‘The Yellow Wallpaper’ and ‘Hop Frog’ were both written at a time of social turbulence and revolution. Poe wrote Hop Frog twelve years prior to the American civil war, so it is fitting that a number of the concepts in the story bring a strong anti-slavery message. Likewise, ‘The Yellow Wallpaper’ was composed in 1892 right before the climax of equal-rights for women. Gillman’s ‘The Yellow Wallpaper’ is among the early feminist texts in which her writing criticises the position that women were oppressed into and the lack of knowledge of society as a whole.
Both Gillman and Poe attack increasingly these concepts that were both maintained and willingly accepted by the majority of society. These two settings instantly represent the 2 main characters, a lady and a slave, as two of an unheard minority, who were subjected to an unfair, patriarchal world.
Among the main resemblances in between ‘Hop Frog’ and ‘The Yellow Wallpaper’ is the environment of each of the stories.
Both are scary stories are really dark, and have a horror category, nevertheless ‘Hop Frog’ is likewise comparable to a fairy tale because it is rather unbelievable, and where Hop Frog’s surroundings are dream, the narrator’s surroundings are rather real. Regardless of their differences, both of the story’s surroundings and atmosphere are symbolic of the way the central character is feeling or being dealt with. For instance, gluttony and corruption of the king and his ministers surround Hop Frog and Poe’s darkly vibrant descriptions of these reflect the mood of Hop-Frog.
The ‘oily’ ministers and a ‘corpulent’ king noise merely monstrous and fill the reader with a sort of stomach churning anxiousness and tension at the treatment of Hop Frog. The corruptness and gluttony is hugely significant as it shows us the risk and ease of ending up being affected and eventually corrupted by greed and alcohol. The storyteller of ‘The Yellow Wallpaper’ has rather a room. It is describes as having ‘disallowed’ widows and a ‘nailed down’ bed, which give the impression of a jail rather than a place to end up being well again in. In truth the room really does become a jail for the narrator, becoming a growing number of awful as the story advances.
By the repeated usage of the word, ‘joke’ in the very first paragraph Poe stresses the pain of Hop Frog in addition to accomplishing an extremely tense atmosphere. This makes the reader, who understands that this relatively jolly and harmless behaviour of the king and his courtiers remains in fact, a lot more harmful and sinister, feel the tension and pain that Hop Frog sustains. Like Hop Frog, ‘The Yellow Wallpaper’ also has a tense atmosphere achieved by the accelerated rate of the story and the extremely short sentences, which sweep from one idea to another. These brief sentences show the awareness of the narrator’s mind as well as her increasing insanity as she is entrusted no stimulation besides her own ideas. As the story progresses the narrator’s insanity grows and subsequently her environments end up being a growing number of an extension of her own nightmarish imagination, eventually becoming as fantastical as Hop Frog’s.
Throughout the story, the wallpaper in the room is a metaphor for the storyteller’s health problem and as her madness grows, the wallpaper becomes more and more ugly. At the start of the story, it is described as ‘terrible wallpaper’. Her preliminary rejection of the wallpaper, revealed when the storyteller says; ‘I do not like our space’ and asks John ‘Let us go downstairs’, is indicative of her wish to get better and her rejection of insanity. The wallpaper is referred to as having a ‘sickly sulphur tint’, representing her disease, and appears to grow, ‘fungus’ and ‘toadstools’ suggests that her disease is growing, whilst ‘Budding’ and ‘growing’ recommend the continuity of this development. Regardless of the reality that the images of the wallpaper aggravate as time goes on, the narrator quickly ends up being obsessed by it, investing hours studying it.
The narrator describes how ‘It harps on my mind so’. Ultimately, the storyteller ends up being so mad, that it is as if she is schizophrenic. She starts to see herself in the wallpaper as a ‘woman’, ‘stooping down’ and ‘sneaking behind the pattern’. As time progresses, the’ faint woman’ becomes clearer and stronger as the narrator ends up being weaker. This shows her sane self, losing the battle to her insane self. Despite the dreadful surroundings, beyond her ‘barred’ windows lies the garden. In contrast to the wallpaper, the garden represents the storyteller’s hope of flexibility. The garden is referred to as ‘tasty’ and where whatever in the wallpaper is bad and contagious, whatever in the garden is great and recovery. However the narrator is locked away with her health problem and is unable to reach the garden, which holds the essential to her liberty, ‘How I want he [John] would let me go’ she tells us. This creates significant paradox, as everyone knows what the narrator needs, including the narrator herself, except the narrator’s own spouse John.
