Summary Of Rosalind Warren's Furniture Fight

Paul Newman once said, “People stay married because they want to, not because the doors are locked” (74). There is no such thing as the perfect relationship, however, being involved in a healthy relationship is essential for a person to feel valued, safe, and happy. Unfortunately, in the situation of Kelly Sundberg’s personal essay “It Will Look Like a Sunset,” and Kate Chopin’s short story “The Story of An Hour,” include extreme examples of unhealthy relationships. The essay “It Will Look Like a Sunset,” shares painful experiences of Sundberg’s physical and emotional abusive relationship with her husband Caleb, while “The Story of an Hour,” shares a rare reaction of a married woman, Louise Mallard, who explores her emotions cautiously when hearing about the death of her husband. Each woman faces their own prison created by their husbands. The two marriages represent the figurative meaning of doors being locked in a marriage. Both pieces of literature convey the theme of confinement by using the literary devices of foreshadowing, imagery, and conflict.

Her loving husband, John, never takes her illness seriously. The reader has a front row seat of the narrator’s insanity voluminously growing. He has shown great patience with the recovery of his wife’s condition. However, the narrator is clear to the reader that she cannot be her true self with him. In the narrator’s eyes she feels he is completely oblivious to how she feels and could never understand her. If she did tell him that the yellow wallpaper vexed her as it does he would insist that she leave. She could not have this.

“Story of an Hour” uses Louise Mallard’s repressed life as a wife to elucidate how repression can lead to bottled up depression. Louise Mallard understands the “right” way for women to behave, but her internal thoughts and feelings are anything but correct. This is first illustrated by the initial reaction to her husband’s death, where she cries instead of feeling numb, as she suspects other women would do. The death of her husband acts as a catalyst to alleviate her depression that rooted in her marriage. In the beginning of the story we are introduced to Louise’s heart problem, which shows the extent to which she believes her marriage has trapped her. The author of the story gives a vague description of Mallard’s heart condition just simply calling it a “heart problem” (Choplin 452). This vague description shows how her “heart problem” is both physical and

With good intentions, John controls his wife's life and makes all decisions for her, whether she agrees with them or not. His wife is full aware of the restrictions that her husband has imposed on her, but she is recessive to his control and often agrees with him. However, she fails to see “signs of her confinement: the bars at the window, the gate at the top of the stairs, steel rings on the walls, and the nailed-down bestead” (Korb). Because she is unable to escape from the isolation that her husband has kept her in, the woman seeks relief from the yellow wallpaper and she creates an imaginary relationship it. In fact, the worst thing her husband should not of done is give his unstable wife an object that is not appealing to focus on. In doing so, he has given her an opportunity to let her mind wonder and create objects that no one else sees. John, however, does not give any thought to this because after all, he thinks he knows what is best for his wife.

“It was only yesterday she had thought with a shudder, that life might be long.” (Chopin 17). “"Poof!"… gave a revealing look at the victims of domestic abuse and how they wrestle with overcoming their fear and their doubts after suffering years of abusive treatment.” (Toomer 5) Loureen unlike Mrs. Mallard, witnesses her husband’s death first hand during a marital argument. Loureen goes through denial questioning whether her husband’s death. She is happy her husband is dead but also feels guilty, because she knows how a mourning wife should react, but the joy of his demise is greater,” I should be praying, I should be thinking of the burial, but all that keeps popping into my mind is what will I wear on television when I share my horrible and wonderful story with a studio audience…”, Loureen’s husband, Samuel, was physically abusive, as revealed by Florence, Loureen’s best friend and neighbor. “Did that mother***** hit you again?” (Nottage 1563) This abuse, physical by Samuel and mental by Brently, is what allows Loureen in the drama “Poof!” and Mrs. Mallard in the short story “The Story of an Hour” to have the shared freedom they feel in the release from their respective abusive relationships.

As a woman, the narrator must be protected and controlled and kept away from harm. This seemed to be the natural mindset in the 19th century, that women need to have guidance in what they do, what decisions they make, and what they say. John calls her a “little goose”(95) and his “little girl”(236), referring her to a child, someone who needs special attention and control. His need for control over her is proven when she admits that her husband is “careful and loving and hardly lets me stir without special direction”(49). John has mentally restrained the speaker’s mind, she is forced to hide her anxieties, fears and be submissive, to preserve the happiness of their marriage. When the narrator attempts to speak up, she is bogged down and made guilty of her actions. Her husband makes her feel guilty for asking, he says, “‘I beg of you, for my sake and for our child’s sake, as well as your own, that you will never for one instant let that idea enter your mind!’”(225-226). By making her feel guilty for her illness, John has trapped her mentally from speaking up about it, convincing her that she must be more careful about her actions. Men often impose the hardships placed upon women during this era. They are often the people reassuring them of their “womanly” duties, and guiding them

“Undressing Aunt Frieda,” is a poem about the narrator’s remembrance of his Aunts life while visiting her on a death bed. The narrative is in first person, and takes place as the narrator and his daughter are about to leave the relative. The first half of the poem explores Frieda and her past. The second half is about how the narrator and daughter have grown and learned from the aunt. While undressing her aunt, the narrator feels emotions and remembers his past with Frieda. The poem describes these emotions and memories in a metaphor explaining unique characteristics of how Aunt Frieda undressed, and how she impacted the relatives.

