The veiled version of women's textsEarly female critics began to analyze the images of women in literature and discovered that throughout history, many male authors have characterized women as submissive and docile while portraying the male protagonist as a hero whose actions gave meaning to the female character. Focusing on the traditional literary canon, female critics found that male authors vastly outnumbered their female counterparts. Female critics began to question the validity of the male-dominated canon and concluded that it had been created by men who assumed the readership was exclusively male. However, many female critics insisted that female readers were offended by the male-dominated canon and examined the few literary works in the literary canon by female authors. These critics determined that 19th-century female authors secretly deployed certain writing techniques to show their confinement and resentment toward a male-dominated society. In Sandra M. Gilbert and Susan Gubar's essay, "From Infection in the Sentence: The Woman Writer and the Anxiety of Authorship," they argue that for women writers to gain authority, they had to "step aside." male-dominated genre and history, which made their writing “strange” to male readers. Since these works do not adhere to the male-dominated genre of that era, they often fail to achieve the recognition they deserve. Some women writers have created a different point of view by presenting their own feminine concerns in secret or obscure corners of their texts. Therefore, for Gilbert and Gubar, some works by 19th century women submerged meanings or hid plots behind the more accessible and simplistic milieu...... middle of paper ...... that era while d Other feminist critics might see the ending as a sort of role reversal. The narrator has symbolically freed herself from the position of a man while her husband's fainting can be read as her downfall in the face of the weak woman of the 19th century. Sandra M. Gilbert and Susan Gubar's essay contains some aspects of women's criticism such as spatial, metaphorical imagery. confinement and symbolic liberation from oppression. Their essay argues that these secret concepts were present in the writings of most 19th-century female authors. A close feminist reading of “The Yellow Wallpaper” reveals the presence of many of Gilbert and Gubar’s concepts. The short story's accessible and simplistic content alone does not provide the reader with a way to determine whether the hidden plots were intentional or unconscious, but they are evident nonetheless...