Gothicism Empowers One the Inner Reality to Overcome the Reality Essay Example

the ultimate goal of inducing complete mental inactivity (Martin 982).

In the story, the narrator is prohibited from going out, reading, and writing, effectively confining her in an ideological prison. This treatment gradually reduces her mental capacity and intelligence. However, despite these restrictions, the narrator desires to engage in writing as she believes it will alleviate her mental state. She states, "I think it would relieve the press of ideas and rest me" (Gilman 14). The rest cure was commonly prescribed to women during the 19th century, possibly influenced by societal norms. Women held a subservient position while men retained control within marriages.

Both Gilman and Greene explore the theme of women's oppression in their respective texts. Gilman's narrator reveals her bitterness and anger, which are hidden beneath the surface of the story. The narrator acknowledges that her husband, John, laughs at her, as is expected in marriage. Similarly, the narrator in Greene's story also finds her freedom and happiness compromised by her marriage. The beginning of Gilman's story emphasizes the lack of power the narrator possesses, as she repeatedly questions "but what is one to do." This repetition highlights the powerlessness of women in the male-dominated society of the 18th century, where men controlled everything.

In his essay "In control," Adam Leed discusses how the narrator in the story is forced to stay in a room she is uncomfortable with (Leed 1). Additionally, Leed mentions that the character John attempts to control her inner life, specifically her writing (Leed 1). The narrator herself reveals that John hates when she writes anything (Gilman 13). This type of control leads to the narrator rebelling against it, which is represented

by the creation of a reflection known as the Hidden woman who fights on her behalf. The narrator's anger towards the inequality in marriage and the suffering she endured in a male-dominated society is expressed through their use of Gothic elements to assist in conveying their message.

In "The Yellow Wall-Paper", the narrator gains supernatural power through the Hidden woman, which allows her to find inner strength in the face of her oppressive relationship with John. Despite appearing as a horrifying character, the Hidden woman ultimately becomes the hero of the story. Delamotte explores various interconnected themes within the text, such as self-defense, encounters with the Hidden woman, speech and silence, the undervaluing of female protagonists, the horrors of repetitive patterns, and the struggle for freedom (Delamotte 3). These themes are all brought to life through the Gothic elements present in the story.

The story utilizes Gothic elements to romanticize the narrative before delving into the power of the Gothic supernatural. The presence of an isolated house, a former nursery, and a desolate landscape effectively portray a Gothic framework that reflects the narrator's feelings of helplessness. Gilman describes this setting as "a colonial mansion, a hereditary estate, I would say haunted house, and reach the height of romantic felicity" (Gilman 10). Dellamote argues that this Gothic portrayal of the house is actually a representation of women's suffering (Dellamote 4).

From the beginning of the narrative, Gothic literature allows the narrator to guide the reader into her inner world, experiencing her emotions firsthand. "I can see a peculiar, unsettling, shapeless figure lurking behind that absurd and obvious facade" (Gilman 14). This figure foreshadows an impending transformation, one that is

peculiar, unsettling, and shapeless - a rebellion on the horizon. It is not fully developed yet, but its presence is palpable. It is unlikely that horror can inspire a hopeful rebellion.

According to Dellamote, in Gothic literature, the daylight is perceived as a nightmare, and characters who seem villainous are actually the heroes. The frightened figure should be seen as a hero, a reflection of herself. Gothicism creates an inner mysterious illustration within the narrator's own world to contrast with the real world. Hence, there needs to be a villain that the narrator opposes. Her rebellious motive is sparked by her husband John, who represents authority in a patriarchal society and serves as the villain in this story.

According to Lanser, the phrase "John says" introduces a series of well-meaning instructions that keep the narrator feeling like a child, unable to move or think. (Lanser 419) Despite being portrayed as a respected doctor and the hero who is supposed to cure the narrator's mental illness, John actually contributes to her anxiety with his manipulative behavior.

In her writing, Gilman expresses how the narrator's husband, John, is extremely cautious and affectionate, rarely allowing her to move without specific instructions (Gilman 11). This statement reflects verbal irony as it reveals the control that John has over restricting her emotional fluctuations. Furthermore, Gilman describes John's response to the narrator's desire to go out by stating that he declared she was incapable of going and enduring it once there. He referred to her as his beloved and source of comfort, claiming that she must take care of herself for his sake and remain in good health (Gilman 16).

