Subordination of Married Women
The pervasive theme in the narrative The Yellow Wallpaper by Charlotte Perkins Gilman is women subordination. The narrative provides a critical analysis of the place of married women in society during the late 19th century. In the course of the narrative the author provides various roles of women in society. These feminine roles reiterate the depict males as the dominant gender. For instance, the narrative shows the role of women as house keepers, children bearers, and incapable of making their own choices. The narrative shows that the women are under the control of men and the narrator’s fate is controlled by her husband. Throughout the narrative, John believes that as a man he has superior wisdom over the narrator. He uses such misconception to patronize and dominate Gilman all in the pretext of helping her.
The role of women as housekeepers is clearly illustrated in the novel as the John, the narrator’s husband, refuses to allow her to visit her relatives. As a woman, the narrator cannot move freely without the permission of the husband. When John refuses to allow Gilman to visit Henry and Julia, she is emotionally hurt and begins to cry. John gathers her in his arms and carries her to an upstairs room, places her on the bed and reads to her until she relaxes. Here, John’s conduct from carrying Gilman in her arms to reading for her in a bid to make her relax is what an adult does to a child. John’s act depicts a woman as a child subject to physical and emotional domination by a man. The willingness of women to take up the housekeeping role is shown by the narrator when she describes her sister-in-law as “a perfect and enthusiastic housekeeper, and hopes for no better profession” (Gilman 483).
Women are not allowed to express themselves in the male-dominated society. For instance, despite Gilman’s objection, the husband insists that she should sleep in the “nursery” room. This is evidence that women are likened to children. That is, they are unable to express their views and even if they do, they are subject to control by their male counterparts. This is shown when Gilman attempts to relocate to seemingly adult room at the first floor. John rejects her wish calling her his ‘blessed little goose’. This emphasizes the powerless childlike status of women such that husbands do not even allow them to make simple decision such as their choice as to where to sleep. The narrator is forced to stay in a room that has an awful yellow paper where she is not comfortable (482).
The element of control is further depicted by the fact that John insists that the narrator is sick. The narrator cannot refute John’s assertions. As such, the narrator is reduced to being like a child and taking instructions from a parent. What the husband says must be taken as the truth. It is clear that the narrator does not accept her husband’s and the husband’s brother’s theories regardless of the fact that they are doctors. The narrator’s disapproval is illustrated when she states thus, “personally, I disagree with their ideas” (480). However, the narrator has no choice but to show her approval since as a woman she is under she is not allowed to disagree with her husband.
Further subordination is seen when John tries to influence the Gilman’s writing. She even states that the husband does not like her writing. The husband tries to justify his disapproval of her writing by saying that writing is not good for the sick people. He further tells her that writing will delay her healing. Although, Gilman says feels that writing is the only thing that makes her remain sane, she is not able to write freely because her husband disapproves it. She has to hide her writings to ensure that John does not find them. Therefore, it is clear that john attempts to control the narrator’s physical and mental abilities.
Later on the narrator believes that she can gain mental control over the various things. She starts to overcome the horror of the yellow wallpaper. She begins to contemplate on how to take control of her life and in the process commits a serious crime in her husband’s eyes, thinking. She starts to think that John may be wrong about various things. However, she cannot let him know what she is thinking. She starts to analyze the wallpaper but her focus is pegged on the fact that John tells her not to be bothered by such things. She even starts to believe that she may have knowledge about some things that John does not have. This is apparent when she states, “there are things in that paper that nobody knows but me” (488). As such, Gilman is certain that the all-knowing husband does not know some of the things that she knows. She is now aware of the fact that she has a mind of her own and can use it.
The conduct of John as the story progresses shows that he considers her wife as a mystery that he cannot solve. Rather than acknowledging the fact that he cannot solve the mystery, John locks the narrator in the room with the yellow wallpaper. However, without knowing it, John accords Gilman an opportunity to see things more clearly and an opportunity to solve her own mystery. Consequently, the narrator gradually takes control of her life and refuses to continue being a ‘little goose’. She is now able to feel free to do what she wants.
The narrator begins her desire to take control by tearing the yellow paper from the wall of the room. Though she is aware that John will have something to say about the wallpaper she does not care about what he will say. She is determined to assume control of things even if it is the yellow wallpaper, as her first step. She is ready to determine her own destiny that has previously been under the control from her husband. Gilman’s ultimate sense of control is when John faints right across her path after finding out what the Gilman has done and when she creeps over him (482). She remains undeterred by John’s fainting as her resolve to take control has just started.
At the beginning of the narrative, John and the yellow wallpaper are depicted as dominating the narrator. However, at the end of the narrative John is no longer able to control the narrator’s movements and inner thoughts. Consequently, the wallpaper does not oppress her. The narrator gains courage and control over the wallpaper and her husband as the narrative develops. Henceforth, Gilman’s subjects and will henceforth suffer a similar fate she has had to put up with previously.
Work Cited
Gilman, Charlotte Perkins. "The Yellow Wallpaper." Rediscoveries: American Short Stories by
Women, 1832 - 1916. Ed. Barbara H. Solomon. New York: Mentor, 1995, pp. 480-496.
