Patterns On The Yellow Wall-Paper

However, the most important aspect of this room is the yellow wallpaper. The narrator despises it, loathing the colour and it’s pattern. She writes that it is “. . .dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide--plunge off at outrageous angles, destroy themselves in unheard of contradictions.” (Gilman). This description of the wallpaper serves the purpose to show the reader the unjust restrictions of society that the narrator is subjected to; “. . .commentators have seen in this description of the wallpaper a general representation of “the oppressive structures of society in which [the narrator] finds herself” (Madwoman 90), . . .” (Haney-Peritz 116). The statement of “dull enough to confuse the eye” and “constantly irritating and provoking study” are alluding to the narrator’s sense of inferiority and burden while the “lame and uncertain curves” are referencing the absurd suggestions that her husband is providing. Finally the “suicide” is the unfortunate fate that is destined to occur if his counsel is followed. When describing the wallpaper the narrator writes that “The color is repellent, almost

    "The Yellow Wallpaper" takes a close look at one woman's mental deterioration. The narrator is emotionally isolated from her husband. Due to the lack of interaction with other people the woman befriends the reader by secretively communicating her story in a diary format. Her attitude towards the wallpaper is openly hostile at the beginning, but ends with an intimate and liberating connection. During the gradual change in the relationship between the narrator and the wallpaper, the yellow paper becomes a mirror, reflecting the process the woman is going through in her room.

In The Yellow Wallpaper, the narrator uses the psychological gothic genre to present the portrayal of women, women faced in a marriage, within the time frame of the 1890s. Women were seen as the “shadow” as men dominated society. This is presented throughout the book as many readers first interpitation

The vivid descriptions in “The Yellow Wallpaper” help to bring the reader along in the narrators decent into a kind of psychosis. It starts mildly, with her describing the color of wallpaper as “repellant, almost revolting; a smoldering unclean yellow” (Gilman 528). As more time passes she begins to see more things in the paper such as “a recurrent spot where the pattern lolls like a broken neck and two bulbous eyes start at you,” and for it have “so much expression in an inanimate thing” (Gilman 592). As the pattern and descriptions get more twisted, we get visual clues of the madness that is slowly consuming the narrator. The color of the paper even begins to become a physical thing she can smell descried as, “creep[ing] all over the house...sulking...hiding...lying in wait for me…It gets into my hair” (Gilman 534). In the end we get a graphic visual representation of her full psychosis

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 description of the house by the woman is positively somehow. However, she is disturbed by some elements such as; “the rings and things” in the walls, and that the bars on the windows keep showing up. In addition, what was disturbing her the most is the yellow wall paper which is creepy with a formless pattern and that leads her to be totally insane. Readers are introduced to the woman’s desperate thoughts and feelings, yet her husband came and interrupted her thoughts and she was forced to stop writing. Furthermore, she always complains that her husband John who is a physician belittles her illness, her own thoughts and that makes her more depressed. “The Yellow Wallpaper” is a deep feminist story that shows the unequal relationship between women and men in the 19th century and uses the yellow

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.

Yet Edna and Gilman’s protagonist are women who receive their imperfections through their surroundings; the carnality and madness are the results of their oppression. Until the happenings of The Awakening, Edna has been married to Mr. Pontellier for a long time. She goes through her awakening after a vacation in the Grand Isle, but before, she has been a subordinate wife without any doubts in accordance to her role. Just as Mrs. Pontellier begins the story as an average, sensible woman, the main character of “The Yellow Wall-paper” begins as a mentally secure person. Gilman’s heroine depicts the “garden-- large and shady, full of box-bordered paths” (4), the “pretty old-fashioned chintz hangings” (5), and even “those sprawling flamboyant patterns” (5) of the wallpaper in an ultimately sensible manner, what serves as an indicator of her capability of thinking and speaking from a rational standpoint. What is more, she is sent away to the mansion not in a view of the fact that she has mental issues but because her husband believes that she has depression. She admits that she is of the opinion that if she “had less opposition and more society and stimulus,” she would get well sooner (4).

