za sopstvenu sobu

8/12/2019 za sopstvenu sobu

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A room of ones own

- A woman must have money and a room of her own to write fiction

-W.W. hoce da udje u library, ali ne moze jer je a lady, moze samo ako je accompanied by a

fellow or with a letter of introduction. Moze samo da vidi spolja, ne i iznutra.

- Moderna poezija nam se ne dopada jer opisuje trenutna osecanja, vise nam prija stara jer smo

vec naviknuti na to staro osecanje i poznato nam je, a novo ne mozemo da prepoznamo

-Skole fundir narod koji ima novac, od toga opstaju. Da su njihove majke i bake novac ulozile u

zensko obrazovanje, sada bi i zene mogle da se obrazuju! Ali to bi znacilo odreci se porodice?

- Zene su zasticeni pol, kada prestanu da budu, promenice se njihova uloga u drustvu

- Muskarcima odgovara da je zena inferiorni pol jer su one njihovo ogledalo, ne smeju da im se

suprotstave, neg samo da potvrdjuju sve da je lepo i strava

- zene zlostavljane, ne mogu da prate svoje snove, ne mogu da imaju ni svoju sobu da pisu! a u

delima se o njima pise kao o velikim heroinama

- zene nisu mogle da pisu jer su morale da brinu o domacinstvuu

-krajem 18. veka zene pocinju da pisu middle class

For masterpieces are not single and solitary births; they are the outcome of many years of

thinking in common, of thinking by the body of the people, so that the experience of the mass is

behind the single voice. Jane Austen should have laid a wreath upon the grave of Fanny Burney,

and George Eliot done homage to the robust shade of Eliza Carter--the valiant old woman who

tied a bell to her bedstead in order that she might wake early and learn Greek. All women

together ought to let flowers fall upon the tomb of Aphra Behn.

pocetkom 19. veka svi pisu novels, jane Austin, charlotte bronte, George eliot ali nemaju nista

zajednicko ti romani, zasto onda svi pisu romane, a ne pesme, kad je prvobitni impuls bio

pesnicki?

- Still it would be easier to write prose and fiction there than to write poetry or a play. Less

concentration is required. mozda su ih prekidali u common roomu?

Then, again, all the literary training that a woman had in the early nineteenth century was

training in the observation of character, in the analysis of emotion. Her sensibility had been

educated for centuries by the influences of the common sitting-room. People's feelings were

impressed on her; personal relations were always before her eyes. Therefore, when the middle-

class woman took to writing, she naturally wrote novels

- poredi jane Austin sa sekspirom


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charlotte bronte: then I longed for a power of vision which might overpass that limit (za to ju je

narod krivio). citira charlotte bronte kako se zalaze za zene i kaze - She is at war with her lot.

How could she help but die young, cramped and thwarted. nije imala iskustvo sveta, putovanja

George eliot zivela odseceno od sveta jer je zivela sa ozenjenim covekom. Had Tolstoi lived at

the Priory in seclusion with a married lady 'cut off from what is called the world', howeveredifying the moral lesson, he could scarcely, I thought, have written WAR AND PEACE

Yet it is the masculine values that prevail. Speaking crudely, football and sport are 'important';

the worship of fashion, the buying of clothes 'trivial'. This is an important book, the critic

assumes, because it deals with war. This is an insignificant book because it deals with the

feelings of women in a drawing-room.

zene u 19. veku - She was admitting that she was 'only a woman', or protesting that she was 'as

good as a man'. She met that criticism as her temperament dictated, with docility and diffidence,

or with anger and emphasis

She had altered her values in deference to the opinion of others.

koje spisateljice su se drzale svojih uverenja i nisu poklekle pred drustvom? Only Jane Austen

did it and Emily Bront.