According to Lanser, John is

perceived as a hero by the timid and anxious narrator. However, Lanser suggests that this portrayal of John as a heroic figure is a common theme in American feminist literature, where the patriarchy exerts control over women for their supposed benefit (Lanser 415). Delamotte further characterizes John in the context of Gothic romance, noting that the suspicion in women's Gothic that the antagonist is actually the protagonist is counterbalanced by the suspicion that the hero may actually be the villain (Delamotte 6). As the narrator becomes increasingly uncomfortable with John's behavior, she believes that there is a hidden woman present, stating, "I am quite certain it is a woman" (Gilman 18).

The Hidden woman serves as a symbol for both the narrator and her triumph over her husband and the patriarchal society. Initially, the Gothic supernatural element creates a Hidden Woman who appears to be the villain but is actually the hero. Within the narrator's inner world, the Hidden Woman is portrayed as a strange and eerie figure trapped in the yellow wall paper, seemingly unrelated to any notion of heroism. However, the narrator's discovery of the Hidden Woman is, in one instance, an encounter with the oppression faced by women - their confinement as wives, mothers, and daughters (Delamotte 5).

The protagonist begins to understand that the Hidden woman is actually her own reflection, and this realization is caused by various factors: oppression, personal struggle, self-awareness, and a strong desire - the desire to escape from reality. She states, "the fact is I am getting a little afraid of John (Gilman 18)." Her feelings have shifted from feeling loved to being afraid, which represents her

ability and attempt to express her inner emotions. These emotions are a mixture of fear, rebellion, and provocation. However, she is now inspired by the Gothic supernatural and has gained enough courage to voice her protest.

Delamotte suggests that the Gothic supernatural serves as a means for the protagonist to empower herself and seek escapism. By indulging in fantasy, she is able to create a symbolic world where she can maintain a sense of distance and control over her life (Delamotte 6). This is evident in the final moments of the story when the narrator exclaims, "I've finally escaped" (Gilman 23). Through the utilization of Gothic supernatural elements, the narrator taps into her inner reality and gains control and power over her circumstances, ultimately freeing herself from the constraints of a male-dominated society.

"The yellow wallpaper" and "The rocking horse winner" both utilize the Gothic supernatural to empower their main characters. In both stories, the protagonists, Paul and the narrator, desperately seek love and attention. However, they are met with indifference from their mothers. Lawrence describes the mother in "The rocking horse winner" as having a heart that is incapable of feeling love for anyone. This lack of love towards Paul is because neither material possessions nor social status bring true satisfaction, and the parents are trapped in a cycle of meaningless repetition.

According to Martin, Paul's reality is that his mother will never love him. Hester tells Paul that having money is what brings luck. As a result, Paul begins to pursue luck in order to attain wealth. He discovers that his rocking horse can transport him to another realm and provide him with the winner

of horse races, enabling him to make money. Paul states that he is sometimes absolutely certain and sometimes has an inkling of this power (Lawrence 59). The rocking horse grants him this ability. In other words, the rocking horse serves as a Gothic element that empowers Paul.

However, Martin argues that: “the rocking-horse is referred to as the “horse” seven times, establishing an ironic tension between real life and the un-living imagination. (Martin 65).” The rocking horse represents an un-living imagination created by Paul in an effort to fulfill his mother's desires and gain her love. In the end, he dies, but his escape from the situation is seen as a relief. As Lawrence describes it: “he’s best gone out of a life where he rides his rocking-horse to find a winner. (Lawrence 65).”

Paul achieves a chance to win his mother’s love through the Gothic rocking horse, ultimately riding it to a peaceful heaven filled with love. The narrators in "The rocking horse winner" and "The yellow wallpaper" are both empowered by the Gothic superpower, enabling them to overcome the reality that could destroy them. Their emotions of anger, loneliness, emptiness, desperation, and rebellion all contribute to their imaginative quest for redemption. The Gothic power nourishes their abilities and ultimately allows them to conquer their own realities.