The storieot adapt to their new environment. Besides, the stories have an illustration of the issue with feminism and freedom. In both cases, there is an illustration of women who try to conform to the standards of the community. However, their beliefs and desires drive them further into doing the things that bewilder their spouses. The women in both cases are faced with the greatest challenge of a woman figure that they thought have a barrier in their freedom. The stories have the elements of both women having their extent of fear that leads them to the most excellent controversial deeds. There is a similarity in the character of husbands in the stories, solving their spouses’ pains with love. To some extent, the women and men’s spouses do not seem to be at par with what ails their women.
The love of men to their spouses is evident in both cases. Wou Sankwei waited for seven years for her wife and never engaged in any affair with any woman. When the wife, Pau Lin, came, he treated her to what he felt was necessary for her woman. Mrs. Dean confirms that she would have understood the cries of other Chinese women if they cried that their husbands were infidels but never for Wou Sankwei. John in The Yellow Wallpaper loves her wife, and the wife also declared that. She knew John loved her and would not want to hurt him.
The stories also involve the main female characters looking for their freedom in vain. In “The Wisdom of the New,” Pau Lin wants to free her family from the knowledge of the whites. She cannot help but notice every little change in her husband. Though she respects and subtly obeys the husband according to the culture, she does not agree to her son, Yen, learning the whites’ culture. She forbids the son from speaking the white man’s language. At one point, she hurts the boy’s little finger. The reason she gives was that she forbade the boy to speak the language of the white woman, but he disobeyed (Far, 243). The fight to attain freedom gets support from the other Chinese women who feel the children lose their culture and respect when they attain the whites’ wisdom and gives an example of A Toy, Lew Wing’s daughter.
In “The Yellow Wallpaper,” the main character went through depression.
The struggle some women undergo by living in a male-dominated society affects the status of women in both stories. In “The Yellow Wallpaper,” the character has the patronizing husband who decides for her on what to do. She claims she needs to write, but the husband hates it. She had a plea to use the other room, but the husband could not allow her. She is confined in a room she does not want to be in, and this affects her more. The husband does not want her to be the person she wants to be. In “The Wisdom of the New,” the male called the shots.
The fear and isolation spurring the rates of depression, and the death of identity happen for both the characters. Pau Lin’s greatest fear is seeing her son gain the whites’ knowledge. While the idea of education is appreciated by all the Chinese who relished the opportunity of their children going abroad to learn and earn riches, to Pau Lin, the changes come with no good. She confides in some women who do not just confirm her fear but also offers a solution that further aggravates her situation. She feels further isolated since she cannot speak openly to the husband about her case. She feels the husband is more inclined to the white woman. The depression of it ends with the killing of her son that she feels so relieved of the problem.
Conversely, in “The Yellow Wallpaper,” the character is isolated in her room. Mostly, she will be in her room and confides in her peace. She does not have the right person to air her plights with and always feels the people around have not the best intentions. She laments that it is so discouraging not to have anyone for advice or companionship in her work (Gilman, 195). The fear escalates to the point that she feels she needs to face the problem herself. She confides in herself and locks herself in the room, removing the wallpaper. Her actions were intense, that the result left the husband faints.
The gap of missing partners in their spouses’ social life affects judgment and communication. Wou Sankwei is never present in her wife’s life. Seven years apart, without communication or interaction, was long. However, the coming of the wife after a long duration does not fill the gap. The couple finds themselves with different opinions about life and what should be done in their social life. Wou Sankwei believes he gives everything that a woman would desire. He buys her the most elegant clothes, perfumes, and jewelry. He expects the wife to appreciate and feel that she loves her. However, whatever he does would appeal to an American lady than the Chinese counterpart. Adah notices that the reaction would be different were it in the Chinese setting (Far, 245). Adah reveals her revelation to Wou Sankwei and points out to their differences.
Conversely, John in “The Yellow Wallpaper” is absent in the entire spouse struggle with depression. John does not listen to the plea of the wife to move to a different room. He restricts the wife’s activities and only judges from the physical health that the wife is okay.
The Yellow Wallpaper” and “The Wisdom of the New” describe the women’s role in society. The stories insinuate the capability of women to have independent lives not driven by the males’ diction. Women struggle to achieve freedom; however, they fail from their naivety. The stories highlight the need to empower women in society to facilitate them to live a life where they can make the right choices.
Far, Sui S. Mrs. Spring Fragrance: A Collection of Chinese-American Short Stories. Courier Corporation, 2013.Gilman, Charlotte P. The Yellow Wallpaper. First Avenue Editions ™, 2017.s “The Yellow Wallpaper” and “The Wisdom of the New” revolve about two women who cann
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