind resulted in unimaginable things. This is why the Gothic

focuses on the dark and sinister aspect of life, in which the imagination has no limits, creating

concepts never seen before (Varma, 16).

This genre delves into the most hidden emotions and feelings of the human being,

since it is one of the most important aspects, due to the fact thatbecause it represents the fear

and anxiety of the traumas and social development that society was going through at that

time.

To represent all this the Gothic uses real and fictitious elements to create an uncanny

atmosphere, where real elements were seen as something sinister and unknown. Also, the

setting is a very important element when developing a story with a gloomy atmosphere.

These settings were developed in medieval places, haunted castles, dungeons, and other

locations that conveyed terror. The term "picturesque"

emerged as a result ofbecause of incorporating architectural ruins into the landscape.

These ruins, which include castles, convents, and cathedrals, create breathtaking views that

represent the decline of a once great and glorious past. Gothic writers aim to depict the awe-

inspiring and terrifying power of nature in contrast.

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2.3.1 Themes

As has been said before in the brief definition of the Gothic narrative, in it are used

different elements that make the gloomy environment more realistic, like the settings or the

themes of the stories. It can be found, for example, an ancient prophecy that is connected

withrelates to the setting or even the inhabitants that is usually obscure and confusing, for the

plot to introduce the unknown element gives the ambience a good sense of unpredictability to

the reader. Other elements can also be the presentation of supernatural events, such as ghosts,

or even inanimate elements coming to life, that blur the line between the real and the spiritual

reality, taking on account that spirituality was at its peak, it was important to introduce that to

produce a good context in the story.

Dealing with characters we have two different stereotypes, the women in distress and

the tyrannical male. In order toTo evoke an emotional response from the reader, female

characters are frequently subjected to events that cause them to faint, feel terror, scream, or

weep. The novels often revolve around a solitary, thoughtful, and oppressed heroine,

intensifying the impact of her tribulations and making her the primary focus of the story.

These women experience even greater suffering due to being forsaken, left alone either

intentionally or unintentionally, and lacking protection during vulnerable times. On the other

hand, a male character with authority, such as a king, lord of the manor, father, or guardian,

often has the ability tocan order one or more female characters to perform an unbearable act.

The woman may be instructed to marry someone she doesn't love, possibly even the powerful

male figure himself, or to commit a criminal act. In contemporary Gothic literature and

movies, there is often a danger of physical assault.

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2.3.2 Techniques

As for techniques to provoke different sensations in the reader, it is very important to

emphasize the use of language and how it represents fictitious elements in order toto make

them look real for the reader to imagine and enjoy the story, or the goal of gothic which is to

provoke fear.

The use of metonymy of horror, introduces a relation between real elements and

situations, as a subtype of a metaphor. This is for example the use of rain, slamming doors or

even clanking chains to create a good atmosphere of danger and terror. Another important use

of language in the Gothic is the use of particular vocabularyvocabulary to create the dark

feelings that define the Gothic genre, like darkness, agony or haunted amongst other sets. To

conclude with the use of techniques in gothic it is important to bear in mind the use of

hyperbolic phrases, in order toto magnify the meaning of the phrase and increase the feeling

of suspense and horror. For example, dark gloom or deep grief.

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These different themes and techniques were an important element that created the

atmosphere desired for the different stories that 19th-century writers, like Horace Walpole or

Ann Radcliffe, used to represent terror and suspense in their works.

2.3.3 The Female Gothic

Ellen Moers coined the term "Female Gothic" in 1976, and according to Carol

Margaret Davison's essay, this genre of literature is not in opposition to the classical Gothic

but rather engages in a dialogue with it. By using The Yellow Wallpaper as an example,

Gilman's short story can be seen as a "radical response to the classic American Gothic

tradition" (Davison, 2004, 49). Essentially, the Female Gothic does not seek to undermine the

classical Gothic but instead employs the element of terror that is typical in Gothic fiction to

critique societal institutions, which are often male -dominated. Gilman had read the works of

Edgar Allan Poe, and her short story shares similarities with Poe's "The Black Cat" in terms

of its mad narrators and focus on the domestic sphere. The "hereditary estate" in Gilman's

story can be seen as a metafictional representation of the Gothic tradition, and the

protagonist's stripping away of the yellow wallpaper has been interpreted as a revitalization

of the Gothic genre (Davison, 2004, p. 49). In short, the Female Gothic adheres to the same

basic principles as traditional Gothic literature but also incorporates elements from

sentimental literature.

