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Men and women see the world differently despite these expectations, and women sought to find a means to communicate these differences by developing a unique aesthetic that included issues like mental illness. In North American feminist literature, topics of mental illness and disease frequently appear. This poem was composed between 1880 and 1920, or what Showalter calls the "Feminist era," when women fought against society's norms and values.

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Feminist Gothic in "The Yellow Wallpaper" |, https://www.lonestar.edu/yellow-wallpaper.htm.

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The narrator finally succumbs to lunacy, tearing at the wall paper and stalking around the room, making her husband pass out. Even if she hasn't been able to leave the boundaries of her relationship, she is making an effort to release the woman from behind the wallpaper's design. She can exert her power over the wall paper but is unable to alter her relationship, which is closely tied to her preoccupation with the wall paper and her desire for control in her life and relationships.

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John constantly disapproves of the narrator's genuine personality, and he expects her to control and adapt her imagination. Even inside the text, she avoids voicing a direct or aggressive disagreement with John. The interior design of the house, particularly the wallpaper, can be interpreted as a metaphor for the narrator's marriage and feelings in general. The narrator favored the more attractive downstairs, but John wants the two of them to dwell in the nursery above. "I hardly like our room at all." The fact that the narrator doesn't refer to the kid by name or express any desire to engage with it suggests that she may not have wanted to have a child in the first place, which is also implied by her dislike of the nursery. She appears to spend a lot of time alone in their common area, their room, which may be taken to represent their marriage. Even when the narrator makes an effort to describe John in a loving and positive way, such as by saying, "He is so careful and loving, and hardly lets me stir without special direction," the narrator still manages to imply that this is oppressive and grating. There is no real enjoyment in this attention. Although she is not overtly defiant, she nevertheless feels "ungrateful" because she is aware of the role that women are expected to play joyfully.

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There is no denying that men dominate; "He does not believe I'm unwell." One of the most fundamental decisions a person can make is whether or not they are unwell, but the narrator has lost control over this decision. Another man who makes decisions for her is her brother. Even though she disagrees, she doesn't speak out about it. The narrator uses little symbolism to describe herself, John, and her brother. But the symbolism starts with the phrase "So I'll leave it alone and talk about the house." She chooses a different outlet for her feelings in matters pertaining to the house because she is unable to argue in the presence of men. "There were greenhouses too, but they are all broken now," she explains after praising the beauty of the house and its surroundings. It is well known that greenhouses are places for development and new life, with their destruction signifying the conclusion of the process of creating new life. Because the narrator was pregnant, the image of a broken greenhouse can represent depression brought on by the pregnancy and the loss of the developing fetus.

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In addition to dealing with it in real life, Charlotte Perkins Gilman was one of many women who used mental illness as a motif in their literature. The oppression of the protagonists by males and the ensuing mental disorders take shape as the novel progresses. Beginning with "John and I," the author immediately establishes who is in charge of their marriage while keeping a private journal. She is respectful of the males in her life, even in her private thoughts. She rapidly makes it clear to the reader how her connection is set up, making it clear she has a vivid imagination. She refers to the home as "a haunted house," which also foreshadows the story's resolution. She expresses animosity toward John in imperceptible and subtle ways, saying things like, "John laughs at me, of course." She is accustomed to John considering her ideas to be absurd. We discover all about John's personality attributes as a tough, practical doctor early on in the narrative. She implies that she is the antithesis of John's characteristics by describing him and highlighting how different the two are. She is a dreamer, whereas he is practical. The comparison of John and the narrator illustrates how men and women are always placed in opposition to one another.

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The Poem "The Yellow Paper".

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Analysis of Feminism in 'The Yellow Wallpaper' by Charlotte Perkins Gilman

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One of the major goals of feminist literature is to determine what kind of voice women have or do not have in a world, dominated by men. Women are seen as not as important as men in humanity, and language is one of the tools used to emphasize men’s power over women. Often the world in literature is represented from a male point of view, yet female writers have continued to write. In Charlotte Perkins Gilman’s The Yellow Wallpaper the author uses slight symbolism to tell the reader how the main character is really feeling while the literal text goes either talk like men or not talk at all. Even with these expectations, men have different experiences than women and women needed to find a way to express them, by finding their own style that includes specific themes, like mental illness, and women work on self expression. Mental illness and disease are common themes in North American feminist writing. This piece was written during what Showalter refers to as the Feminist phase, which was between 1880-1920 when omen protested against society’s standards and values. Men and women see the world differently despite these expectations, and women sought to find a means to communicate these differences by developing a unique aesthetic that included issues like mental illness. In North American feminist literature, topics of mental illness and disease frequently appear. This poem was composed between 1880 and 1920, or what Showalter calls the "Feminist era," when women fought against society's norms and values.