The domination of men as the superior gender is evident in Gilman’s “The Yellow Wallpaper” and Ibsen’s “A Doll's House.” As depictions of the existing societal norms around which the authors write their work, the different perceptions of the sexes emerge. Each plot concentrates on its female lead character, thus, informing readers about the effects of their husbands’ dominance. The authors approach the issue from different angles and in turn, provide diverse perceptions of the roles of men and women in their homes. Consequently, this paper seeks to provide evidence of male bigotry in the two novels and analyze the deteriorating effects such prejudices have on the protagonists. Said analysis will revolve around the exploration of the narrators’ lives as portrayed in the play and story before looking at the outcomes of their experiences.
Both texts carry the theme of male chauvinism through the societal expectations of the women to be compliant to the dictations of the men in their lives. Extensively, because of said societal norms, the two female protagonists face different restrictions imposed on their lives by the expectations of their husbands. For instance, when Gilman’s novel commences, the narrator quotes her husband with the words, “John says the very worst thing I can do is to think about my condition” (Gilman 3). In other words, despite the fact that she is the ailing individual, the narrator has no power over the possible treatment of her ailment (Gilman 2). Weatherford’s article attests to the novel's depiction of male chauvinism and the dominating nature of men over their women. Therefore, whenever the narrator talks to her husband, “he interrupts her and tells her that only he is qualified to diagnose and prescribe” (Weatherford 65). Such is the situation within the marriage setting where it is not only gender that comes to focus, but also the education allocated to the men alone.
On the other hand, Nora’s restrictions exist because of her pretense to be an incompetent woman so as not to wound her husband’s ego. For instance, Mrs. Linde states that a wife ought not to borrow money without the knowledge of her husband (Ibsen 11). In answer, Nora says “Oh, if it is a wife who has any head for business--a wife who has the wit to be a little bit clever” (Ibsen 11). At this point, readers are aware that a woman’s cleverness is the principal cause behind the current riches the family is enjoying. However, Nora cannot claim the recognition she deserves because though witty, society forbids her actions. In other words, Ibsen portrayal of the female character fails to define the societal expectations of a woman by giving Nora an air of superiority in the psychological sphere. Templeton concurs by stating that Nora is “bright, unstable, impulsive, romantic, quite immune from feelings of guilt, and, at bottom, not especially feminine” (29). Hence, Ibsen shows restrictions in the mental capacity of women to protect their reputations and meet the expectations of their male counterparts.
Next, the setting in each book does not change. Consequently, the walls of their houses exclude the women from the outside world, albeit not in the same manner. In “A Doll’s House”, Nora fails to comprehend that while her husband treats her like a child and gives in to her whims, the outside world does not have the same characters. Kumaran and Genesan attest to this notion whilst drawing evidence from the threats of Krogstad towards Nora. Nora “cannot understand that the world outside her house is often ruthless and that it does not submit to tears airs of superiority or romantic notions of duty” (Kumaran and Genesan 2). In other words, because her husband treats her with a gentleness one might witness between parents and children, Nora has a false understanding of the world and other men. The safe and deceptive surroundings inside the house are not the same outside. On that note, there are instances throughout the play where Torvald, the husband, refers to Nora using pet names to depict his ideologies surrounding his wife as a timid and ignorant woman. A good illustration is at the beginning of the play where Nora overspends money in the name of Christmas presents. To his wife’s compulsive shopping, Torvald merely calls her his “little spendthrift” and treats her as one would a child (Ibsen 7). In other words, in a typical setting with marriage partners respecting and viewing each other as equals, the man’s should have portrayed some anger. However, Nora avoids her husband’s possible retribution by giving an air of innocence that coaxes Torvald’s perception of a woman as a child. The environments that Gilman and Ibsen choose place emphasis on the existence of male chauvinism as both revolve around homes. Because women are homemakers, their rightful place is inside the house, leaving men to deal with the outside world.