The principal difference between the traditional Gothic and the Female Gothic is the fact that

this one focuses on the vision of the story from a young woman’s perspective and her journey

through womanhood and other things related to marriage or motherhood (Davison, 2004, p.
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48). As the protagonist is a young woman in despair, she is compared to the bildungsroman

novel protagonist, who also is involved in emotional growth until she reaches to go through

these problems becoming the heroine of the story. The protagonists are not static, they

undergo a process of maturation and growth.

The setting used in the Female Gothic usually takes place in domestic locations, in

order toto make the story familiar, and uncanny to the protagonist of the story. According to

Davison (2004), the heroines of this literary genre are typically transported to and confined

within an ancestral castle or manor, which they explore during the night (51). Davison also

notes that the exploration of the house is paralleled with the heroine's own journey of self-

discovery, ultimately leading to personal growth and maturity by the conclusion of the story

(51). Along with the mysterious and unfamiliar setting, the presence of a male antagonist is

essential to these stories, as this character plays a role in the heroine's oppression.

2.3.4 Gothic elements in The Yellow Wallpaper

The female gothic, as we have seen in its characteristics, must include the heroine, the

male antagonist, and the shadowy setting. This narrative gave rise to writers such as Jane

Austen, Emily Brönte and other prophylactic writers to create their gothic works, today

studied. But this paper focuses on one work in particular, The Yellow Wallpaper by Charlotte

Perkins Gilman. In it, Charlotte synthesizes the elements of female gothic with the lived

experiences of women, particularly her own. The story Charlotte tells introduces elements

and debates such as imprisonment, patriarchal oppression, or irrational fear. The latter is

represented by a terrifying element which is the image of a woman spying on her from the

other side of the wall, defined as a mysterious element characteristic of Gothic.

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In The Yellow Wallpaper two different approaches are distinguished from the

narrator's point of view, first her role in the marriage she is reluctant to follow the traditional

ideas imposed by her husband, and therefore her domestic role in the marriage. Gilman uses

the narrator's husband, John, John's sister Jennie, and the wallpaper as symbolic

representations of the narrator's fears. By personifying these fears, Gilman allows the reader

to witness the effects of societal norms on the narrator's mental state, ultimately leading to

her descent into madness. To establish a link between the act of observing and the Female

Gothic style, each element in the story symbolizes a specific aspect of domestic life. This

representation allows the reader to see how societal norms and expectations contribute to the

Female Gothic mode in the story.

The character of John embodies the negative aspects of marriage that reinforce women's

inferior status. He strips the narrator of her agency, and independence, and treats her as a

child, all in the guise of being a good husband. Gilman's depiction of marriage in the story is

one where gender roles are highly defined and dangerous, with the husband holding complete

control over his wife, as noted by Bāniceru (2018, 10). The story implies and directly states

that John seeks to limit the narrator's freedom of action and thought. The narrative is

constructed around the narrator's private diary entries, which she keeps hidden from John to

conceal her true feelings. Furthermore, John also tries to influence her decision-making

through his words. Through this, we can identify her fear and how being observed connects

with the idea of the imprisonment of the Female Gothic. However, the narrator is super-

conscious about her husband’s observation as she tries to hide everything from him, the diary

and also the fact that she is seeing a woman through the wall, she knows that if her husband
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finds out what she is seeing, he can make decisions about her because she is mentally

damaged in his eyes.

On the other hand, Jennie’s figure represents her fear of domestic expectations, as she

represents the perfect housekeeper. Because of this, she also feels watched and judged by

Jennie, from whom she hides, as well as from her husband, her diary and the secret of the

woman who watches her from the yellow paper. Once again, the act of looking is depicted as

something eerie and otherworldly, highlighting its significance as a component of the Female

Gothic genre. If John and Jennie represent her fears, consequently the yellow wallpaper

symbolizes the bars of imprisonment to which she is trapped, it is represented as a barrier

imposed by the societal norms instilled by her own family. She feels robbed of her own

identity as a woman and of reality both in marriage and in her own home. Gilman uses the

wallpaper's gaze to create an otherworldly and supernatural atmosphere that conveys the key

elements of the Female Gothic.

