The Yellow Wallpaper & Hamlet

The Yellow Wallpaper & & Hamlet Brittany Baldwin Professor Brittany Hall Composition II 9 May 2013 To Be Or Not To Be In The Wallpaper: Madness in The Yellow Wallpaper And Hamlet Insanity, psychopathology, insaneness, derangement, and lunacy are all terms that have a definition that resembles that of insanity. This theme of insanity is compellingly common between Hamlet by William Shakespeare and The Yellow Wallpaper by Charlotte Perkins Gilman. Madness, also referred to in the vernacular as madness, is specified as “the condition of being ridiculous; a derangement of the mind; such unsoundness of mind as releases one from legal duty …” (insanity).

This idea of madness is highlighted in both stories as the characters parallel one another and are both to some degree deranged. From the beginning of the story, the primary character in The Yellow Wallpaper is depicted as truly mad, with the magnificence of her insanity increasing as the story advanced. In Shakespeare’s Hamlet, some individuals think that Hamlet succumbed to true madness after seeing his daddy’s ghost. On the other hand, many people believe, from different observations, that Hamlet was just feigning madness throughout the story.

Moreover, in Hamlet, Ophelia (Hamlet’s enthusiast) ends up being genuinely mad once her father is killed and she is avoided by Hamlet. Clearly, the concept of madness is a theme showed through numerous characters in both of these stories. Feigned insanity is actually seen throughout both stories as well. In the start of The Yellow Wallpaper, the female, who is never ever offered a name, appears to have an insanity which is credited to a post-pregnancy mental breakdown, yet as the story progresses it becomes clearer that she is moving toward genuine madness.

By the end of the story, she ends up being entirely schizophrenic. Although completion result is pure madness, the reader is not totally aware if throughout the story if she is truly mad, or if she simply appears insane since of her unusual scenario. In Shakespeare’s play, Hamlet’s insanity has been seen from 2 different viewpoints. One is that he truly ended up being crazy after seeing his dad’s ghost and the second, that he just imitates his madness throughout the plot. More proof throughout the play and other Shakespearean plays, point more towards the possibility of Hamlet simply feigning his insanity.

A post by Simon Augustine Blackmore states, “This objection [of real madness] is rather an argument to the contrary; for insane individuals are never ever understood to plead insanity in self-exculpation.” Hamlet pled crazy in front of the court in order to look for pardon for his violence against Laertes, and this might prove that he was just pretending insanity for self-preservation; as the quote states, a true madman does not confess to his madness, as Hamlet did. However, true insanity is plainly shown in both stories too.

In The Yellow Wallpaper, the primary character, in the end, is plainly driven outrageous. An article written by Nash Kevanyu says that the source of the insanity, the wallpaper, might have been a representation of the ideal lady’s attributes. In the start of the story, the female is interrupted by the wallpaper, but as the story advanced, she slowly and disturbingly takes in the characteristics of the wallpaper onto herself. This might also be somewhat similar to the scenario in Hamlet. Hamlet begins the story with being sane, however after seeing his father’s ghost, he is depicted as mad.

This may have been a protection mechanism versus his step-father, the new king, or might have been an outcome of true insanity. Shakespeare never out appropriately states whether Hamlet was faking his insanity, or if he remained in reality really mad. Shakespear’s Ophelia is somewhat similar to the main character in The Yellow Wallpaper. They are both most definitely ridiculous. This insanity appears to have stemmed from a significant life event in each of these women’s lives. Ophelia’s father was killed and then Hamlet declines her; these occasions all contribute to her insanity.

The lady in The Yellow Wallpaper advances toward madness after giving birth and moving into a brand-new house. The method which her hubby treats her might be yet another factor that added to her insanity. Both characters are more youthful women which might be credited to the typical view held of ladies during the time duration when these works were released. In some senses, females were still thought about “lower” than males and this might be seen in the theme that the males influenced the progression of the madness in each female character.

Insanity is a theme that is developed in both Hamlet and The Yellow Wallpaper. The female in The Yellow Wallpaper ends up being more outrageous as the story advances, Ophelia in Hamlet becomes crazy in the middle of the story due to the fact that of the situations that led up to that point, and Hamlet is uncertain regarding whether he was in fact outrageous or simply pretending throughout the play. Although both stories were composed during various period, they both have comparable and parallel themes which depict characters affected with madness.

Although, the occurrence of insanity in each of the stories happens as the outcome of various events in the plot, the concept of insanity appears to be the golden thread through both of these stories. Functions Cited Blackmore, Simon Augustine. “The Genuine or Assumed Insanity of Hamlet.” theatrehistory. com. 2006. Web. 26 April 2013. Gilman, Charlotte Perkins. “The Yellow Wallpaper.” Literature for Structure: Essays, Stories, Poems, and Plays. Ed. Sylvan Barnet, William E. Cain, and William Burto. Boston: Pearson, 2011. 46-756. Print. “madness.” Dictionary. com Unabridged. Random House, Inc. 06 May. 2013. <. Kevanyu, Nash."Wallpaper as the Apotheosis of Womanhood?" Washington State University. Feb. 1997. Web. 26 April 2013. Shakespeare, William. "The Tragedy of Hamlet, Prince of Denmark." Literature for Composition: Essays, Stories, Poems, and Plays. Ed. Sylvan Barnet, William E. Cain, and William Burto. Boston: Pearson, 2011. 908-1011. Print.

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