Malpractice and Malediction in The Marquise of O. and The Yellow Wallpa

Malpractice and Malediction in The marquee of O. and The yellow Wallpaper In Heinrich Von Kleists The pavilion of O. and Charlotte Perkins Gilmans The Yellow Wallpaper, the female protagonist is abominably mislabeled. The inaccuracies in treatment, administered by seemingly authoritative and knowledgeable characters -- family members and a medically certified spouse, respectively -- result in tragic deterioration of the state of perspicacity of both the Marquise and The Yellow Wallpapers cashier. The delineation of each characters weakness is comprised of blatant references to an applied infantile image and come on unstable mentality. In The Marquise of O, the Marquise is thrust unwillingly into the external world in The Yellow Wallpaper, the storyteller is locked away unwillingly in an intragroup world. Though both are persecuted because of their gender, in The Marquise of O, the Marquise is troubled by the symbolic rebirth of her womanhood while in The Yellow Wallpaper, the narrator is troubled by the symbolic conclusion of her womanhood. Kleist begins his delineation of the Marquise with terms such as widowed,, a lady, and the mother of several well-brought-up children (Kleist 68). In this introduction the subscriber learns that the Marquise has experienced both coupling and childbirth. In respect to her deceased husband, the Marquise avoids remarriage and returns to her familys home with her parents, brother and children. The Marquise transforms her role as lover and married woman to daughter and mother, therefore stifling an font of her womanhood. It is not until she is unknowingly sexually assaulted and made pregnant that her femininity is reborn. The narrator of Gilmans The Yellow Wallpaper, on the other hand, se... ...mother hit the identity of her daughters rapist before the Marquise, establishing ridicule and advancing engagement between reader and text. It is also clear to the reader that by the conclusion of The Yellow Wallpaper, the narrator has become maniacal. Though confined to connatural situations, Kleists Marquise and Gilmans narrator are delineated in very different manners. While the Marquise displays boldness and finish in locating her assailant, the narrator of The Yellow Wallpaper allows the intriguing wallpaper to take control of her senses. Both stories exhibit the consequence of a mythical diagnosing administered to an initially sane and healthy person. whole kit and caboodle CITED Gilman, Charlotte Perkins. The Yellow Wallpaper. Ed. Dale H. Bauer. New York Bedford, 1998. Kleist, Heinrich Von. The Marquise of O-. London Penguin Books, 1978. Malpractice and Malediction in The Marquise of O. and The Yellow WallpaMalpractice and Malediction in The Marquise of O. and The Yellow Wallpaper In Heinrich Von Kleists The Marquise of O. and Charlotte Perkins Gilmans The Yellow Wallpaper, the female protagonist is terribly mislabeled. The inaccuracies in treatment, administered by se emingly authoritative and knowledgeable characters -- family members and a medically certified spouse, respectively -- result in tragic deterioration of the state of mind of both the Marquise and The Yellow Wallpapers narrator. The delineation of each characters weakness is comprised of blatant references to an applied infantile image and approaching unstable mentality. In The Marquise of O, the Marquise is thrust unwillingly into the external world in The Yellow Wallpaper, the narrator is locked away unwillingly in an interior world. Though both are persecuted because of their gender, in The Marquise of O, the Marquise is troubled by the symbolic rebirth of her womanhood while in The Yellow Wallpaper, the narrator is troubled by the symbolic death of her womanhood. Kleist begins his delineation of the Marquise with terms such as widowed,, a lady, and the mother of several well-brought-up children (Kleist 68). In this introduction the reader learns that the Marquise has experienced both marriage and childbirth. In respect to her deceased husband, the Marquise avoids remarriage and returns to her familys home with her parents, brother and children. The Marquise transforms her role as lover and wife to daughter and mother, therefore stifling an aspect of her womanhood. It is not until she is unknowingly sexually assaulted and made pregnant that her femininity is reborn. The narrator of Gilmans The Yellow Wallpaper, on the other hand, se... ...mother realize the identity of her daughters rapist before the Marquise, establishing irony and advancing engagement between reader and text. It is also clear to the reader that by the conclusion of The Yellow Wallpaper, the narrator has become maniacal. Though confined to similar situations, Kleists Marquise and Gilmans narrator are delineated in very different manners. While the Marquise displays boldness and determination in locating her assailant, the narrator of The Yellow Wallpaper allows the intriguing wallpaper t o take control of her senses. Both stories exhibit the consequence of a mythical diagnosis administered to an initially sane and healthy person. WORKS CITED Gilman, Charlotte Perkins. The Yellow Wallpaper. Ed. Dale H. Bauer. New York Bedford, 1998. Kleist, Heinrich Von. The Marquise of O-. London Penguin Books, 1978.