In the conclusion of The Yellow Wallpaper, the narrator's apprehensions are defied by

removing the presence of a watcher: Jennie, the embodiment of domesticity, is prohibited

from entering the room, while John, a symbol of the patriarchal nature of marriage, faints as

the narrator walks over him to assert her newfound power. The narrator frees herself from the

"confinements of nineteenth-century women writers" (Johnson, 1989, 3) by tearing down the

wallpaper and breaking free from social, domestic, and psychological restrictions.

Portrait of Charlotte Perkins Gilman, 1900 Mar 24. Charlotte Perkins Gilman Papers.
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3. Charlotte Perkins Gilman

To introduce the analysis of the following literary work, this section will consist of a

brief biography of the author, Charlotte Perkins Gilman, along with her literary product and

everything is written about her and her works. It will help the reader to know the way women

of that time expressed themselves as well as give a context about the issues that affected them

in particular throughthrough the brief analysis of her literary work in general and how this

has been analyzed and studied by many scholars.

Charlotte Anna Perkins was born on July 3rd, 1860, and died on August 17th ,

1935. She was a highly productive writer of both fiction and nonfiction works and is known

for her literary focus on feminist issues. In several of her writings, she advocated for gender

equality and criticized the societal norms and expectations perpetuating gender stereotypes,

which she was passionate about dismantling. In addition to her career as a writer, she played

a prominent role in the American women's rights movement spanning the 19th and 20th

centuries. Her personal experiences had a significant impact on her literary works, one of

which was inspired by her infancy, when her father left the family and her mother was unable

to care for the children, leading to their placement with her husband's relatives. Nevertheless,

she later reconnected with her father who urged her to pursue an education. Eventually, she

married Charles Stetson, an artist who subscribed to the belief that women were delicate

beings, and insisted that his wife recover from an illness by being confined. This increased

with the postpartum depression that she suffered after the birth of her child, which inspired

her to create her most acclaimed text, The Yellow Wallpaper. Her later separation from
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Charles also was an important event in her life. After their divorce was finalized, she

relinquished custody of their daughter to her ex-husband and his new spouse, as she believed

they were better suited to provide a suitable maternal environment. Despite these events, she

was able to become deeply involved in the suffragist movement and feminism, as well as

achieving significant success as a novelist. However, despite her advocacy for equal rights,

her views were also shaped by colonialism, notions of racial purity, and a strong inclination

towards racism and imperialism. During the late 1800s and early 1900s, she belonged to the

group of new women who faced challenges in expanding their physical abilities while living

in a society dominated by men. Despite these obstacles, she was a highly talented woman

who made significant intellectual contributions to America during the turn of the century.

Through her extensive writing and lectures on her theories regarding gender relations and the

importance of women's involvement in the broader sphere of production, she gained

international recognition as a feminist theorist and nonconformist social critic.

3.1. The Yellow Wallpaper

It was first published in 1892 in The New England Magazine and is the most famous

work by Perkins. It is categorized as a feminist text because it explored mental health,

personal struggles, and societal pressures that women experienced during the 19th century.

The significance of the title lies in its ability to focus the reader's attention on a specific

element that is crucial to the story's development. Through this element, the author introduces

topics such as psychology, female identity, male oppression, and supernatural elements in an
 Romero 24

innovatively and imaginatively is often viewed as semi-autobiographical, providing insight

into the author's postpartum depression, anxieties about her marriage, and feminist beliefs.

The Yellow Wallpaper is a work of fiction presented in the form of a diary, where the

protagonist, who is suffering from postnatal depression, is instructed to stay in the upstairs

nursery. The rest cure that is prescribed to her forbids her from writing, exercising, having

visitors, or even seeing her own child.schild’s treatment proves to be harmful, as her diary

entries gradually detach from reality and become increasingly peculiar. She becomes fixated

on the wallpaper in her room, imagining a woman imprisoned behind it. The story's climax is

unsettling and claustrophobic, and it remains uncertain whether the protagonist has

succumbed to madness or if she has been cured.

Before delving into the analysis of the story, it is crucial to consider the author's

personal experience, which served as the impetus for her to write The Yellow Wallpaper.

Charlotte experienced a mental illness after the birth of her first child, which today would be

diagnosed as postpartum depression. She felt that her new role as a mother was detracting

from her professional aspirations and stealing precious time from her. At the height of her

depression, Charlotte felt utterly helpless and unhappy, so she sought the help of Dr Silas

Weir Mitchell, a prominent specialist in nervous disorders. She provided him with a letter

outlining her condition, but he dismissed her concerns and prescribed what he called the rest

cure, assuring her that she was only suffering from hysteria.

