A standout amongst the fascinating parts of "Yellow Wallpaper" and "The Story of an Hour" that are available in both short stories is the perspective of ladies through the eyes of a specialist. Considering that in the nineteenth-century specialists were overwhelmingly men, we can presume that Gilman and Chopin's both planned to express male's general view on ladies through the eyes of their specialists. The storyteller of "Yellow Wallpaper" is hitched to a specialist, who puts her, however, a "rest cure" since she is experiencing postnatal discouragement. Rest cure is a famous type of treatment at the time, and it requests finish confinement of a patient from any physical or mental movement. It has demonstrated to chip away at men; be that as it may, there hasn't been any review on the distinction in brain science between the genders and the effect of lay cure on females (Hamilton 212). What's more, as a man, the storyteller's better half can't comprehend the purposes behind her condition because of the restriction of his sex, so he composes it off as something inconsequential and senseless. His remedy demonstrates inadequate, as well as unsafe to his better half's emotional wellness.

Louise of "The Story of an Hour" is additionally a casualty of misdiagnosis, however in a somewhat extraordinary manner. In the finale of the story, after Louise passes on of a heart disappointment, the specialists presume that it more likely than not been the surprising joy and help of seeing her better half alive that murdered her (Chopin 353). In any case, the reader who gets an opportunity to investigate the private considerations of the character preceding the episode may see a totally extraordinary picture. Similarly, the specialist's presume that Louise's condition is the aftereffect of her devotion to her better half. Obviously, the reader knows better. In his investigation of "The Story of an Hour", Mark Cunningham expresses that he trusts that Louise Mallard can't deal with the acknowledgment of flexibility, and this mind-boggling feeling kills her (Cunningham, 49).

From looking at these parts of the short stories, the reader can most likely decipher Gilman and Chopin's own perspectives on marriage and female parts in the general public. Both Louise and the "Yellow Wallpaper" storyteller are caught in a marriage. All things considered, it doesn't imply that they are mishandled or despondent with their spouses. At the point when Louise's better half probably passes on in a prepared wreck, she really wants to insanely cry, and her feelings are honest to goodness. When we see her understand her opportunity, she is scared at the principal considered it (Cunningham, 51). She reviews her significant other with delicate words, yet the possibility of living for herself for whatever is left of her life, unhindered by her mate's desires, fills her with delight.

On the off chance that we take a gander at the "Yellow Wallpaper", there is no sign of contention between the storyteller and her better half. John is depicted as binding to the moment that he begins treating his significant other like a young lady. However, she scrutinizes his expulsion of her apprehensions as outcomes of insanity, and his refusal to give her a chance to involve herself with any movement. She questions his treatment of her melancholy, and subtly opposes it by keeping a journal. The storyteller comprehends what is best for her and what might brighten her up, yet she takes after her better half's direction quite recently like the general public trusts she should. This inconsistency between what the lady might want to do and what she is compelled to do in her marriage makes the strain that in the end pulverizes her.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Works Cited

Chopin, Kate. The Story of an Hour. Blackstone Audio, 2013.

Cunningham, Mark. "The Autonomous Female Self and the Death of Louise Mallard in Kate Chopin's" Story of an Hour"." English Language Notes 42 (2004): 48-54.

Hamilton, Carole L. "The Collegial Classroom: Teaching Threshold Concepts through Charlotte Perkins Gilman's" The Yellow Wallpaper"." CEA Critic 77.2 (2015): 211-222.

Hughes, Langston. The Negro Artist and the Racial Mountain. Na, 1926.