At the same time, Gilman’s “Yellow Wallpaper” shows a woman restricted inside her room, a fact that later leads to her mental deterioration. The restrictions do not merely exist in the life of a female in the tale; rather, her confinement depicts that of other women in her time. It is no wonder that the unnamed narrator sees a woman behind the design of the yellow wallpaper. According to the narrator, when looking at the wallpaper in her room, she sees a “faint figure" behind the pattern (Gilman 17). In addition, the figure appears to be a trapped woman because she "seemed to shake the pattern" trying to escape (Gilman 17). The trapped woman might as well be the narrator as evidenced by her dislike of the confinement and desire to walk outside the room. Ford concurs with the idea of a woman wanting to escape her world but generalizes her notions of all women in Gilman’s society. According to the critic, the whole novel revolves around a single environment in which women have no right to dictate their lives. Consequently, about the environment in which the woman lives, Ford finds that “whatever language emerges from this setting can safely be considered male” (309).
Conclusively, gender roles are evident in “The Yellow Wallpaper” and “A Doll’s House.” Both texts show the societal expectations of men to be the dominant sex whilst women fall behind. However, while one book ends in mental deterioration, the other concludes in triumph once the woman leaves her controlling husband. The narrator in Gilman’s novel fails to realize the harming effects of her husband and waits until her mental capacity deteriorates before escaping. Nora in Ibsen’s work realizes the shortfalls of her husband and escapes while she still has the time. However, both authors depict the possible outcomes of male chauvinism within marriages and homes. Either a married couple will divorce or one partner in the union will lose themselves after failing to escape the confinements physically.
Works Cited
Ford, Karen. "The Yellow Wallpaper and Women's Discourse." Tulsa Studies in Women's Literature, Vol. 4, No. 2 (1985): 309-314. Print.
Gilman, Charlotte Perkins. The Yellow Wallpaper. Carlifonia: Simon & Brown , 2011. Print.
With personal views on the expectations society places on the male gender, Gilman's work presents the story of a male physician's failure to "heal" his wife. In addition, readers witness the gradual deterioration of the lead character whose name is unknown; perhaps to show that she is not important to those with whom she lives. The unnamed character later loses her mind, much to the shock of her physician husband.
Ibsen, Henrik. A Doll's House. New York: Dover Publications, 1992. Print.
Finding a basis in the life of a married woman with a witty character, Ibsen portrays the abilities of a woman who manages to deceive her husband as she attempts to save their livelihoods. Contrary to societal expectations, the woman takes matters into her hands and ends up at the mercy of the enemy. Eventually, she leaves her husband before she loses herself completely.
R.Ganesan and A.Kumaran. "Emancipation of the Woman: A Study of Henrik Ibsen’s A Doll’s House." The Criterion: An International Journal in English Vol. II, Issue. III (2011): 1-4. Print.
After drawing information from the novel and context of the writing, Ganesan and Kumaran focus on ongoing calls for women's emancipation and Ibsen's depiction of his society as a dollhouse. Throughout the writing, the critics attest to the presence of Ibsen's personal ideologies on the position of women and the restrictions presented by the same.
Templeton, Joan. "The Doll House Backlash: Criticism, Feminism, and Ibsen." Modern Language Association, Vol. 104, No. 1 (1989): 28-40. Print.
Whilst examining major arguments on Ibsen's ideologies concerning the female gender, the researcher presents the views of different works and the opinions of other critics in the subject. Eventually, Templeton confirms that Ibsen's work is the author's opinion of the society and the potential of the female gender if allowed to exercise free reign.
Weatherford, Jenny. "Approaching the Ineffable: "The Yellow Wallpaper" and Gilman's Problem with Language." American Studies in Scandinavia, Vol. 31 (1999): 58-75. Print.
The Critic’s angle of research revolves around her understanding of Gilman’s portrayal of male chauvinism and its effects on the experiences of the marginalized women. By exploring the narrator’s relationship with other characters, Weatherford manages to present the society as a whole and their views regarding the position of a female.