Although she wrote the story, she encountered several difficulties getting the story

published, as publishers rejected it because of its dark themes. The story was eventually

printed in The New England Magazine in May 1892 and its reception was mixed. While it

was commended for its precise portrayal of a woman's developing insanity from a medical

perspective, it also garnered some negative feedback. (Hedges 38).

 Romero 25

3.1.2 Feminist Literary Analysis

To demonstrate how this male-driven society affected women as has been

mentioned, I will conduct a thorough analysis of "The Yellow Wallpaper." The setting of the

story contains reminders of a time when individuals with mental illness were confined against

their will and regarded as a threat to society. In the short story, the narrator observes the

nursery where she will be staying and notes that the windows are barred, and there are

various objects such as "rings and things" on the walls. The wallpaper near the head of the

bed is torn, and the floor is scratched and damaged. According to Gilbert and Gubar, the

objects in the room are tools for confinement and signify the narrator's imprisonment. This

setting is reminiscent of psychiatric institutions where individuals with mental illness were

often treated as animals to be locked up or as children to be punished, rather than as humans

in need of rehabilitation. The facilities of the nursery evoke the sense of imprisonment of the

asylums. The narrator describes the estate, a colonial mansion that seems almost haunted

because of its cheap rent. Also, the isolation of the mansion from the village is very telling as

it reminisces the separation of the asylums from a society where ‘the evil could vegetate

without ever spreading” (Madness, 207).

Whereas this environment makes her feel unsettled, her husband finds it

perfect for her recovery. According to The Yellow Wallpaper, John is a highly respected

physician who follows the same approach as Charcot and Mitchell in exerting his authority

over the narrator, who has a mental illness. John combines his diagnostic language with
 Romero 26

paternalistic language, which makes it clear that his professional and masculine medical

opinion carries significant authority, leaving no doubt about his ability to silence the narrator

and dismiss her mental illness. The doctor's diagnosis carries institutional authority through a

masculine voice, making it a powerful tool. It not only identifies the problem but also holds

the power to shape reality by enforcing treatments and therapeutic actions. According to

Treichler, this authority stems from the doctor's position and societal norms surrounding

masculinity.

Although John is depicted as a caring and well-meaning husband to his

beloved wife, his position is still susceptible to abuses of power, and his diagnosis is

influenced by society's damaging views on women's illnesses. At the beginning of "The

Yellow Wallpaper," it is evident that John believes his wife has a minor hysterical tendency,

and he largely disregards her to attend to more severe cases in town. The narrator disagrees

with her husband's beliefs and tries to reason with him or form an alliance with him, but he

dismisses both her condition and her words (Van 54).

He refuses to take his wife seriously as he sees her in good physical condition,

he can’t see no physical evidence of her disease. This explains why people with chronic

mental illnesses are usually misunderstood, as they seem perfect and don’t show the picture

of disability frequently shown. This

attitude towards the separation between physical and mental appearance is shown

through Gilman’s words:

 Romero 27

An orthodox visible disease that sends one to bed, such as scarlet fever or

mumps, is met by prompt sympathy. A broken arm, a sprained ankle, or any physical

mutilation, is a recognized misfortune. But the humiliating loss of a large part of one’s brain

power . . . accompanied with deep misery and anguish of mind—this when complained of is

met with amiable laughter and flat disbelief. (Yellow, 104)

Since John cannot explain his wife’s disease, John considers his wife's illness

to be illogical or even nonexistent, potentially because he believes it challenges the rationality

of his materialistic worldview, possibly on a subconscious level (Shumaker 592). As the

narrator's condition worsens, John blames her for it, believing that she should have more self-

control. The detrimental impact of John's refusal to recognize the gravity of his wife's

depression is equivalent to the harm caused by her actual symptoms, as he possesses the

authority to completely disregard her anguish. John's medical expertise is widely recognized,

so his disregard of his wife's condition characterizes her as an anomaly, a medical

abnormality that contradicts his professional experience, as noted by Wendell. By refusing to

acknowledge the dilemma of difference, John effectively invalidates his wife's illness. In this