Simply as the wallpaper and the storyteller’s madness increase as the story advances, the behavior of the king towards Hop Frog worsens. This is revealed by Poe’s descriptions of the king, beginning as ‘our king’, turning into a ‘tyrant’ and ending up being lastly a ‘monster’. By describing the king in this way, the reader is not only made to feel compassion for Hop Frog by depicting him as a powerless victim of this harsh abuse, but also make us forgive his final act of revenge, which is in fact utterly terrible.
The King and his ministers are violent and exploitative towards Hop Frog and Trippetta. Poe shows this particularly by the recommendation to alcohol, The king takes advantage of Hop Frog’s intolerance to wine ‘it delighted the bad cripple nearly to insanity’ and sadistically’ he took pleasure in requiring the cripple to drink’. Poe explains how Hop Frog was forced ‘to be merry’ as it was the ‘bad dwarfs birthday’ and he is made to comply with the ‘command to drink to missing pals’, which ‘forced tears to his eyes’. This is extremely paradoxical, as Hop Frog is not with his pal because he is a servant in the court of the king.
In ‘the yellow wallpaper’, the storyteller’s ‘monster’ is her own spouse, John, ‘a doctor’. He ignorantly suffocates his partner, leaving her without any choice but to escape into her own insanity. He threatens her with ‘Dam Mitchell’ who was renowned for treating ladies with this ‘temporary uneasiness’. The narrator explains how he is ‘like john and my bro, only more so’, showing her wish not to be sent out to him. John also keeps the narrator far from human contact, starving her of any stimulation or interaction. Despite his obvious love for her he treats her like a possession, this is revealed when he stops working to regard her as a person by resolving her as ‘she’ as if she isn’t even there.
This likewise symbolises the fact that he has actually slowly eliminated her identity. John regards his partner with bit more intelligence than a child, shown by his continuously patronising tone. He calls her ‘little goose’ and ‘little woman’ as well as remarking ‘bless her’ as if she is little older than 5. John likewise reveals himself to be truly rather self-centered when he urges her ‘get well for me’. In spite of whatever, we have to think that John truly does enjoy his other half and wishes to assist her. However it is through John that Gillman makes a really poignant observation of the way in which society deals with women, explaining the real risk of ignorance.
The Narrator in ‘The Yellow wallpaper’ is represented as a very bright imaginative lady, in spite of the method John concerns her. She expresses her ideas and launches some of the energy that she is so full of through writing. However John forbids that she needs to write, the storyteller tells us ‘I am absolutely prohibited to ‘work”. The narrator herself informs us herself that ‘excitement and modification would do me great’. Instead of excitement and alter the storyteller is restricted to her bed and made to sleep most of the day ‘I lie down ever a lot now’, ‘John believes it’s good for me’.
Nevertheless, it is not good for her and the storyteller describes how ‘I don’t sleep much in the evening’, revealing the disturbance of her mind. This results in the storyteller having an enormous quantity of pent up energy which, when integrated with her failure to express herself creates enormous stress in the story. As the narrator searches frantically for an outlet for her imagination she inevitably becomes mad seeking the much-needed stimulation within the wallpaper. The narrator’s failure to express herself can be compared with Hop Frog’s loss of control to the king when he is ‘forced’ to drink. Hop Frog is referred to as being driven to ‘madness’ by the wine, and ‘insanity’ Poe reminds us ‘is no comfy feeling’.
In both stories the position of ladies is badly criticized. In ‘Hop Frog’, Trippetta’s position as both a slave and a female is made use of. Her ‘grace’ and ‘elegant beauty’ is described as being ‘universally admired’. Poe explains how she was ‘appreciated’ and ‘cuddled’ suggesting the shocking abuse she goes through. Poe describes how the king ‘tossed the entire contents of the goblet in her face’, suggesting the complete embarrassment that she suffered. In ‘The Yellow Wallpaper’, we are presented to Jennie who is the sibling of John.
