Annotation of Yellow Wallpaper

At some point, her husband was also one of the reasons of her mental condition. Also, the narrator said that “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” (Gilman 151). It means that her own opinion is that what she needs is precisely the contradictory activity and stimulation. However, the narrator decides to write a secret journal, in which she describes her mandatory inactiveness and expresses her aversion for her bedroom wallpaper, a dislike that gently deepens into mania. Indeed, her inner thoughts and concerns about the wallpaper lead to her mental collapse. The narrator said that “there are things in that paper that nobody knows about but me, or ever will” (Gilman 159). The importance of this quote is that the narrator discovers that another woman is trapped behind the wallpaper in her room, something that only she can see. Also, she feels miserable for that woman that is behind the paper and tries to help free her by peeling back her

She has found purpose in this paper. Indeed she cannot be understood by anyone except the woman in the yellow wallpaper. Her creeping about is symbolic of her hiding, sometimes in broad daylight, from a world that looks at her as an outcast because she doesn’t want to be a typical domestic ornament. Perhaps the yellow wallpaper acted as a mirror for our narrator. As she peered into the wall’s secrets night after night her vanity gradually became insanity. She knew she could not free herself in the world she lived in.

The wallpaper is beginning to take on the role of controlling her life. As the days proceed on and she continues to sit in this isolated room, she begins to notice objects incorporated throughout the patterns. Every day the shapes become significantly clearer to her until one moment it appears to be a figure trapped within the walls (734). This aversion to the color completely shifts at this point toward hallucination. The wallpaper now has complete control of the narrator’s mind and sanity.

As the reader is introduced to the main character in the story, she is heard talking about strange things happening around her. She secretly wrote her thought in a journal but her husband was against it and never wanted her to do anything. The nameless narrator in her madness sees a woman in the pattern of the wallpaper. In addition, she sees the woman struggling against the bars of the paper and this is a symbol for the struggle of women who attempt to break out from the infringing rules of the society. The woman the narrator sees caught in the wallpapers also parallels her virtual imprisonment in an isolated estate away from her child by her mean husband.

The narrator in “The Yellow Wallpaper” is told she needs to rest constantly to overcome her sickness, so she is forced to stay in the old nursery where there is yellow-orange wallpaper with a busy, obnoxious pattern that she hates. She tries to study the wallpaper to distinguish the pattern, and as time goes on she believes she sees a woman moving around in the background of the pattern. Also, during this period of time the character’s condition is worsening, because her husband is causing her mind to weaken by not allowing her to exert herself at all; he says she is not to think about her condition, walk through the garden or visit family. All she can do is sleep and trace the wallpaper, and being cooped up in the room causes her to begin hallucinating. The narrator sees the woman trying to escape from the wallpaper throughout the night, and she ultimately completely breaks down and believes that she is the woman.

When her focus eventually settles on the wallpaper in the bedroom and she states, "I never saw a worse paper in my life. One of those sprawling, flamboyant patterns committing every artistic sin" (Gilman 260). As the narrator resigns herself to her intellectual confinement, she begins to see more details in the wallpaper pattern. This can be seen as the slow shift from the connection to her family, friends and colleagues to her focus inward as she sinks deeper into depression. She describes that "—I can see a strange, provoking, formless sort of figure, that seems to skulk about behind that silly and conspicuous front design" (Gilman 262). As she focuses inward, sinking deeper into her depression the figure in the wallpaper takes shape and she states that, "There are things in that paper that nobody knows but me, or ever will" (Gilman 264). And she begins to describe the form of a woman behind the wallpaper pattern, "Sometimes I think there are a

She has been confined to the former nursery in her family's colonial mansion to cure her of hysterical tendencies, a medical condition she was diagnosed with after the birth of her son (Gilman 1997: 1f.). The woman confides in her secret journal how her contact with the outside world has become strictly limited on account of her Doctor's recommendations, and how the treatment forces her to spend her days in a barely furnished room with only her own mind and the objects around her as companions (Gilman 1997: 1f.). One of the main objects she actively engages with during this period of isolation, other than the nailed down bed and her secret journal, is the old yellow wallpaper covering the walls around her (Gilman 1997: 1f.). While the woman's condition worsens gradually over the course of the entries she makes in her secret journal, her growing isolation and inactivity make her start to see movement in the patterns and holes of the old wallpaper (Teichler 1984: 61, Gilman 1997: 1f.). The character becomes absorbed by what she thinks she sees, and begins to directly interact with the things she sees in the paper, until she rips the paper to shreds, and violently frees what she sees, and subsequently, also herself from captivity (Teichler 1984: 61, Gilman 1997:

Instructed to abandon her intellectual life and avoid stimulating company, she sinks into a still-deeper depression invisible to her husband, which is also her doctor, who believes he knows what is best for her. Alone in the yellow-wallpapered nursery of a rented house, she descends into madness. Everyday she keeps looking at the torn yellow wallpaper. While there, she is forbidden to write in her journal, as it indulges her imagination, which is not in accordance with her husband's wishes. Despite this, the narrator makes entries in the journal whenever she has the opportunity. Through these entries we learn of her obsession with the wallpaper in her bedroom. She is enthralled with it and studies the paper for hours. She thinks she sees a woman trapped behind the pattern in the paper. The story reaches its climax when her husband must force his way into the bedroom, only to find that his wife has pulled the paper off the wall and is crawling around the perimeter of the room.