context, the narrator's journal entries serve not only to challenge John's dismissal of her

illness but also to validate the irrational yet authentic symptoms that she is experiencing. John

is not willing to combat his wife’s illness with a proven medical treatment as he is already

familiarized with the physical causes and effects of mental illnesses and does not identify it in

his wife (Shumaker 591). In the forthcoming quotation, a blend of indirect and direct speech

will be presented to provide insights into both the protagonist's internal perspective and the

external viewpoint of her husband. There is a clear emphasis on the husband's authority over

the female, with his choice of words reflecting a desire to assert control and make decisions

on behalf of her:
 Romero 28

He said we came here solely on my account, that I was to have perfect rest and all the

air I could get. "Your exercise depends on your strength, my dear," said he," and your food

somewhat on your appetite; but air you can absorb all the time." (Perkins, 1892: 648)

She is sure that his husband thinks she is recovering as her physical image is

improving but the reality is that her insanity is growing moment by moment and he is not

realizing her imminent breakdown

because of his social lenses towards the treatment of her. On the other hand, the

narrator is very conscious of her situation and recognizes that the treatment is not working for

her, so she will need more than a diet and exercise to recover from the depression. His

attitude is driven by his opinion, so he takes a hasty and temporary approach towards the

narrator's seemingly minor mental illness.

However, when their spouse does not react as anticipated or promptly, the individual

makes a threat by warning that their spouse will not be able to perform tasks as they did

before they were well. Although medical professionals have told her otherwise, the narrator

recognizes that something more is amiss with her. She uses her journal as a form of medical

documentation, attempting to articulate her subjective reality in fragmented pieces. Within its

pages, she documents her symptoms and presents her perspective on the issue (Treichler 63).

By doing so, we learn that she frequently challenges her husband's diagnosis and believes that

work, society, and stimulus would be more effective in addressing her mental struggles than

John's current regimen ("Yellow" 166-7). Furthermore, the writer utilized italics to highlight
 Romero 29

certain terms deliberately, potentially indicating irony, disagreement, admiration, or to

emphasize subjective opinions or thoughts from the protagonist:

John is a physician, and perhaps —(I would not say it to a living soul, of course, but

this is dead paper and a great relief to my mind—) perhaps that is one reason I do not get

well faster. (Perkins, 1892: 647)

In the previous excerpt, we can observe the word "perhaps" being emphasized

through italics, highlighting the subjective nature and the potential disagreement that the

woman will express later, possibly even as a sarcastic remark. Similar formatting will be

employed throughout the narrative to convey such elements. The narrator meticulously

portrays her symptoms, not only to persuade John of the gravity of her condition but also to

validate her encounters and those shared by other women facing similar hardships.

Throughout the day, her nervous afflictions are "dreadfully depressing" and persistently

bother her (169). Along with her depression, she also experiences guilt due to her inability to

fulfill her duties as a wife and mother and has occasional aggressive thoughts towards her

husband (167, 169).

During her suffering, she experiences hallucinations and synesthesia while she

observes the yellow wallpaper. The colour of the wallpaper is a decaying yellowish colour,

she says the colour has a "yellow scent" that infiltrates the house and lingers over the narrator

constantly as if lying in wait for her (178). Behind this yellow wallpaper, she begins to see a

mysterious woman creeping around, shaking the bars. Her hallucinations dealing with the

wallpaper are very significant as they function as a narrative within a narrative.

 Romero 30

The wallpaper evolution follows the development of the narrator’s illness as well as

the entries of the diary that also become more fragmented. At the start of the story, the sickly

yellow color of the wallpaper colourcolor presents the narrator's feelings of malaise, which

include anxiety, fatigue, depression, and anger (Van 55). Later onLater, during a time of

despair, the narrator describes how the "uncertain curves" of the wallpaper seem to "commit

suicide" by diving off in outrageous angles and destroying themselves in unprecedented

contradictions ("Yellow" 168). The narrator is very deliberate in her choice of language,

selecting words that evoke imagery of self-destruction and violence. The fact that such a

description occurs early on in her story suggests the extent of her depression. Her selection of

words represents the extent of her depression as she chooses words related to madness, self-

destruction, and violence. The narrator's mental illness does not conform to the principles of

logic that John, a physician, subscribes to. Rather, her condition is irrational because its

symptoms are often invisible and cannot be remedied with a straightforward treatment.