Despite differing story lines, Charlotte Gilman’s The Yellow Wallpaper, John Steinbeck’s The Chrysanthemums and Kate Chopin’s The Awakening, depict the same suffering; the isolation that women have been forced to endure throughout history. In the time period that all three characters were placed, it was culturally acceptable for wives to be dominated by their husbands; their responsibility revolving around the needs of their children and those of their spouse. Most women simply did not have a means or an idea of how to rebel against their husbands. The women in all three stories are protagonists who have poor relationships of emotional attachment with their spouses. While the main character of Gilman’s story endures multiple psychotic

Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Sinclair Ross’s “The Painted Door” are both stories about women protagonists who feel emotionally isolated from their husbands, who both go by the name John. Ann in “The Painted the Door” and the wife whose name may or may not be Jane in “The Yellow Wallpaper” are women who deal with emotional isolation. Emotional isolation is a state of isolation where one may be in a relationship but still feel emotional separation. In these two stories, both women feel emotionally isolated from their husbands due to lack of communication. In both stories, lack of communication results from one individual failing to disclose their true feelings and instead he or she are beating around the bush, hoping the other party will know what they want. If both parties directly disclose their desires and feelings to one another, there would be a better understanding of each other which as a result would help save marriages. This paper will look at how both women lack communication, how they both their approach their emotional isolation differently, and how their failure to communicate to their husbands and their approach, results in the failure to save their marriage. “The Painted Door” and “The Yellow Wallpaper” are stories that show how both women protagonists are emotionally isolated due to their failure to communicate their feelings and desires to their husbands. Instead of direct communication to their husbands, the women find other

Women in the early Victorian Era were very limited in their individualism as they were expected to conform to societal norms. The narrator craves freedom from the society she lives in, dreaming of having a room "downstairs that opened on the piazza and [has] roses all over the window." (Gilman 3) The narrator wants nothing more than to be able to express herself, yet she is held back as she reveals that "John would not hear of it." (Gilman 3) She knows her place is not to question her husband, so she finds other creative outlets that she keeps secret. She knows that these outlets of creativity are found, she risks her husband’s reputation as she would disrespect him. Throughout the narrative, the heroine acknowledges the importance of status in society. Even when her madness drives her to contemplate committing suicide, she says, “I wouldn't do it. Of course not. I know well enough that a step like that is improper and might be misconstrued.” (Gilman 15) Even in the most stressful times, it is the fear of ruining her husband’s reputation that keeps her from obtaining what she wants. Finally, the narrator breaks free of her confinement by tearing off the wallpaper, saying, "I've got out at

In Charlotte Gilman’s short story "The Yellow Wallpaper," Jane, the main character, is a good example of Sigmund Freud’s Studies In Hysteria. Jane suffers from symptoms such as story making and daydreaming. Jane has a nervous weakness throughout the story.

In the words of Sigmund Freud, “The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the mind.” The legendary psychologist saw dreams as an avenue to study one’s underlying motives for action. Similarly, in literature one finds striking significance from the illusions of protagonists that often predict the nature of one’s psyche. Two such examples present themselves in Blanche, from Tennessee Williams’ A Streetcar Named Desire, and the grandmother, from Flannery O’Connor’s A Good Man is Hard to Find. The former tale follows a lady without a home who finds herself reliant on her belligerent and bestial brother-in-law. The latter traces a family’s road trip South and their encounter with a wanted fugitive. Both Blanche and the grandmother find themselves tethered to their idealistic and often times hypocritical fantasies which signify their underlying mental instability and foreshadow their eventual ruinations. Williams and O’Connor examine their protagonists’ delusions through gender, clothing, and nostalgia.

The author emphasizes the drastic contrast in the speaker's emotional state through the setting she finds herself in. She is taken from the comfort of her home and thrust both an environment and mind state of isolation. However, the setting also helps fuel the hatred that develops in the wife's mind for her husband. The speaker is ambivalent of her feelings for her

The bond between a mother and child is often spoken of as being unlike any other. Yet there are always exceptions to the rule where this connection isn 't as impenetrable as one might assume. This book is an example of this bond gradually becoming weaker over time. It shows how it affects the child, Bone, and leaves her vulnerable to the abuse of her step-father. Bone’s mother, Anney, had fallen in love with a man who abused her which at first, she’s unaware but eventually comes to realize but still chooses to stay with him. Throughout the book there are instances of Anney’s negligence in recognizing her daughter’s abuse and being of aid to her but wasn 't. In having to deal with her

The problem is that the woman does not give herself enough credit to speak up for herself. This is slightly comparable to what many people go through today, in our society, with medical practitioners. Although one knows what makes him or her feel better, we most often will rely on the doctor's advice, instead, simply because of his or her authority. The woman is trying so hard to get better, and deep down she knows what she needs to do, but she is constantly being shut down by her husband and her own personal insecurities. The woman describes writing as "Such a relief" (Barnet 748) but because of John's constant observation of her as well as her low energy level she must direct her thoughts elsewhere. So she begins to daydream about the wallpaper. She imagines people,