She is described as a ‘perfect’ and ‘enthusiastic maid’. Typically of a 19th century Girl, Jennie is subservient accepting her position voluntarily and gratefully. Gillman explains how she ‘hopes for no much better occupation’. Jennie represents the ladies of society who have grown to accept and are either to weak or to scared to rebel versus a life that is no much better than that of a servant’s. The narrator’s position as a female is very similar to Hop Frogs. She is treated as a possession by her other half John and is seen to have no real opinions or views. She explains how the ‘heads’ that she sees are ‘strangle [d] by the wallpaper, ‘turns them up side down’ and ‘turns their eyes white’. This is quite inactive of the way both she and the other ladies of society feel suffocated and oppressed by their position.
Both stories are composed in first individual narrative, which makes them a lot more personal. ‘Hop Frog’ is told by an anonymous Narrator, an onlooker, whilst ‘The Yellow Wallpaper’ is composed like a journal with the narrator, a female struggling with post-natal depression being the main character. Semi-Autobiographical, the story is loosely based upon Perkins own experiences. The storyteller in ‘The Yellow Wallpaper’ stays nameless significance that the narrator might be any female in society. It is likewise a metaphor for the identity that has been lost through her illness and the ignorance of her spouse, John.
Both the characters are the victims of lack of knowledge. ‘The Yellow Wallpaper’ shows the lack of knowledge of society about post-natal depression and the reality that no one is prepared to accept what the storyteller is experiencing. Her ‘case is not serious’ we are told. The result of this lack of knowledge is that the narrator’s condition is not treated however rather made worse. She is considered a rest remedy and denied of interaction with individuals and stimulation. Her imagination is squashed when she is forbidden to write. This failure to reveal herself, had alarming consequences; instead of recovering she rather she starts to come down further and even more into her own madness. The wallpaper in her room, which gradually ends up being increasingly more disturbing as her madness boosts, shows this. This can be compared to Hop Frog who since of his distinction in look is treated appallingly.
The central characters of each story are represented as prisoners the storyteller in ‘The Yellow Wallpaper’ is depicted as a prisoner, trapped by her social position; as a lady, by her mental illness and by her own hubby. Through her story, Gillman assaults an extremely patriarchal society. She criticises the lack of respect for ladies and shows her anger towards the inability of females to escape from the position they are oppressed to. The room in which the narrator is put in, in order to rest and recover from her health problem is very much symbolic of her imprisonment. It is referred to as having actually ‘barred’ windows and the bedstead as ‘iron’, ‘heavy’ and ‘nailed to the ground’ representing her being tied down. The fact that the space was ‘a nursery first’, is really ironic; To start with because she has no contact with her own child and secondly because she has actually literally been decreased to the position of a child.
Similarly, Hop Frog and his fiend Trippetta are salves, whom Poe informs us, were ‘forcibly carried off’ from their ‘barbarous area’ and ‘sent out’, ‘as presents to the king’. This is similar to the situation of lots of black slaves who were drawn from Africa to the west at this time, in order to advance the endeavours of rich, greedy guys at as low a cost a possible. The truth of what faced them ahead was a harsh, harsh life of constant deal with no liberty or rights as a human being. Nevertheless, it is certainly incorrect that a person needs to have liberty whilst another is an enslaved ownership since they are various. This injustice is shown in the story by the King’s failure to accept Hop Frog as an individual, in look he is different and so is treated as an object, a belongings. Poe describes him as a ‘monkey’ and a ‘squirrel’ and suggest that Hop Frog is begging for food ‘crumbs from the royal table’. The result this is that Hop Frog is revealed to be like an asking animal which serves to alleviate the King’s conscience at buffooning Hop Frog, if he is not an individual then he does not have sensations.
Both Hop Frog and Trippetta are overshadowed and Hop Frog is a ‘cripple’ and Walks with an’ interjectional gait’, which comes across as rather amusing when it is more referred to as ‘somewhere between a leap and a wriggle’. In Spite Of this Hop Frog’s ‘worth was trebled in the eyes of the king’ and the king, ‘who live only for joking’ exploits Hop Frog’s handicaps. It is consequently paradoxical that Hop Frog becomes the court ‘fool’ which is a metaphor for the truth that he is made fun of by the King. The concept of Hop Frog being buffooned for the method he walks is stunning and through this Poe reveals the anxiousness of society at the treatment of the servants. The King’s immoral behaviour mirrors that of the slave traders in America and Europe. Hop Frog’s physical disability can be compared to the narrator’s insanity.