Although the narrator's symptoms are irregular and inexplicable, they also make her

vulnerable to ridicule when the medical community dismisses her illness as irrational,

impractical, and unobservable. This causes the narrator to detach completely from reality and

identify with the woman in the wallpaper who moves stealthily and shakes the bars of her

confinement. While the narrative in the wallpaper enables us to document the progression of

her illness, we truly comprehend the seriousness of her delusion when she weeps at the end of

her account, convinced that she has finally escaped ("Yellow" 182). The narrator is so

consumed by her delusion that she fails to realize her condition remains unchanged and that

she is not only still trapped in the nursery but increasingly confined by her delusions and

paranoia.

The narrator's inability to break the cycle of her delusions is strongly suggested by the

story's ending as if she is trapped in this pattern forever. Additionally, the narrator encounters
 Romero 31

a hurdle in her path when John faints in the middle of it, which she has tomust navigate

around with each rotation. While this detail is vivid, some feminists' use of it as a metaphor is

misguided. John faints because he is distressed and dismayed by his wife's mental

breakdown, which he had earnestly tried to cure. Upon realizing that his efforts not only

failed but worsened her condition, he collapses in horror. There is no clue of John dying

when he enters the room, from now on he will accept the courtesy stigma, to be wedded to a

mad woman. This ending will be the beginning of another imprisonment as John will enable

her to record her experiences in her diary and will restrict her more than before while kept

under surveillance.

The narrator is burdened with a false identity through a feminist lens, where

John's focus on curing his wife for the children's sake undermines her true identity as a

representation of the True Woman. He disregards her own insight into her condition, instead

prioritizing patriarchal and medical discourse.

These two oppressive systems marginalize the narrator by ignoring her subjective

reality and viewing her solely from patriarchal or able-bodied perspectives, ultimately leaving

her disempowered. John's mistake can be understood as a product of his adherence to societal

norms and values. In his profession, he values medical experts who prioritize objective facts,

figures, evidence, and logic. In his personal life, he upholds the prevailing cultural ideals of

True Womanhood and expects his wife to fulfill the domestic role. Although John
 Romero 32

undoubtedly exaggerates his wife's condition, he cannot fathom any other way of thinking or

believing.

The intersection of disability and feminism can deepen our comprehension of

the various forms of oppression, narrative voice, and mental illness present in The Yellow

Wallpaper. Disabled feminists stress the importance of disabled women sharing their own

personal accounts of living with a disability. While feminist scholars typically prioritize

subjective perspectives. Although we may assume that scholars can accurately interpret

narratives about disability, it is also the responsibility of disabled women to provide their

own narratives from their unique perspectives. In The Yellow Wallpaper, the narrator presents

feminist scholars with her own subjective reality that portrays not just her oppressive

circumstances, but also the evolution and symptoms of her mental illness. In a sense, the

narrator attempts to justify the legitimacy of her symptoms to her readers by recounting her

bouts of depression and her visual and olfactory hallucinations related to the wallpaper.

Gilman's writing of "The Yellow Wallpaper" plays a crucial role in the process

of redefining the concept of disabled women. Despite Gilman's own admission that she never

experienced hallucinations related to her wall decor, her short story illustrates her own

subjective reality of living with mental illness.

In her writing of "The Yellow Wallpaper," Gilman exposes herself at her most

vulnerable, struggling with an unpredictable illness and a damaging diagnosis. However, this

dark portrayal of a woman does not make her narrative inadequate or unworthy. Rather,

Gilman's story highlights the harm caused by patriarchal oppression, the shortcomings of the

rest cure, and, more significantly, the experiences of a disabled woman in nineteenth-century

society. While the short story was enlightening for its contemporary readers, especially those

who also battled mental illness, creating a deeply personal and subjective reality proved to be
 Romero 33

a form of redemption for Gilman herself. "The Yellow Wallpaper" functioned as a kind of

"writing cure" for its author, as it enabled her to reaffirm the value of her life following the

dismissal of her experiences by those in her personal and professional life. Although

Gilman's symptoms of depression persisted throughout her life, "The Yellow Wallpaper"

assisted her in defining her mental illness, her disabilities, and her identity on her own terms.

