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The late 19th century in the United States was characterized by strict gender roles and the cult of domesticity, which placed women in a subservient position to men. Women were expected to adhere to strict moral codes and were discouraged from seeking education or pursuing careers outside the home. This societal pressure significantly impacted women’s mental and physical health and ability to express themselves and their desires. The stories “The Yellow Wallpaper” by Charlotte Perkins Gilman and “An Anarchist Looks at Life” by Emma Goldman provide a powerful commentary on the challenges faced by women in the late nineteenth century. These works shed light on the struggles of women in the late nineteenth century and emphasize the importance of continuing to advocate for gender equality and empowerment.
The cult of domesticity was a set of beliefs that emerged in the early 19th century and reached its height in the late 19th century. According to this belief, women were viewed as moral guardians of the home, responsible for maintaining their families’ well-being and society’s moral fiber. Women were expected to be nurturing, submissive, and virtuous, and any deviation from these norms was met with social ostracism. Females who worked outside the home were viewed as immoral and lacking in proper feminine virtues. This belief system was reinforced through popular literature, religious teachings, and even educational institutions, which discouraged women from pursuing careers and instead emphasized their roles as wives and mothers.
In “The Yellow Wallpaper,” Gilman explores the impact of the cult of domesticity on women’s mental health and critiques the limitations it placed on women’s lives. The story is narrated by a woman confined to her bedroom as a treatment for “hysteria.” As she spends more time in the room, she becomes increasingly fixated on the yellow wallpaper, which she begins to see as a symbol of her entrapment. The wallpaper, which she describes as “dull enough to confuse the eye in following, pronounced enough to irritate and provoke study constantly,” symbolizes the oppressive nature of the Cult of Domesticity (Gilman). The protagonist’s descent into madness can be seen as a metaphor for the stifling of women’s intellect and creativity under this ideology.
“The Yellow Wallpaper” reveals the devastating effects of the cult of domesticity, which promotes the idea that a woman’s place is in the home, as a wife and mother, and that any desires or ambitions outside this role are unnatural and harmful. The narrator’s confinement represents women’s isolation and lack of autonomy in the late nineteenth century (Gilman and Lane). She is denied the opportunity to express herself or engage in meaningful work, resulting in a loss of identity and purpose. This theme is reflected in Gilman’s own life, as she suffered from postpartum depression and was prescribed the “rest cure” by her physician, which involved prolonged periods of bed rest and confinement (Gilman and Lane). “The Yellow Wallpaper” was inspired by Gilman’s own experience, and the story served as a call to action for women to reject the oppressive expectations of the cult of domesticity.
In comparison, Emma Goldman’s “An Anarchist Looks at Life” is a radical feminist work highlighting women’s liberation and emphasizing the need for equal rights and social justice. Goldman, a self-proclaimed anarchist, and feminist, rejects the notion that women should be confined to the domestic sphere. In her essay, she argues that women should be free to pursue their interests and passions, whether in the arts, sciences, or politics (Goldman). She writes, “To woman, who stands for the advance of life, has been given the power to create and to destroy, to govern and mold society. The future of the race rests in her hands” (Goldman). By placing women at the forefront of social and political change, Goldman presents a radical alternative to the gender norms of the late nineteenth century.
Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Emma Goldman’s “An Anarchist Looks at Life” address women’s agency in a society that sought to silence them. Gilman’s story focuses on the psychological effects of confinement on women, while Goldman’s essay addresses the need for women to break free from patriarchal expectations and embrace their agency. Goldman writes, “Every woman should have the right to her own life, to develop her potentialities, and to live her own life in her way” (Goldman). These words of Goldman emphasize the importance of women having control over their own lives and destinies rather than being subjected to the expectations and limitations placed on them by society. Similarly, Gilman’s narrator struggles to assert her agency in the face of her husband’s dismissive attitudes. She eventually finds empowerment in tearing down the yellow wallpaper that had entrapped her. Together, these works provide a powerful commentary on women’s challenges in the late nineteenth century and how they worked to assert their voices and create their own spaces in society.
In conclusion, both “The Yellow Wallpaper” by Charlotte Perkins Gilman and “An Anarchist Looks at Life” by Emma Goldman shed light on the struggles of women in the late nineteenth century. Comparing these two works makes it clear that women in the late nineteenth century faced significant challenges in their pursuit of equality and independence. Despite the progress made since then, much work still exists to achieve true gender equality. The legacy of the cult of domesticity and the restrictive societal norms it enforced still lingers in some corners of modern society. By continuing to raise awareness and advocate for gender equality, we can help to create a more just and equitable world for all people.
Works Cited
Gilman, Charlotte Perkins, and Ann J. Lane. The Charlotte Perkins Gilman Reader: The Yellow Wallpaper and Other Fiction. Woman’s Press, 1981.
Goldman, Emma. “An Anarchist Looks at Life – March 1, 1933.” Archives of Women’s Political Communication, 2017, Web.
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