The endings of each story are extremely significant and it is possibly through the ending that we see the characters in their true light. Throughout ‘The Yellow Wallpaper’ the narrator has actually wandered in and out of her sane mind, she informs us when ‘I always lock the door before I creep’. Up until this point the narrator has not accepted that it is herself who is creeping, instead putting it down to the ‘woman’. However by the end, she is informing us how she is creeping round and round and round the room. Both a ‘rope’ and an ‘axe’ are pointed out, and John ‘faints’ when he sees the destruction of the space and of his partner. It is quite possible that either of them are dead, however Gillman leaves the ending unclear. Along with amplifying the unpredictability of the female, this could also be down to the truth that Gillman, despite her feminist views, was still a woman in the nineteenth century.
She did she wish to demonize her character by making her murder her hubby no could she afford to openly state that the spouse was actually overpowered by his wife. Gillman would not wish to upset her feminist audience either, who would be outraged if the storyteller killed herself due to the reality that she is such an effective symbol of a woman wishing to rebel against her injustice. For her to commit suicide would dishearten a lot of these women as it would appear suicide was the only escape. It appears as if this ending was best for the character who despite ending up being outrageous, is finally pleased and informs us with utter complete satisfaction ‘I got out’. Whatever the factor for this ending, there is no doubt that despite the fact that this ending is truly dreadful it likewise comes with a degree of relief. For with the storyteller’s insanity comes liberty, and more importantly, the lady discovers her identity. Paradoxically this is not her former self, who is lastly named as Jane, but another person; her insanity.
Whilst ‘The Yellow Wallpaper’ remains uncertain, the ending of ‘Hop frog’ is totally actual. Since eof the reality that Poe is a man, he can pay for to take more liberties that possibly Gillman was unable to take. He can openly humiliate and abuse the king and the court, who represent the corrupt monarchy; a vital part of society, and appear to get away with this. Hop Frog is represented as demonic and evil. He accomplishes his flexibility by brutally killing the King and his ministers. Under the guise of the dumb ‘fool’ he techniques the king and his ministers into thinking that they are dressing up and covers them in tar and flax. The reality that Poe utilizes tar and Flax is of excellent significance as it is symbolic of embarrassment and punishment throughout history. Hop Frog then chained them together to end up being the ‘8 chained orangutans’. Hop frog programs himself to be very smart when, ‘at the dwarfs tip, the secrets had been deposited with him’, on the other hand with the stupidity of the King. Poe explains how the they are humiliated when the chains trigger them to ‘fall’ and ‘stumble’, The King and his Ministers have gone type mocking Hop Frog to being buffooned themselves Hop Frog then suspends them from the ceiling at the ball and burns them alive.
The truth that throughout the story Hop Frog never had the existence that the wicked King had methods that we would not immediately suspect Hop frog. When the ‘grating’ noise was first introduced, the reader did not think that it might be Hop Frog. However at the end when Hop Frog is set down on the rope with the burning king and ministers below him the ‘grating sound’ came form the ‘fang like teeth of the dwarf’, ‘who ground and gnashed them as he foamed at the mouth’. This is a ridiculous a picture as that of the narrator. Hop frog rising up against the king is a complete turnaround of roles, the oppressed has ended up being the oppressor. Nevertheless how is it possible that Poe can get away with this ending without his main character appearing like the cruel murder that he has ended up being? It is perhaps since all-thorough the story, the treatment of Hop Frog in addition to his circumstance has actually been described as Horrendous, dreadful and brutal, evoking incredible sympathy in the reader.
As if this isn’t reason enough, Poe threw in the included ploy of alcohol, which appears to demonize Hop Frog. Consequently when Hop Frog dedicates this horrible act, he is immediately forgiven whilst we all revel in the torture that the king and his ministers now sustain. In the eyes of the reader justice has been done. Possibly through his ending, Poe is forecasting what is to come, when the black slaves will rise up versus their own white oppressors. It is therefor intriguing that n order to really penalize and humiliate them, Hop Frog turns them first black. Like Gillman, Poe does not want to demonize the female character, leaving the concern of Trippetta’s participation approximately the reader to address.