Feminist Criticism of Frankenstein and the Yellow Wallpaper
This essay about the feminist criticism of Mary Shelley’s *Frankenstein* and Charlotte Perkins Gilman’s *The Yellow Wallpaper* explores how both works critique the gender dynamics and societal expectations of their times. In *Frankenstein*, the marginalization of female characters such as Elizabeth Lavenza and Justine Moritz highlights the societal norms that restrict women to passive roles and expose them to systemic injustices. Similarly, *The Yellow Wallpaper* examines the oppressive impacts of patriarchal medical practices and a controlling spouse on the protagonist’s mental health, using the wallpaper as a symbol of her mental and physical confinement. Both narratives showcase the tragic consequences of a lack of female agency and autonomy, reflecting the authors’ critiques of the patriarchal structures of their respective eras. Through their portrayal of women’s struggles, Shelley and Gilman contribute to feminist literary discourse, advocating for women’s rights and autonomy by exposing the harmful effects of gender inequality.
How it works
Mary Shelley’s *Frankenstein* and Charlotte Perkins Gilman’s *The Yellow Wallpaper* are pivotal texts that have been widely discussed and analyzed through a feminist lens. These works, though emerging from vastly different contexts and genres, offer profound insights into the gender dynamics and societal expectations of their times. Both novels explore the marginalization and mental anguish that women experience, albeit in distinct manners, providing a rich terrain for feminist critique.
In *Frankenstein*, Mary Shelley, who herself grappled with the expectations of her gender in a male-dominated literary circle, constructs a narrative that subtly critiques the patriarchal structure of the 19th century.
The novel’s female characters, such as Elizabeth Lavenza and Justine Moritz, are portrayed in passive roles, primarily serving as conduits for the male characters’ actions and emotions. Elizabeth, as Victor Frankenstein’s fiancée, epitomizes the idealized woman who is angelic but lacks depth and agency. Her tragic fate—murdered on her wedding night—underscores the disposability of women, reflecting societal norms that prioritize women’s roles as caregivers and moral supporters, yet often leave them vulnerable and powerless.
Justine Moritz’s story further highlights the consequences of societal misogyny. Accused of William’s murder, Justine faces a biased judicial process that reflects the broader societal inclination to subjugate and silence women. Her eventual execution, based on circumstantial evidence and public pressure, exposes the systemic injustices that women endure, emphasizing the theme of female victimization that Shelley subtly weaves through her narrative.
In contrast, *The Yellow Wallpaper* provides an intimate exploration of a woman’s descent into madness, catalyzed by the oppressive forces of a patriarchal medical establishment and a controlling husband. The protagonist, whose name is Jane, is subjected to the “rest cure” — a treatment based on the assumption that mental and physical rest could cure mental illness, which was often prescribed to women during the 19th century. This treatment, which involved isolation and prohibiting intellectual stimulation, is a direct attack on her autonomy, effectively silencing and imprisoning her within the domestic sphere. Gilman uses the wallpaper as a symbol of the protagonist’s entrapment and her struggle to maintain her sanity against overwhelming odds.
The mental confinement of Jane mirrors the physical and societal constraints placed on women of her time. As she becomes more obsessed with the wallpaper, her mental state deteriorates, symbolizing the destructive impact of enforced helplessness and lack of intellectual freedom on women’s psyche. This mirrors the broader feminist critique of the patriarchal oppression that sought to dictate the proper sphere for women, relegating them to roles of domesticity and obedience.
Both *Frankenstein* and *The Yellow Wallpaper* offer critiques of the gender inequalities of their times, presenting their female characters’ tragedies as indictments of a patriarchal society. While Shelley uses the passive suffering and victimization of her characters to highlight the lack of female agency, Gilman presents a more direct confrontation of the oppressive structures through the mental breakdown of her protagonist. Both narratives underscore the critical need for societal change, advocating indirectly for women’s rights and autonomy by depicting the dire consequences of their absence.
In conclusion, the feminist critiques of *Frankenstein* and *The Yellow Wallpaper* reveal deep-seated gender biases and highlight the struggle for female autonomy and recognition. These works not only reflect the authors’ critiques of their own societies but also continue to resonate with contemporary audiences, encouraging ongoing discussions about gender equality and women’s rights. Through their powerful depictions of women’s experiences, Shelley and Gilman contribute significantly to the feminist literary canon, providing critical insights into the intersections of gender, power, and mental health.
Feminist Criticism of Frankenstein and The Yellow Wallpaper. (2024, Apr 29). Retrieved from https://papersowl.com/examples/feminist-criticism-of-frankenstein-and-the-yellow-wallpaper/
