This moment highlights the power John has over his wife to acquiesce and oppress her. In other instances, she will abruptly end a sentence by imagining how John would dismiss her.
Thus she is forced to repeatedly ask the same futile questions. She also thinks back to her childhood, when she was able to work herself into a terror by imagining things in the dark.
She takes up writing whenever she needs relief and often writes in the second person, as though she were speaking to a friend. Going further back, Gilman also draws on the tradition of the Gothic romances of the late eighteenth century, which often featured spooky old mansions and young heroines determined to uncover their secrets.
Without the ability to write and to express herself in the face of the stifling oppression of her husband, she might easily lose her voice. Tess, Owl Eyes Staff "So I take phosphates or phosphites—whichever it is, and tonics, and journeys, and air, and exercise, and am absolutely forbidden to "work" until I am well again This circumstance lends her writing a tone of abruptness and curtness.
As the first few weeks of the summer pass, the narrator becomes good at hiding her journal, and thus hiding her true thoughts from John.
She mentions that John is worried about her becoming fixated on it, and that he has even refused to repaper the room so as not to give in to her neurotic worries.
Most likely, she is suffering from postpartum depression and resultant psychosis. As a result, she descends into madness, going so far as to imagine someone hiding behind the wallpaper. By the end, the narrator is hopelessly insane, convinced that there are many creeping women around and that she herself has come out of the wallpaper—that she herself is the trapped woman.
As she describes the bedroom, which she says must have been a nursery for young children, she points out that the paper is torn off the wall in spots, there are scratches and gouges in the floor, and the furniture is heavy and fixed in place.
The next day she manages to be alone and goes into something of a frenzy, biting and tearing at the paper in order to free the trapped woman, whom she sees struggling from inside the pattern.
At one point, she startles Jennie, who had been touching the wallpaper and who mentions that she had found yellow stains on their clothes.
The narrator, in turn, must write in secret. The bedstead is nailed to the floor, the windows are barred, and the stairs are shut off by a gate.
Her husband fails to provide her with accurate treatment and stifles her only creative outlet. He says that with my imaginative power and habit of story-making, a nervous weakness like mine is sure to lead to all manner of excited fancies, and that I ought to use my will and good sense to check the tendency She describes it in romantic terms as an aristocratic estate or even a haunted house and wonders how they were able to afford it, and why the house had been empty for so long.
But she sleeps less and less and is convinced that she can smell the paper all over the house, even outside.
She mentions that she enjoys picturing people on the walkways around the house and that John always discourages such fantasies.
She suspects that John and Jennie are aware of her obsession, and she resolves to destroy the paper once and for all, peeling much of it off during the night. The format of these sentences also demonstrate how she dismisses her own thoughts, just as her husband does. She discovers a strange smudge mark on the paper, running all around the room, as if it had been rubbed by someone crawling against the wall.
Inearly in her first marriage and not long after the birth of her daughter, Charlotte Perkins Stetson as she was then known was stricken with a severe case of depression.
As the she states, the narrator does not spend very much time with her son because doing so causes her to become anxious and experience feelings of exhaustion and sadness.
Readers can ascertain that her nervous condition may be the result of postpartum depression. For Gilman, this course of treatment was a disaster.
Especially in the case of his female patients, Mitchell believed that depression was brought on by too much mental activity and not enough attention to domestic affairs. In this environment—secluded in the nursery of a Gothic home on rest cure—the narrator cannot formulate her thoughts.'The Yellow Wallpaper', a short story written by Charlotte Perkins Gilman and published inis both a haunting psychological story and a feminist masterpiece.
Gilman, a women's rights. Get everything you need to know about The Narrator in The Yellow Wallpaper. Analysis, related quotes, timeline. The Yellow Wallpaper by Charlotte Perkins Gilman. Upgrade to A + Download this Lit Guide!
(PDF) Introduction. Plot Summary. She led an intellectual life, perhaps as a writer, before this rest cure was imposed by her husband. The narrator’s obsession grows in her enforced idle isolation, and her need to make sense of the wallpaper is a symbol both for her inability to interpret or express her own inner life and her need for her mind to be creative and active in at least some way.
Transcript of The Yellow Wallpaper Analysis. About the Author The wallpaper is parallel to the narrator’s sanity. As the wallpaper changes as the day progresses (from daylight to moonlight), so does the character’s attitude towards herself.
Gilman, Charlotte Perkins.
The Yellow Wallpaper. Champaign, Ill.: Project Gutenberg, The yellow wallpaper itself is the most obvious symbol in this story. The wallpaper represents the protagonist's mind set during this time.
It further symbolizes the way women were perceived during. The narrator is alone most of the time and says that she has become almost fond of the wallpaper and that attempting to figure out its pattern has become her primary entertainment. As her obsession grows, the sub-pattern of the wallpaper becomes clearer.Download