po muskarcima - female novelists should only aspire to excellence by courageously

acknowledging the limitations of their sex

- jos jedna prepreka spisateljicama u 19. veku je sto nisu imale tradiciju po kojoj bi mogle da

uce, nisu imale uciteljice. muskarci nisu pomagali. The weight, the pace, the stride of a man's

mind are too unlike her own for her to lift anything substantial from him successfully. ne mogu

da koriste muski diskurs,drugaciji je

V CHAPTER

dolazi do police savremene knjizevnosti, tu vise ne pisu samo muskarci, vec i zene i to ne samo

prozu. The impulse towards autobiography may be spent. She may be beginning to use writing as

an art, not as a method of selfexpression

- mary carmichaels1

st

novel, lezbace! Then I may tell you that the very next words I read werethese--'Chloe liked Olivia...' Do not start. Do not blush. Let us admit in the privacy of our own

society that these things sometimes happen. Chloe liked Olivia perhaps for the first time in

literature.

All these relationships between women, I thought, rapidly recalling the splendid gallery of

fictitious women, are too simple. So much has been left out, unattempted. And I tried to

remember any case in the course of my reading where two women are represented as


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treba carmichael da pise kakav je njen odnos prema stvarima, ali cak i da se smeje sujetnosti

suprotnog pola

Think with what humanity and brilliancy men, from the earliest ages, have pointed out to women

that dark place at the back of the head! And if Mary were very brave and very honest, she would

go behind the other sex and tell us what she found there

Fear and hatred were almost gone, or traces of them showed only in a slight exaggeration of the

joy of freedom, a tendency to the caustic and satirical, rather than to the romantic, in her

treatment of the other sex

she wrote as a woman, but as a woman who has forgotten that she is a woman, so that her pages

were full of that curious sexual quality which comes only when sex is unconscious of itself.

ali prepreke, muskarci sputavaju

daj toj Carmichael pare i a room of her own i pisace bolje!

VI CHAPTER

gleda na ulice i shvata da nikog nije briga za desavanja u knjizevnosti. They all seemed separate,

self-absorbed, on business of their own

it is natural for the sexes to co-operate

da li smo podeljeni po polovima u umu kao sto smo telesno? If one is a man, still the woman

part of his brain must have effect; and a woman also must have intercourse with the man in her.

Coleridge perhaps meant this when he said that a great mind is androgynous.

u zenskom umu preovladava zensko, u muskom musko, ali svako ima i malo od drugog.

No age can ever have been as stridently sex-conscious as our own; those innumerable books by

men about women in the British Museum are a proof of it. The Suffrage campaign was no doubt

to blame. It must have roused in men an extraordinary desire for self-assertion;

cita neki muski rukopis, neku knjigu, i sve kao super, vidi se da je Slobodan um, ali u jednom

trenutku samo vidi senku jednog velikog JA! egocentrizam.

It is not only that they celebrate male virtues, enforce male values and describe the world of

men; it is that the emotion with which these books are permeated is to a woman

incomprehensible.

The fact is that neither Mr Galsworthy nor Mr Kipling has a spark of the woman in him. Thus all

their qualities seem to a woman, if one may generalize, crude and immature. They lack


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suggestive power. And when a book lacks suggestive power, however hard it hits the surface of

the mind it cannot penetrate within.

pre zena muski um je bio androgeni, a sada hoce da iskazu svoju muskost. i to je

bezveze. Shakespeare was androgynous; and so were Keats and Sterne and Cowper and Lamb

and Coleridge. Shelley perhaps was sexless. Milton and Ben Jonson had a dash too much of themale in them. So had Wordsworth and Tolstoi. In our time Proust was wholly androgynous, if

not perhaps a little too much of a woman.

it is fatal for anyone who writes to think of their sex. It is fatal to be a man or woman pure and

simple; one must be woman-manly or man-womanly. Some collaboration has to take place in the

mind between the woman and the man before the art of creation can be accomplished. Some

marriage of opposites has to be consummated.

sada ona pretpostavlja sta ce ljudi kritikovati: No opinion has been expressed, you may say, upon

the comparative merits of the sexes even as writers. That was done purposely, I do not believethat gifts, whether of mind or character, can be weighed like sugar and butter. cak su i za jednu

knjigu kritike drugacije, tesko je i to proceniti. So long as you write what you wish to write, that

is all that matters; and whether it matters for ages or only for hours, nobody can say

ll this pitting of sex against sex, of quality against quality; all this claiming of superiority and

imputing of inferiority, belong to the private-school stage of human existence where there are

'sides', and it is necessary for one side to beat another side, and of the utmost importance to walk

up to a platform and receive from the hands of the Headmaster himself a highly ornamental pot.

