Women started to push back and many authors began writ Eng about omen’s oppression therefore bringing it into the limelight; in fact, two specific authors used the description of the indoor spaces to help portray the oppress ion of the female gender. In The Yellow Wallpaper, Charlotte Perkins Gillian uses the old nursery, and new bedroom for a place that traps and confines the main character. The ROR m is described as a place with awful patterned wallpaper that is torn up, nailed do furniture, and windows that have bars on them. Sounds pretty much like a PRI son cell to me.
Not only does Gillian use the room as a confining space, the house is alls a major area of confinement itself. “[The house] is quite alone standing well back fro m the road, quite three miles from the village. It makes me think of English places the at you read about, for there are hedges and walls and gates that lock, and lots of seep rate little houses for the gardeners and people. ” It’s a fancy house, yes, but more import tangy, it stands back away from the road and contains many “locks” and “separate little e
Everyone is, or has the option t o be cocked away from each other; they have separate homes, and probably have very little to no human interaction. Since the house is also separated from the road, we could argue that it is separated from society, further proving that everyone on the p reporter is isolated. Kate Chopin also uses the Idea of an indoor space to oppress her main char in her story, Story of an Hour. Granted, the span of time for this story is super r limited the story takes place within an hour, so there’s only so much time the character errs have to go any. Where or do anything.
Still, the female characters are always found ins De the Mallard’s home, while the males roam in and out wherever and whenever the Y please. The house is barely described but we can gather that there’s more than one FL or, because there’s a staircase inside; the internal doors have locks; and Mrs.. Mall lard has her own room. In that room, there’s “a comfortable, roomy armchair” but we don’t know what color it is, what material it’s made of, or whether it matches the w leaper. Because of her medical condition, Mrs.. Mallard seems to be pretty confined t o the omen, we don’t know for sure, but Josephine, Mrs..
Mallard’s sister seems to b e content with the home. Significantly, when Mrs.. Mallard wants to be alone and process s her husbands death, she goes deep into the house, retreating to her own room a ND locking the door. In both stories, the authors chose to imprison their female main characters in house; whether the house had horrid wallpaper, barred windows and placed quite a bit away from the road, or the house was a normal house in a normal neighbor DOD. Choosing to keep the women “locked up” in a house only enforced the idea the t they are not free.
The men in the stories are free to roam outside, around town in and out of the home whenever it pleased them. Much like women in this time period, the women in these stories were confined to a household. Mrs.. Mallard probably was expected to keep it clean, and be a spectacular housewife for her husband. T he unequal relationship between the narrator and John is a microcosm of the lard gear gender inequity in society. Gillian makes it clear that much of John’s condescending a ND paternal behavior toward his wife has little to do with her illness.
He belittles her creative impulses and he overrides her judgments on the best course of treat meet for herself as he would on any issue, making her live in a house she does not like, room she detests, and in an isolated environment which makes her unhappy and lonely. With both pieces being written and published in the 1 ass’s, many themes oft historical events and things happening around the country appear in these SST irises. The fact that they were written in this time period anchors them in a very specific historical moment in terms of women and their perceived abilities.