This section will cover various themes present in the narrative. The primary

theme revolves around the descent into madness of a woman, induced by a supernatural

element. This theme is connected to two other topics: the significance of the paper itself and

the presence of a female ghost or supernatural figure associated with the paper. Additionally,

it is essential to consider other significant themes such as self-image and its role in defining

one's character and identity, the portrayal of women as dictated by a male-centric society

during the Victorian Era, and the concept of duality, where a person's existence straddles the

line between reality and the supernatural realm.

Through careful analysis, it becomes evident that the central theme of the text

is the madness experienced by the woman, triggered by a supernatural element. The entire

story revolves around this female character and her fixation on the decorative paper in a

specific room where she is confined. Initially, she expresses dissatisfaction and aversion

towards the pattern and the yellow color, noting that it is torn. This theme reflects the

Victorian era's interest in psychology and their perception of "women's maladies." The notion

of women's maladies often stemmed from societal stereotypes imposed upon them,

suggesting that any change in behavior or condition must be attributed to a mental issue

requiring treatment. Such perceptions were considered normal due to the prevailing belief

that women were inherently driven by emotions and prone to irrationality. The fascination

with psychology in this context emerged from the influence of Gothic literature. The distorted

perception of reality is apparent right from the start of the story, as indicated by the
 Romero 34

protagonist's unease about the relocation for the summer. Subsequent entries in her diary

depict her anxious state, establishing a tense atmosphere as she anticipates an unfamiliar yet

somehow familiar element.

Another aspect influenced by the Gothic genre is the eerie pattern of the paper. The

color and its torn condition evoke a feeling of danger and instability, even within the confines

of her domestic space. The pattern not only unsettles her but also triggers a sense of

impending horror, instilling negative emotions and perceptions. The presence of varying

patterns and a disturbing perception of the paper engulfs her both physically and mentally, as

she is confined to the room for an extended period. Remaining in the room intensifies her

perception of the wallpaper, leading to changes in her observations, particularly as she

scrutinizes it throughout the day and night. This prolonged exposure fuels her growing

obsession with the wallpaper:

This wallpaper has a kind of subpattern in a different shade, a particularly irritating one, for

you can only see It In certain lights, and not clearly then. But in the places where it isn't faded

and where the sun is just so - I can see a strange, provoking, formless sort of figure, that

seems to skulk about behind that silly and conspicuous front design (Perkins, 1892: 650)

The inclusion of these Gothic-inspired elements aids in portraying and tracing the

development of her emotions regarding the intrusion and encounter with something entirely

unfamiliar to her. She refers to a sense of ghostliness, marking her initial recognition of the
 Romero 35

presence of ghosts, as well as the entity she perceives behind the wallpaper. These elements

contribute to a feeling of alienation and detachment from the tangible world. While she is

confined, she begins to observe disturbing shapes in the wallpaper, which disrupts her peace

and destroys any sense of calmness necessary for her recovery. These figures challenge the

notion of an ideal environment for her healing process. Additionally, the room and its

wallpaper can be interpreted as a symbol of society, where she is constantly scrutinized and

pressured to conform to the expectations of being the perfect woman for her family. This

pressure ultimately breaks her, much like the damaging effect of the wallpaper. The presence

of something observing her within the confines of her own home, her supposed safe space,

captivates the reader's attention, generating anticipation for future events, while also

introducing an unsettling and eerie element.

In addition to discussing the impact of her confinement on her mental well-

being, another crucial theme revolves around the protagonist's identity as a woman. Within

the story, we encounter two contrasting portrayals: the protagonist, a mentally ill and

ostracized woman, and her sister-in-law, who embodies the idealized image of a "true

woman." The presence of her sister-in-law and the societal stereotypes she represents

intensify the social pressure faced by the protagonist. She believes she must conform to the

expectations of being the perfect woman, and her husband only perceives her as recovering

when she behaves obediently and conforms to the Victorian ideal of an angelic woman.

However, through the entries in her diary, we gain insight into the true state of her

mind and witness the effects of the yellow wallpaper, as well as the progression of her illness.

The narrator undergoes a profound transformation, shifting from an insecure and submissive

individual who can only express herself within the confines of her own thoughts. She feels
 Romero 36

oppressed by her surroundings, and her sole conviction is to either destroy or unravel the

mysteries of the seemingly mundane wallpaper. Over time, she evolves into a wilder, more

liberated woman who defies societal norms and embraces her newfound freedom. In the end,

she discovers her true self through her rebellion against the constraints of normality.