ONA MISLI DA JE TO SRANJE SVE!

druga kritika koju ocekuje - too much of the importance of material things. Even allowing a

generous margin for symbolism, that five hundred a year stands for the power to contemplate,

that a lock on the door means the power to think for oneself, still you may say that the mind

should rise above such things; and that great poets have often been poor men. onda citira nekog

profesora koji daje primere pesnika koji su morali biti obrazovani i dobrostojeci da bi pisali

pesme.

Nobody could put the point more plainly. 'The poor poet has not in these days, nor has had for

two hundred years, a dog's chance...a poor child in England has little more hope than had the son

of an Athenian slave to be emancipated into that intellectual freedom of which great writings are

born.'

Poetry depends upon intellectual freedom. And women have always been poor, not for two

hundred years merely, but from the beginning of time. Women have had less intellectual

freedom than the sons of Athenian slaves. Women, then, have not had a dog's chance of

writing poetry. That is why I have laid so much stress on money and a room of one's own


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Still, you may object, why do you attach so much importance to this writing of books by women

when, according to you, it requires so much effort, leads perhaps to the murder of one's aunts,

will make one almost certainly late for luncheon, and may bring one into very grave disputes

with certain very good fellows? My motives, let me admit, are partly selfish. Like most

uneducated Englishwomen, I like reading--I like reading books in the bulk

For I am by no means confining you to fiction. If you would please me--and there are thousands

like me--you would write books of travel and adventure, and research and scholarship, and

history and biography, and criticism and philosophy and science.

ali ima i non-selfish motivda se ukljuce u stvarni zivot. So that when I ask you to earn money

and have a room of your own, I am asking you to live in the presence of reality, an invigorating

life, it would appear, whether one can impart it or not.

Thus when I ask you to write more books I am urging you to do what will be for your good and

for the good of the world at large.

sad treba da zavrsi govor nekim recima koje ce inspirisati zene da pisu. kaze da nece da im prica

kako su jednake kao muskarci, jer to najbolje mogu muskarci da urade.

kaze, svuda ispada da se zene ne vole. What can I think of? The truth is, I often like women. I

like their unconventionality. I like their completeness. I like their anonymity. I like--but I must

not run on in this way

kaze, nabrojala je vec sve muskarce koji nipodastavaju zene.

Young women, I would say, and please attend, for the peroration is beginning, you are, in my

opinion, disgracefully ignorant. nista nisu uradile znacajno.

odgovor: Without our doing, those seas would be unsailed and those fertile lands a desert. We

have borne and bred and washed and taught, perhaps to the age of six or seven years, the one

thousand six hundred and twenty-three million human beings who are, according to statistics, at

present in existence, and that, allowing that some had help, takes time.

There is truth in what you say--I will not deny it. But at the same time may I remind you that

there have been at least two colleges for women in existence in England since the year 1866; that

after the year 1880 a married woman was allowed by law to possess her own property; and that

in 1919--which is a whole nine years ago she was given a vote? May I also remind you that mostof the professions have been open to you for close on ten years now? When you reflect upon

these immense privileges and the length of time during which they have been enjoyed, and the

fact that there must be at this moment some two thousand women capable of earning over five

hundred a year in one way or another, you will agree that the excuse of lack of opportunity,

training, encouragement, leisure and money no longer holds good


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ne treba da radjaju po 10 dece, nego po 2-3

PROFESSIONS FOR WOMENzene su sputane by angel of the house u pisanju. imaju sobu,

imaju novac, ali moraju da se osloboe

Fanny Burney, by Aphra Behn, by Harriet Martineau, by Jane Austen, by George Eliotmany

famous women, and many more unknown and forgotten, have been before me, making the path

smooth, and regulating my steps

The cheapness of writing paper is, of course, the reason why women have succeeded as writers

before they have succeeded in the other professions.

