"The Yellow Wall-Paper": A Classic Piece of Gothic Literature

He even becomes upset when she wishes to write, causing this story to be "composed" of writings she manages to do in secret.  John places her in the attic of the mansion, like a dirty secret, in what she believes to be a former nursery.  There is, however, strong evidence that the narrator is not the first mental patient to occupy the room - there are bars on the windows and gouges in the floor and walls; the bed is bolted down and has been gnawed on and the wallpaper has been torn off in patches.

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.

     Charlotte Perkins Gilman’s story, “The Yellow Wallpaper” is as a wonderful example of the gothic horror genre. It was not until the rediscovery of the story in the early 1970’s that “The Yellow Wallpaper” was recognized as a feminist indictment of a male dominated society. The story contains many typical gothic trappings, but beneath the conventional façade hides a tale of repression and freedom told in intricate symbolism as seen through the eyes of a mad narrator.

The narrator has a natural creativity that when left idol drives he insane. She is forced to hide he anxieties and fears which ultimately drives her to insanity. Even though she keeps a journal writing is in particularly off limits. Creativity was forbidden to her, John constantly reminds her to keep it contained. She even writes: “He says no one but myself can help me out of it, that I must use my will and self-control and not let any silly fancies run away with me.” She longs for an outlet for her repressed mind, going as far as to keep the journal, the one the audience is now privy to. She often refers to the journal as her only source of solace. As her sanity deteriorates, her mind starts to imagine things. The wallpaper becomes her outlet for this creativity. She begins describing the mansion as haunted and starts seeing a woman in the walls. She describes this saying: “The dim shapes get clearer every day. It is always the same shape, only very numerous. And it is like a woman stooping down and creeping about behind that pattern. I don't like it a bit. I wonder-I be­gin to think - I wish John would take we away from here!” Her natural eventually becomes so repressed it drives her

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.

While the narrator recognizes the great care with which her husband is treating her she seems to constantly feel that she is being ungrateful. She calls herself out in her journal for being a “comparative burden” (Gilman) The room in which the narrator resides has a sturdy bed that is nailed to the floor. The narrator notes that there are bars on the windows and rings hooked into the wall. She wrongly assumes that this room was used as a nursery or gymnasium by the previous owners. As the reader, we are able to instill our own thoughts that this room was in fact built to house someone with a mental disorder. This begs the question of what the house really is, to contain such a room away from decent society.

While, the narrator refers to the room as a nursery, the circumstances suggest that the room was really used to “treat” women like the narrator from similar illnesses. The room has a bolted down bed that “is fairly gnawed” (Gilman 517), which the narrator bites a piece off of in frustration, suggesting it was under similar circumstances that the bed came to be gnawed. Therefore, the narrator’s creeping inside the room is the only way for her to be part of society, as in the room she can “creep smoothly on the floor, and [her] shoulder fits... so [she] cannot lose [her] way” (Gilman 518). She has to suppress and hide her true self in front of others, even her husband, as many women had to during those times.

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 Yellow Wallpaper” tells of the journey into insanity (brought on by postpartum depression?) of a physician’s wife. Persuaded by her husband that there is nothing wrong with her, only temporary nervous depression, a diagnosis that is confirmed by her brother( Gilman, 647). What is telling is that she suspects perhaps her husband John is the reason she does not get well faster. She and/or we are led to believe that they have rented a colonial mansion for the summer for her to get well. She is however isolated in a home three miles from the village and on an island. (Gilman, 648). She wants to stay in the downstairs room with roses and pretty things, but her husband insists on the room at the top of the house ostensibly because it has room for two beds. But the room’s description of barred windows and walls with rings and things in them (Gilman, 648) could leads the reader one to conclude that this is his own private asylum, and not “a nursery first and then a playroom and gymnasium” (Gilman, 648) as the woman believes. It is this room, and more precisely the wallpaper in the room

However, due to the narrator’s “imaginative power and habit of story-making”, her husband tells her, “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, so I try.” (439). Being forbidden to have an imagination leaves the narrator emotionally distressed and irritated with feelings of oppression, but she ignores her husband’s ideas and occupies her imagination with the yellow wallpaper that surrounds the room, developing some sort of relationship with it that allows her to confess her suppressed feelings.

After learning of Gilman’s personal story, it becomes apparent that “The Yellow Wallpaper,” and the struggle of its narrator, carries a distinct message. Gilman grew up in an unhappy and impoverished family with a brother, a single mother, and no father figure. She later went on to marry Charles Stetson (whom she later divorced) and had a daughter with him. After the birth of her daughter, Gilman fell into a deeply depressed state, indicating the relevance of postpartum depression. When she consulted Dr. Weir Mitchell about it, she was prescribed a “rest cure.” It was this event that inspired Gilman to write “The Yellow Wallpaper,” and many similarities can be drawn between

    Charlotte Perkins Gilman's "The Yellow Wallpaper" has been interpreted in many ways over the years. Modernist critics have applied depth psychology to the story and written about the symbolism of sexual repression in the nursery bars, the chained-down bed, and the wallpaper. Genre critics have discussed the story as an example of supernatural gothic fiction, in which a ghost actually haunts the narrator. But most importantly, feminist critics (re)discovered the story in the 1970s and interpreted it as a critique of a society that subjugated women into the role of wife and mother and repressed them so much that all they could ever hope to be was an "angel in the house."

In the section “Ghosts and Male Murders it suggest that Gilman’s work is a work that belongs in the horror genre. It goes on to state that “The Yellow Wallpaper” was reprinted to be a horror a story based on its chilling words and scenes. Critics have even went as far as to compare her work to that of Edgar Allan Poe with respect to their ghastly storytelling. Their evidence to back up their claims is a scene they pulled out where the “woman is dwelling over in the hideous papered room” which seems to prove to them that Gilman’s work belongs with the genre of that of the supernatural horror. However, it is critics such as Hedges that point out that the only reason Gilman’s wok would even be considered that of horror would be because it lacked