Symptoms Of Disorder, By John Warns

An out-of-body experience is explained by few as a sense of being detached from one’s body, and if associated with other factors like a sense that the world is not real, far away, or even foggy. This with the combination of failure to recall significant personal information, or the content of a meaningful conversation forgotten from one second to the next are signs of a psychological disorder known as Dissociative Disorder. Considered as a rare and mysterious psychiatric curiosity, Dissociative Disorders will be the psychological disorder that will be discussed in this paper.

Charlotte Perkins Gilman’s “The Yellow Wallpaper” has received wide praise for its accurate depiction of madness and the symptoms attributed to mental breakdowns (Shumaker 1985).   While these symptoms may seem obvious from today’s psychological perspective, Gilman was writing at the close of the 19th century when the discipline of psychology was still emerging out of a rudimentary psychiatric approach to treating the mentally ill. Though doctors have attempted to write about the treatment of insanity since ancient Greece, the history of madness has most often been characterized by a series of popular images, images that may have stunted the

  “The Yellow Wallpaper” is a symbolic tale of one woman’s struggle to break free from her mental prison.  Charlotte Perkins Gilman shows the reader how quickly insanity takes hold when a person is taken out of context and completely isolated from the rest of the world.  The narrator is a depressed woman who cannot handle being alone and retreats into her own delusions as opposed to accepting her reality.  This mental prison is a symbol for the actual repression of women’s rights in society and we see the consequences when a woman tries to free herself from this social slavery.

The narrator is diagnosed with a “nervous disorder” and is ordered by her physician, who also happens to be her husband, to abstain from most activity and all intellectual work. The same treatment Gilman was forced to take part in. The narrator is deprived of any stimulus or outlet for thought or action, and she begins to obsess over the yellow wallpaper. Her discovery of the women trapped in the pattern in the wallpaper symbolizes the pattern of behaviors and practices that trap the female sex. For Gilman, the conventional nineteenth-century middle-class marriage, with its rigid distinction between the “domestic” functions of the female and the “active” work of the male, ensured that women remained second-class citizens.

There are many different events in a person’s life that could lead them to insanity. In Charlotte Perkins Gilman’s “The Yellow Wallpaper” you are dealing with a woman who is a victim of male over-protectiveness and isolation that eventually leads to her insanity. In William Shakespeare’s “Hamlet” you are dealing with a man who has to deal with his father’s death and rejection from the love of his life that eventually leads him to a form of insanity. Each character handles their situations differently, but it could have gone the other way had they chose to make different decisions.

Gender roles seem to be as old as time and have undergone constant, but sometime subtle, revisions throughout generations. Gender roles can be defined as the expectations for the behaviors, duties and attitudes of male and female members of a society, by that society. The story, “The Yellow Wallpaper,” is a great example of this. There are clear divisions between genders. The story takes place in the late nineteenth century where a rigid distinction between the domestic role of women and the active working role of men exists (“Sparknotes”). The protagonist and female antagonists of the story exemplify the women of their time; trapped in a submissive, controlled, and isolated domestic sphere, where they are treated

Although tender and caring, John played a significant role in causing the narrator’s descent into ‘madness’. By taking on the role of a physician and a husband, John symbolises the stronghold power men had over women in the past. Instead of respecting his wife’s request for some form of mental stimulation, John insists that she takes on the ‘rest’ treatment. The treatment only focuses on the physical condition of the patient, and not the emotional or mental

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:

Many people know what it feels like to be “trapped” in the emotional sense of things, but how many can say they have been both physically and emotionally trapped. Charlotte Perkins Gilman used her personal bout with depression to create a powerful fictional narrative, which has broad implications for women. When the narrator recognizes that there is more than one trapped, creeping woman, Gilman indicates that the meaning of her story extends beyond an isolated, individual situation. Gilman’s main purpose in writing The Yellow Wallpaper is to doom not only a specific medical treatment but also the misogynistic principles and resulting sexual politics that make such a treatment possible. Those things lead to the major themes of the story: freedom, confinement, and madness.

“Yellow Wallpaper” as a symbol of the oppression of a woman who feels trapped in her roles as

The women she sees within the paper are a projection of her own experiences of confinement, as it symbolizes all women in the early Victorian Era.

“The Yellow Wallpaper” is a short story telling about a young woman who is eventually driven mad by the society. The narrator is apparently confused with the norm defining “true” and “good” woman constructed by society dominated by man. “The Awakening” addressed the social, scientific, and cultural landscape of the country and the undergoing of radical changes. Each of these stories addresses the issue of women’s rights and how they were treated in the late 19th century. “The Awakening” explores one woman's desire to find and live fully within her true self. Her devotion to that purpose caused friction between her friends and family, and also conflicts with the dominant values of her time.

The narrator’s feelings of inferiority and powerlessness parallels the female figure she sees trapped behind the pattern in the wall-paper adorning her room. She gradually withdraws from both John and reality by locking herself in the room and ultimately merging with the figure. Through the changing image of the pattern from a “fait figure” (Gilman 46) to a “woman stooping” (Gilman 46) behind the paper and “shaking the bars” (Gilman 46) as if she wanted “to get out” (Gilman 46), we can see her becoming one with the figure: “I pulled and she shook, I shook and she pulled, and before morning we had peeled off yards of that paper.”(51) Her collapse into madness as reflected in her behavior with the “bedstead [that] is fairly gnawed” (Gilman 51) and her “creeping all around” (Gilman 50) is a direct result of her passive submissiveness to John’s control of her life.

The goal of women is to value their unique capabilities and viewpoints to modify social systems to reflect the methods of knowing. Conferring to Chopin, “you have been a very, very foolish boy, wasting your time dreaming of impossible thing…” (The Awakening 42). The character Edna affirms that she is not a portion of possession. Therefore, she has power of her own to control herself. Likewise, in the “Yellow Wallpaper” the author speaks, “I've got out at last, in spite of you and Jennie! And I've pulled of most of the paper, so you can't put me back” (Gilman 778). The speaker compares herself to the yellow wallpaper since she claims that she was trapped. Thus, now she is finally “free” from oppression to reflect her own ways of being.

“The Yellow Wallpaper” and “Three Girls” illustrate the societal idea that women shouldn’t be independent or be knowledgeable in their own right. The protagonist of “The Yellow Wallpaper” was a woman who wanted to write, but was prevented from doing so by her husband. He didn’t allow her to do anything or go anywhere as a form of cure for a mental condition. Without the ability to write her thoughts, the protagonist was restricted in her ability to think freely and to express her ideas. Putting her in isolation also prevented her from exchanging knowledge with others and living a life reliant on herself. She was physically and mentally trapped, unable to further herself in society and become her own independent person. She was trapped by walls, but she was also trapped by society. Both prevented her from gaining the knowledge required to rely on herself, keeping her trapped