The yellow background and the crackdown each show women forced into oppression due to their role in society during the Victorian era. Dominated by her husband who doubles as a doctor, the unnamed narrator in The Yellow Wallpaper is limited from any interference with the outside world and her intelligence and creativity are rejected. In parallel, the governess as the main character of The Turn of the Screw has limits on her sexual desires, which are scorned in the role of a pure Victorian woman. His desires are transferred to the few male characters in the story, a boy and the enchantment of a ghost. The actions of these women are too easily dismissed as products of the Victorian mentality when they display complex emotional behaviors that are closely linked to their feminine desire for love, affection and compassion. Both women have a prescribed existence, different in the conditions of the scenario, and must discover an escape route through repression or aggression, contrasting in efforts and circumstantial manifestations, with the ultimate goal of freeing themselves from the power of their desires repressed. of the Screw, the author portrays the governess as young, innocent, and naive, which encapsulates the ideal of how a young woman should behave in the Victorian era. The housekeeper has no outlet to release her sexual desires, making her feel emotionally trapped. Her sexual feelings are forced to revolve around Miles, the young boy leaving adolescence and entering puberty and whom she is charged with grooming, directing much of her affection toward his company. The governess expresses her affection for Miles by hugging and kissing him, attempting to get closer to… middle of paper… sire. The forces of repression and aggression come together in these two stories to unite. women through the power of their desires. The narrator in The Yellow Wallpaper and the housekeeper in The Turn of the Screw each have a prescribed existence, different depending on the escape route. They want freedom from the power of their repressed desires. The governess tames her sexual tensions by extinguishing the cause, Miles and the ghost Peter Quint, and the narrator counters by rejecting the restrictions imposed by society and her husband through physical action. Both women destroy the objects of their desire and are further imprisoned by the freedom for which they are willing to sacrifice themselves, for freedom of any kind is better than the life of control through the power of desire. Women are able to free themselves from their submissive roles.