postala novinar, dobila platu i kupila macku! I discovered that if I were going to review books I

should need to do battle with a certain phantom. And the phantom was a woman, and when I

came to know her better I called her after the heroine of a famous poem, The Angel in theHouse. It was she who used to come between me and my paper when I was writing reviews. It

was she who bothered me and wasted my time and so tormented me that at last I killed her.

angel in the house - She was intensely sympathetic. She was immensely charming. She was

utterly unselfish. She excelled in the difficult arts of family life. She sacrificed herself daily. If

there was chicken, she took the leg; if there was a draught she sat in itin short she was so

constituted that she never had a mind or a wish of her own, but preferred to sympathize

always with the minds and wishes of others. Above allI need not say it-she was pure.

And when I came to write I encountered her with the very first words. The shadow of her wings

fell on my page.

she slipped behind me and whispered: My dear, you are a young woman. You are writing about

a book that has been written by a man. Be sympathetic; be tender; flatter; deceive; use all the arts

and wiles of our sex. Never let anybody guess that you have a mind of your own. Above all, be

pure.

Virginia ubija to zensko. I acted in self-defence. Had I not killed her she would have killed me.

you cannot review even a novel without having a mind of your own, without expressing what

you think to be the truth about human relations, morality, sex. And all these questions,

according to the Angel of the House, cannot be dealt with freely and openly by women;

Killing the Angel in the House was part of the occupation of a woman writer

ali sta je to zena? I do not believe that anybody can know until she has expressed herself in all

the arts and professions open to human skill.


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a novelists chief desire is to be as unconscious as possible. He has to induce in himself a state of

perpetual lethargy. He wants life to proceed with the utmost quiet and regularity

He wants to see the same faces, to read the same books, to do the same things day after day,

month after month, while he is writing, so that nothing may break the illusion in which he is

living

To speak without figure she had thought of something, something about the body, about the

passions which it was unfitting for her as a woman to say. Men, her reason told her, would be

shocked. The consciousness ofwhat men will say of a woman who speaks the truth about

her passions had roused her from her artists state of unconsciousness.

This I believe to be a very common experience with women writersthey are impeded by the

extreme conventionality of the other sex. For though men sensibly allow themselves great

freedom in these respects, I doubt that they realize or can control the extreme severity with

which they condemn such freedom in women.

These were two of the adventures of my professional life. The first killing the Angel in

the HouseI think I solved. She died. But the second, telling the truth about my own

experiences as a body, I do not think I solved

Outwardly, what obstacles are there for a woman rather than for a man? Inwardly, I think, the

case is very different; she has still many ghosts to fight, many prejudices to overcome .

Indeed it will be a long time still, I think, before a woman can sit down to write a book without

finding a phantom to be slain, a rock to be dashed against. And if this is so in literature, the freest

of all professions for women, how is it in the new professions which you are now for the first

time entering?

Even when the path is nominally openwhen there is nothing to prevent a woman from being a

doctor, a lawyer, a civil servantthere are many phantoms and obstacles, as I believe, looming

in her way.

You have won rooms of your own in the house hitherto exclusively owned by men. You are

able, though not without great labour and effort, to pay the rent. You are earning your five

hundred pounds a year. But this freedom is only a beginningthe room is your own, but

it is still bare. It has to be furnished; it has to be decorated; it has to be shared.