It is like a bad dream” (Gilman 294). As this sentence continues, the physical abuse in it gradually gets worse, representing the the constant damage society does to female role. Even if women attempted to get up from a hit, society will just hit back harder. Comparing it to a bad dream, Gilman implies that this pattern is never-ending. For the narrator, it felt like an eternity imprisoned in her bedroom with nothing to think about except for the yellow wallpaper. Through the use of figurative language, Gilman enhances the desire to break free of confinement. Gilbar and Gubar comment upon the story: “this paper surrounds the narrator like an inexplicable text, censorious and overwhelming as her physician husband, haunting as the “hereditary estates” in which she is trying to survive”(Gilbar and Guban 125). Gilbar and Gubar uses similes to say that the paper is incapable of being explained, especially towards the narrator. However, because it is very difficult to explain, it gives the narrator and opportunity to work her brain and figure it out herself. The narrator’s husband is described as “censorious” and “overwhelming” which also describes men’s role and power, very critical and overpowering. Because her husband resembles men in societal norms, the narrator is forced to bend to his every will. One of which being to stay confined in her bedroom with no work

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.

In this psychological tale we are introduced to a woman facing a mental illness in the late 1800’s writing secretly about essentially being belittled about her health by her husband, John, a doctor, who subjects her to bed rest and isolation to the real world to recover. Her words: “...John says the very worst thing I can do is to think about my condition, and I confess it always makes me feel bad.” (page 2 of The Yellow Wall-Paper) struck with me. I understand the feeling of suddenly feeling useless, unproductive and sort of trapped in your own mind. As she loses touch with life outside of the house, she begins to obsess with the women she sees behind the yellow wallpaper of her bedroom. First, I believed the wallpaper to be a metaphor of her depression, “I can see a strange, provoking, formless sort of figure, that seems to skulk about behind that silly and conspicuous front design [of the wallpaper].” (page 4 of The

The narrator of “The Yellow Wallpaper” is a paradox: as she loses touch with the outer world, she comes to a greater understanding of the inner reality of her life. This inner/outer split is crucial to understanding the nature of the narrator’s suffering. At every point, she is faced with relationships, objects, and situations that seem innocent and natural but that are actually quite bizarre and even oppressive. In a sense, the plot of “The Yellow Wallpaper” is the narrator’s attempt to avoid acknowledging the extent to which her external situation stifles her inner impulses. From the beginning, we see that the narrator is an imaginative, highly expressive woman. She remembers terrifying herself with imaginary nighttime monsters as a child, and she enjoys the notion that the house they have taken is haunted. Yet as part of her “cure,” her husband forbids her to exercise her imagination in any way. Both her reason and her emotions rebel at this treatment, and she turns her imagination onto seemingly neutral objects—the house and the wallpaper—in an attempt to ignore her growing frustration. Her negative feelings color her description of her surroundings, making them seem uncanny and sinister, and she

Similarly, “The Yellow Wallpaper” symbolizes the trapped narrator with an urgency to escape from her dwelling. Like Elisa, the narrator finds a task that would keep her boredom away as “life is very much more exciting than it used to be” (443). By staring at the wallpapers pattern constantly all day, she is no longer bored. In addition, the narrator believes that in order to escape she must free the woman behind the wallpaper. The narrator turns insane by visioning a woman in the wallpaper and trying to escape. The narrator is imprisoned, and the bothersome patter of the yellow wallpaper begins to straighten out to her. The narrator finds a channel of hope outside the windows, through the bars, wanting to leave the room and depart into the real world. Both Elisa Allen and the narrator feel a need, a desire for an escape from their current lives.

My perspective of Gilman’s short story, "The Yellow Wall-Paper" is influenced by a great number of different and diverse methods of reading. However, one cannot overlook the feminist theorists’ on this story, for the story is often proclaimed to be a founding work of feminism. Further, the historical and biographical contexts the story was written in can be enlightened by mentioning Gilman’s relationship with S. Weir Mitchell. And I can’t help but read the story and think of Foucault’s concept of Panopticism as a method of social control. Lastly, of course, there’s the psychological perspective on the story, although in my readings of psychology, particularly the psychological knowledge surrounding both women and queers, I find the

7. What is the significance of this line to the changing relationship of the narrator and her husband? "Lay there for hours trying to decide whether that front pattern and the back pattern really did move together or seperately" (Gilman 1664).