The longer she is alone, the more insane she becomes. She can see the environment around her becoming worse. The wallpaper progressively deteriorates as she does. It goes from being “torn off in spots” to becoming a “faint figure.. wanting to get out.” By her change in perspective of the wallpaper, the reader can tell that she is losing her mind. The wallpaper begins to look alive to her, demonstrating her madness. The longer she is isolated, the more the wallpaper seems as if it is trying to escape. Representing her own self, who wants to escape from the room. She feels trapped and it causes her to become more insane the longer she is left alone. Because she has no other choice and nothing else to do. She has nothing to take her mind off of what she is dealing with. All she is able to do is stare at the wallpaper and think about her life situation. The doctor and her husband think they are bettering her by taking her away from her life, and giving her time alone, when really they just made her illness worse by forcing her to fix it on her

The mood of the story shifted from nervous, anxious, hesitant even, to tense and secretive, and shifts again to paranoid and determination. Her anxiousness is evident whenever she talks to John. She always seems to think for lengthy time when attempting to express her concerns about her condition to him. The mood shift from anxious to secretive is clear when she writes “I had no intention of telling him it was BECAUSE of the wall-paper.” (9). She wants no one to figure out the affect the wallpaper has on her and she wants to be the only one to figure out its pattern. The final mood shift to determination is obvious when she writes “But I am here, and no person must touch this paper but me – not ALIVE!” (11). She is steadfast in attempting to free the woman from the wallpaper. She even goes as far as to lock herself in the room to make sure that she is not interrupted. The major conflicts of this story are the narrator versus John over the nature of her illness and its treatment and the narrator’s internal struggle to express herself and claim independence. During the entire story her and John’s views about her treatment conflict with each other, especially when it comes to her writing. He even makes her stay in the room upstairs instead of in a prettier room downstairs that she would prefer. She often keeps her views to herself or writes them down in

Third, by looking at the narrative as a Gothic Horror Story, the final theme that isolation produces irrational fear which can drive one insane is seen in the narrative. The use of historical and cultural poetics lens the narrative can further be looked at support the theme. For example, the Narrator has an odd feeling about the house. The narrative states,” A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity… That spoils my ghostliness, I am afraid, but I don’t care-- there is something strange about the house-- I can feel it” (1,2). The house has a ancient haunted feeling to it which drives the Narrator insane trying to figure out what is off about it.

Her husband keeps wants her to put down her pen and paper, relax and stay in one room as she is stressed. The doctor and her husband agree that this is the best cure for her depression or mental anguish. All though not really on board with this plan, as she wants to live, she goes along with her doctor and husband’s blessing, holding her feelings inside “But John says if I feel so, I shall neglect proper self-control; so I take pains to control myself—before him, at least, and that makes me very tired” (Gilman, par. 26). In her husband holding her to this room, which has torn yellow wallpaper, she fades more and more into the faded torn walls “I'm getting really fond of the room in spite of the wallpaper. Perhaps because of the wall-paper. It dwells in my mind so” (Gilman, 94). She wants to get to any other room for the longest time, then subsides into blending into the wallpaper and what it possesses in its designs. Eventually, her husband went checking on her, found her creeping around on the floor, and was so astonished that she actually digressed that he

Forced to lie in bed all day and take it easy, the narrator becomes obsessed by the wallpaper and is drawn into trying to interpret it. She imagines a woman trapped within the paper. The narrator decides to strip off all of the wallpaper in her room, this is the moment of ultimate rebellion for the protagonist, and she is taking action towards independence. When John comes home to find the door locked, he begins freaking out. When he finally gets into the bedroom the narrator’s actions are so extraordinary and shocking that her husband faints. Through everything that is going on the narrator keeps creeping around the room in circles stripping all of the wallpaper off to free the woman that is trapped within.

As the story progresses, it is clear of the narrator’s unstable mental condition which becomes apparent when she begins to see people within the wallpaper, “it’s like a woman stooping down and creeping behind the pattern” (Gilman 612). This could be a result of the narrator seeing herself within the wallpaper because she feels trapped and oppressed by her husband and marriage. This becomes more apparent when she says “the faint figure behind the wallpaper seemed to shake the pattern, just as if she wanted to get out” (Gilman 612). This disturbers the narrator into trying to talk to her husband about what is going on but he will not listen. He treats her like a child and patronizes her by calling her “little girl” and after she tells him how she feels and that she wants to leave he says “bless her little heart, she shall be as sick as she pleases” (Gilman 612). She gives up on trying to talk to her husband and returns to her room where she now sees a woman behind bars in the wallpaper, saying “the worst of all, by moonlight it becomes bars!” (Gilman 612). This further supports the idea that the woman symbolizes her oppression by her husband because she feels like she is trapped behind bars and cannot escape it.