WOMEN AND FICTION

tHE TITLE of this article can be read in two ways: it may allude to women and the fiction

that they write, or to women and the fiction that is written about them


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ali ne zna se kakav je bio zivot zene pre nego sto su pocele da pisu, o njima ne postoje price

kao o muskarcima. zna se samo koliko su dece radjale .The extraordinary woman depends on theordinary woman. i zbog toga treba da se zna kakav je bio zivot obicne zene pre 19. veka.

postoje cudni vremenski veliki razlici u zenskom stvaralastvu sapfoneka japanska spisateljicakraj 18. ipocetak 19. veka u engleskoj.

to je tako zbog zakona i obicaja (udavale se zene protiv svoje volje, muz gospodar, kako tu da se nesto

stvara?!) onda se menjaju zakon i obicaji krajem 18. i pocetkom 19. veka i zato i dolazi do stvaralastva.education. It was no longer the exception for women of the middle and upper classes to

choose their own husbands. And it is significant that of the four great women novelistsJaneAusten, Emily Bronte, Charlotte Bronte, and George Eliotnot one had a child, and two were

unmarried. ove spisateljice su sve medjusobno bile razlicite, ali sve su pisale romanejer roman jelakse pisati, manja posvecenost je potrebna nego za dramu ili za poeziju, a drugobile su trenirane u

sobama dok su sedele da posmatraju likove, karakterisu ih i sl.za razliku od muskaraca, zene nisu imale priliku na zivotno iskustvo (npr. tolstoj i rad, konrad iplovidba), npr. g. eliot bude skandal kada zivi sa muskarcem neudata, a za tolstoja nista.

sta je zensko u delu sem toga sto nema iskustva? conscious of a woman's presenceof someoneresenting the treatment of her sex and pleading for its rights. This brings into women's writing an elementwhich is entirely absent from a man's, unless, indeed, he happens to be a working man, a Negro, or one who

for some other reason is conscious of disability.dzejn ostin i emili bronte su velike jer on their way unperturbed by scorn or censure. But it needed a veryserene or a very powerful mind to resist the temptation to anger.

Charlotte Bronte's indignation, in George Eliot's resignation. Again and again one finds it in the work of the

lesser women writersin their choice of a subject, in their unnatural self-assertiveness, in their unnaturaldocility. The vision becomes too masculine or it becomes too feminine; it loses its perfect integrity and, with

that, its most essential quality as a work of art.kaze da u njeno vreme bolje pisu zene, jer su se malo oslobodile te ljutnje.

ali kaze da jeste tesko zeni da pise. prvo s tehnicke strane gledano, njoj ne odgovara muska pompezna recenica

mora da pronadje svoj izraz.In every novel of merit these different elements are held in place by the force of the writer's vision. But they

have another order also, which is the order imposed upon them by convention. And as men are the arbiters of

that convention, as they have established an order of values in life, so too, since fiction is largely based on life,these values prevail there also to a very great extent. drugacije su muske i zenske vrednosti. ono sto je

muskarcima bitno, zenama je nebitno i obrnuto. zene ce pokusati da iskoriste svoj system vrednosti u pisanju,ali se muskarcima se nece dopasti to narusavanje utvrdjenog sistema.

u 19. veku su bili autobiografski romani, jer su zene htele da iskazu svoju patnju, a sada pisu o drugim zenama

iz nove vizure iz koje muskarci nikad nisu mogli da pisu, iz vizure zene.

The change which has turned the English woman from a nondescript influence, fluctuating and vague, to a

voter, a wage earner, a responsible citizen, has given her both in her life and in her art a turn toward the

impersonal. Her relations now are not only emotional; they are intellectual, they are political.

The greater impersonality of women's lives will encourage the poetic spirit,

kaze kako ce u buducnosti zene biti edukovane i pisati knjizevnost kao muskarci i da im nece biti samo prostor

za iskaljivanje emocija.

THE YELLOW WALLPAPER

Personally I disagree with their ideas. Personally I believe that congenial work, with excitement

and change, would do me good.

He is very careful and loving, and hardly lets me stir without special direction.


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for the windows are barred for little children, and there are rings and things in the walls.

There comes John, and I must put this away,he hates to have me write a word.

Then he took me in his arms and called me a blessed little goose, and said he would go down

cellar if I wished. little girl, im a doctor dear and i know

I think sometimes that if I were only well enough to write a little it would relieve the press of

ideas and rest me. But I find I get pretty tired when I try. It is so discouraging not to have any

advice and companionship about my work.