The appearance of the spectral figure hidden within the wallpaper symbolizes the

protagonist's yearning for personal freedom and independence. She longs to escape the

scrutiny and judgment of society, finding solace only during the nighttime when she can

glimpse the liberated woman concealed behind the wallpaper. This imagery can also be

understood as a confrontation between her current circumstances and her suppressed desires,

serving as a representation of the Victorian Gothic tradition. The presence of the

doppelganger figure within the wallpaper reflects the protagonist's internal turmoil and the

existential crisis she faces.

In the end, her last sentences represent the arrival of her new identity: ‘I’ve got out at

last’, She becomes aware of the strength inherent within her as a woman and liberates herself

from the constraints imposed by the patriarchal system. The theme of identity explored in the

story is situated within the context of male authority exerting control over women. As the

narrative progresses, it becomes evident that the men in her life are mistaken in prohibiting

her from seeking employment, and she grows weary of the medicines forced upon her.

Despite being acutely aware of the detrimental effects of these restrictions, the male figures

oppress her and insist that they alone possess the means for her recovery, leaving her feeling

invalidated and foolish. Furthermore, her husband deceives her, disregards her viewpoints,

and imposes his own upon her. The protagonist's life is profoundly influenced by societal

norms, reaching a point where we observe how marriage and societal expectations limit

women. These constraints lead to a sense of inferiority and hinder their ability to express

themselves, fearing further marginalization. The protagonist acknowledges that her husband
 Romero 37

dismisses her illness and lacks genuine concern for her well-being, as his primary focus is

maintaining their social image rather than her actual health.

The act of confinement is intricately linked to the portrayal of a Gothic setting,

highlighting a connection between the narrative and the exploration of the blurred boundaries

between reality and the supernatural realm. She portrays various aspects of the rented

colonial house, such as the mention of gates, locks, and the grandeur of the mansion, which

creates a typical Gothic ambiance that evokes a feeling of being trapped, unable to escape,

and isolated from the outside world.

It is quite alone, standing well back from the road, quite three miles from the village.

It makes me think of English places that you read about, for there are hedges and walls and

gates that lock, and lots of separate little houses for the gardeners and people. (p. 648)

The symbolism of the wallpaper extends beyond its physical presence to encompass

the entire house, with dilapidated elements mirroring the worn state of the wallpaper. From

this observation, one could deduce that the woman concealed behind the paper yearns for

liberation and a connection to the natural world, rejecting the confines of a limited space that

is ultimately controlled by men. The conclusion can be interpreted as the protagonist breaking

free from her confinement and embracing her true identity as an emancipated woman. She

fully identifies with the previously depicted figures hidden behind the paper, which were

initially portrayed as repulsive or peculiar but are ultimately revealed to be untamed and

liberated.
 Romero 38

4. Conclusion

In conclusion, this analysis has examined the key elements that defined the

Victorian Era and its society, with a particular focus on the role of women. The historical

context, including the emergence of social movements, the Industrial Revolution, and the rise

of feminism, contributed to a crisis of social identity. Literature served as a valuable medium

for exploring these uncertainties and society's anxieties towards the unknown. Despite facing

immense challenges imposed by the social system and the difficult period, women managed

to write and seek their own identities.

Charlotte Perkins Gilman's short novel provides a comprehensive illustration of these

feminist ideals, the Victorian crisis, and the internal revolution taking place within women's

hearts as they strive to understand themselves and harness their own power. By adopting the

format of a diary, Gilman effectively expresses the internal anxieties and desires of women

trapped in such situations prevalent during that era, while incorporating Gothic elements to

evoke a sense of unease and incorporating uncanny elements often associated with Gothic

narratives.
 Romero 39

Her short story established a foundation for the evolution of women's narratives,

pushing boundaries with its portrayal of female intellect and exploration of issues concerning

the human mind and women in particularwomen. As a result, this paper has contributed to a

deeper understanding of female expression as a reflection of their experiences, including

grappling with mental illnesses, challenging patriarchal conventions and stereotypes, and

navigating a predominantly male-dominated society. The analysis has achieved some degree

of success by corroborating findings already put forth by numerous researchers. However, it

has fully succeeded in offering a comprehensive examination from a feminist perspective,

delving deeply into the author's intentions and the narrative's intricacies using various literary

elements and techniques.

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 Romero 41

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 Romero 42

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Romero 43