The Madwoman in the Attic

The book brings the ideology of redefining the female art and literature in a patriarchal society through the strategic positioning of female writers to work to free from the social and literacy confinement. The authors make a breakthrough in feminist criticism with their work, arguing that there are many perceptions about female characters in literature with all female characters in male literature categorically grouped as either the angel or monster. In a male-dominated society, the ‘angel’ trait was characterized by dispassionate and submissiveness, which is regarded as the appropriate figure of females. Such perceptive is expressed by Coventry Patmore’s 1854 poem “The Angel in the House”(Gilbert and Gubar 22). Contrastingly, the ‘monster’ trait is perceived by personal values like uncontrollable passion, and rebellion which impacts apprehension among men(Gilbert and Gubar 28). In Jane Eyre, Bertha represents the monster trait due to her passion, violent, and madness nature while Jane replicates the calmness, unpassionate, and compliant essence.This story is a triumph for the narrator, and therefore we identify specific events in Gilbert and Gubar’s book, “The madwoman in the Attic” (1978), to discuss the narrator’s achievements.

The book changes the narrative and perception that only male writers had the authority and intelligence to write substantially in literature. At the beginning of the book, the first line, “Is the pen a metaphorical penis?”(Gilbert and Gubar 3) forms the rhetoric which informs that western literacy was exclusively male-dominated. The patriarchy in society has resulted in male writers depicting female characters in their work as either submissive angels or rebellious monsters. Gilbert and Gubar’s work follows the need for female’s work social positioning and needs to redefine the art and literature. The authors criticize most of the male writers’ work, especially before the eighteenth century, due to the inappropriate perception of women in their work. According to Gilbert and Gubar, women writing is a proper way of searching their identity, thus increasing the number of women writers in the nineteenth century who mimicked the male writers, thus gaining their identity as well as going beyond the restrictive social stereotypes. “The female imagination has perceived itself, as it were, through a glass darkly: until quite recently the woman writer has had (if only unconsciously) to define herself as a mysterious creature who resides behind the angel or monster” (Gilbert and Gubar 17).

The essentiality of rebellion in women in the trial to protect their value and self-interest is well stipulated. The authors discuss the social stereotypes to the unwelcome influence anxieties about the female body perception and sexual cruelty. The book outlines how numerous women spend so much time and energy pleasing men to portray the ‘angel’ fictive image in the houses while they try to avoid developing the rebellious nature of the monster depiction. On the female body, most women in areas where patriarchal socialization is rapid, suffer either mentally or physically. Some of the diseases associated with such environments include hysteria, anorexia, and agoraphobia, among others, which mainly cause females to avoid public and open places (Gilbert and Gubar 53).Anorexia is used as an example of reducing the women’s body and molding it into a socially accepted sense of beauty and femininity. Another example applicable to this discussion of the angel in the house and the monster in the attic is that of the Snow White and the Evil Queen. Gilbert and Gubar outline the relational experience between Snow White and the Queen, showing some similarities in that they eat from the same apple with intertwined fates. Snow White had a great sense of passiveness, thereby ending up becoming the king’s possession and is locked in a cage. Later, when she became the Queen, she will realize the essence of rebellion to avoid being replaced by a younger and more attractive woman (Gilbert and Gubar 38, 39, 40).

The authors discuss the problematic experience that women writers encounter during their authorship. When women writers commence writing on their own, western literacy traditions are likely to pose the anxiety of influence. The authors go ahead to disapprove Harold Bloom’s work regarding it as not original since he used predecessors’ work as a foundation. The women writers are affected differently by the anxiety of influence because the literary work of the male predecessors mostly relies on traditional stereotypes that did not give the correct female definition and identity (Gilbert and Gubar 48). The female writers face the anxiety of authorship, which develops a fear of creating and becoming a precursor-like their male counterparts. (Gilbert and Gubar 49)Females must fight against the effects of socialization by seeking solidarity from fellow women writers to legitimize their rebellion to enable them to subdue the tradition that depicts their inferiority.

The schizophrenia of authorship among female writers is a challenge they will have to overcome, especially those who use the patriarchal storytelling model in their writing. For example, if a woman writer writes primarily on a male character, fellow female writers develop a sense of neglect and degradation similarly while using the Pamela plot (Gilbert and Gubar 68). To sum up, the authors bring ideologies of redefining the female art and literature in a patriarchal society through the strategic positioning of female writers to work to free from the social and literacy confinement. In such a community, female characters in male literature categorically grouped as either the angel or monster traits. The book changes the narrative and perception that only male writers had the authority and intelligence to write substantially in literature with rapid female entrants.The essentiality of rebellion in women in the trial to protect their value and self-interest is well defined. Lastly, the authors discuss the problematic experience that women writers encounter during their authorship.

Work cited

Gilbert, Sandra M., and Gubar, S. The Madwoman in the Attic; the Woman and the Nineteenth-Literacy Imagination. Second Edition, 1979.

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