There comes John's sister. Such a dear girl as she is, and so careful of me! I must not let her find

me writing. She is a perfect, an enthusiastic housekeeper, and hopes for no better profession. I

verily believe she thinks its the writing that makes me sick.

Im getting really fond of the room in spite of the wall paper. Perhaps because of the wall paper.

I lie here on this great immovable bedit is nailed down, i believe.

I don't know why I should write this. I don't want to. I don't feel able. And I know John would

think it absurd. But I must say what I feel and think in some wayit is such a relief!

prozori sa resetkama gledaju u lepe prizore, a ona okruzena tapetom koji je izludjuje

I will follow that pointless pattern to some sort of a conclusion.

It is always the same shape, only very numerous. And it is like a woman stooping down and

creeping about behind that pattern.on je ubedjuje da je ona dobro, a nije.

I didn't realize for a long time what the thing was that showed behind that dim sub-pattern,but now I am quite sure it is a woman. By daylight she is subdued, quietThe fact is, Im a little afraid of John.

pocinje da bude paranoicna, vidi johna i Jeanie kako gledaju/dodiruju tapet, misli da oni isto proucavaju saru. kaze da pocinje dase plasi dzona.

But I know she was studying that pattern, and I am determined that nobody shall find it out butmyself

hoce da skonta o cemu se radi na wallpaperuzuti tapet je podseca na sve grozne zute stvarimedjutim, tapet ima i miris koji je progoni. kaze da je to ZUTI miris.

zene na tapetu:

Sometimes I think there are a great deal many women behind and sometimes only one, and shecrawls around fast And she is all the time trying to climb through. But nobody could climb

through that patternit strangles so; I think that is why it has so many heads. They get through,

and then the pattern strangles them off and turns them upside-down, and makes their eyes white!

kaze misli da izlazi preko dana ta zena iz tapeta, jer je vidjakaze, zena se sunja napolju stalno creeping.


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I THINK that woman gets out in the daytime ! And ill tell you whyprivatelyI've seen her !

I can see her out of every one of my windows ! It is the same woman, I know, for she

is always creeping, and most women do not creep by daylight. I don't blame her a bit. It must bevery humiliating to be caught creeping by daylight ! I always lock the door when I creep by

daylight. I can't do it at night, for I know John would suspect something at once.

I wish he would take another room

kad bi mogao gornji pattern da se skine sa donjeg! i misli da utice wallpaper na johna i jeanie.pocinje da cepa tapete, da oslobodi zenu nocuima neki konopac?! da zauzda zen ako pokusa da pobegne?

That was clever, for really I wasn't alone a bit! As soon as it was moonlight, and that poor thing

began to crawl and shake the pattern, I got up and ran to help her. I pulled and she shook, I shook

and she pulled, and before morning we had peeled off yards of that paper.But I am here, and no person touches this paper but menot alive!

I quite enjoy room now it is bare again.

kaze da je ona isto tako iz tapeta. i da ne zeli da ide napolje, zeli da ostane unutra, da je napolju sve zeleno umesto da bude zuto.kaze da po sobi moze da creep smoothly.

I don't like to look out of the windows eventhere are so many of those creeping women, andthey creep so fast. I wonder if they all come out of that wall paper, as I did?

"Ive got out at last," said I, ^^ in spite of you and Jane! And I've pulled off most of the paper, so

you can't put me back !"

"Now why should that man have fainted? But he did, and right across my path by the wall, so

that I had to creep over him every time!

WHY I WROTE THE YELLOW WALLPAPERimala je slomove i psihijatar joj je rekao '" live a domestic a life as far as possible," to "have but two hour "intellectual life a day and never to touch pen, brush or pencil again as long as I lived." This was in 1871. ona

pokusala da sledi pravila i u roku od 3 meseca mislila da ce potpuno poludeti.odlucila da zajebe sve to i da radi!

using the remnant of intelligence that remained i went to work again 'work, the normal life of every human

being; work , in which is joy and growth and service, without which one is a pauper and a parasite; poslala

svom psihijatru kopiju i saznala da je kasnije promenio nacin tretiranja neurastenije.

tumacenja: u gotickim zenskim romanima, zenski lik je zarobljen negde, na nekom strasnom mestu iz kog zeli da

pobegne.simbolicno, to je zarobljenost u svakodnevnom zivotu, koji joj ogranicavaju socijalne i politicke institucije,

to je nasilje nad zenom, oni dominiraju njenim zivotom.

The narrator, indeed, looks at an ordinary house and wishes, romantically, that it were haunted: she longs,

like every Gothic reader, to be frightened. This desire for romantic escapism (a female desire, from which the

narrator's husband quickly dissociates himself) masks a desire for escape.

A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity,

but that would be asking too much of fate!

misterija kuce i ludilo naratorke su povezani. muz u to ne veruje, to sto zeli da pobegne preko straha je zapravo njen

bes i zeli da pobegne od medicinskog tretmana, lakse joj je da prica o kuci. muskarac vlada i ona zeli da stvori

svoju misteriju, svoje znanje koje nece biti dostupno muskarcu.

the repetition in Gilman's Gothic story is the narrator's growing obsession with her wallpaper, her nightmarish task

of endless and extra ordinarily difficult interior decorating, her infantile creeping around and around the so-called

"nursery," and the boring regimen prescribed by her doctor-husband. It is also the multiplication of women in the


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wallpaper, who engage in the same Sisy phean task of trying to overcome, through repetition, the repetitious

life to which they have been assigned.

Gilman saw through Gothic fear to the emotion behind it; significantly, although the narrator comes to acknowledge

herself "a little afraid of John" (34), anger comes increasingly to be her dominant emotion.

devote every moment to deciphering. Her concentration on the wallpaper is at once a desperate attempt to validate

the ideology that limits women's proper sphere of knowledge to the mysteries of interior decorating, and a way

for her to in scribe her own mystery? the angry and victimized Hidden Other Woman inside her on the walls of her

domestic prison.

It is her final triumph to force this supposed expert on feminine psychology to confront directly, and literally, the

fact that her life is really a locked room to him: a room to which only the imprisoned woman herself can

provide the key.At the end she assaults the male rationalist with the revelation that this house is haunted by a

mystery, and that this mystery is his own wife.

insistiranje na tome da niko ne moze da pronikne uslikumuskarac ne moze da pronikne u zenu, zakljucava se,

ona je njemu nedostupna, on ipak NE ZNA najbolje

Choosing escapism rather than escape, she simultaneously invests her boring domestic world with the

"romantic felicity" of Gothic terrors and creates her own alternative "mystery," her own specialized branch

of knowledge that can exist safely in a "separate sphere" from that of her husband. Hidden Woman in the

heroine, who resents the life of domestic repetition to which the "hero" would like to confine her.

The narrator, forced to "read" her wallpaper passively as a substitute for writing actively, has transformedher reading into an act of imagination and thus an act of freedom. Yet this "freedom" seems to consist in

creeping around and around a "nursery" in a circle.

Having "got out at last," the narrator celebrates by locking herself in and throwing the key out the window ; having

rescued her alter-ego from the imprisonment of the wallpaper, she carefully ties her up so she will not escape.

Perhaps most bizarre is the way in which the protagonist's journey inward seems to have produced an unfolding self-

knowledge ending in total self-loss. Having at first confused her barbarous confinement in a madhouse with a

genteel vacation in the country, the narrator gradually distinguished, in her room with its barred win dows,

"a woman" behind bars.At the end she has come to see that woman as herself, asking in a moment of shocking

clarity whether all the creeping women she sees "come out of that wall-paper, as I did"

na kraju se zakljucava, poistovecuje se sa zenom iz tapeta Ironically, what they symbolize most obviously is

something quite different. Together these actions are an extreme and literal version of the role for which thenarrator's society has cast her as a woman: the homemaker passionately interested in her wallpaper; the mother

self-confined to the nursery; the "little girl" (23) inferior, with her childlike behavior, to her wiser husband.

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