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The help literary analysis
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A Lesson Before Dying Activity #13 Literary Analysis
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The narrator begins her journal by appreciative at the greatness of the house and grounds her husband has taken for their summer vacation. She describes it in romantic terms as a sophisticated 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. Her feeling that there may more to the house leads her into a discussion of her illness as he she is suffering from nervous depression and possibly of her marriage. She complains that her husband John, who is also her doctor, belittles both her illness and her thoughts and concerns in general. She differences his practical, rationalistic manner with her own imaginative, sensitive ways. Her treatment requires that she do almost nothing active, and she is especially forbidden from working and writing. She feels that activity, freedom, and interesting work would help her condition and reveals that she has begun her secret journal in order to release her mind. In an attempt to do so, the narrator begins describing the house. Her description is mostly positive, but disturbing elements in the bedroom walls, and the bars on the windows, keep showing up. She is particularly disturbed by the yellow wallpaper in the bedroom, with its strange, formless pattern, and describes it as sickening.
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She becomes possessive and secretive, hiding her interest in the paper and making sure no one else observes it so that she can see it on her own. At one point, she frightens Jennie, who had been touching the wallpaper and who mentions that she had found yellow stains on their clothes. Mistaking the narrator’s obsession for calm, John thinks she is improving. But she sleeps less and less and is convinced that she can smell the paper all over the house, even outside. 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
She begins to tear strips of the wallpaper and continues to do so all night until morning yards of the paper are stripped off. Her sister-in-law Jennie offers to help, but at this point the narrator is territorially protective of the wallpaper. She locks herself in the room and is determined to strip the wall bare. As she is tearing the wallpaper apart she sees strangled heads in the pattern shrieking as the wallpaper is being torn off. At this point, she is furious and even contemplates jumping out the window, yet even in her euphoric state, she realizes this gesture could be misinterpreted.
The narrator's declining mental health is reflected through the characteristics of the house she is trapped in and her husband, while trying to protect her, is actually destroying her. The narrator of the story goes with her doctor/husband to stay in a colonial mansion for the summer. The house is supposed to be a place where she can recover from sever postpartum depression. According to Jennifer Fleissner, "naturalist characters like the narrator of Gilman's "The Yellow Wallpaper" is shown obsessed with the details of an entrapping interiority. In such an example we see naturalism's clearest alteration of previous understandings of gender: its refiguration of domestic spaces, and hence, domestic identity according to the narrative of repetitive work and compulsion that had once served to distinguish public life from a sentimentary understood home" [Fleissner 59].
Under the orders of her husband, the narrator is moved to a house far from society in the country, where she is locked into an upstairs room. This environment serves not as an inspiration for mental health, but as an element of repression. The locked door and barred windows serve to physically restrain her: “the windows are barred for little children, and there are rings and things in the walls.” The narrator is affected not only by the physical restraints but also by being exposed to the room’s yellow wallpaper which is dreadful and fosters only negative creativity. “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.”
The wallpaper, at first, is her nemesis. She begs John to repaper the room; it scares her. "The paper looks to her as if it knew what a vicious influence it had" (Gilman 494). In her perception, the paper has eyes and exerts some sort of power over her.
To start off, first, the narrator thinks that the house her and her husband John are renting for the next three months is haunted or it wouldn’t be as cheap as it is for being such a beautiful place. Another thing is that she unhappy in her marriage. Her husband doesn’t listen to her, tells her she’s wrong and laughs at her. She is feeling very unwell and all he says is she has temporary nervous depression and only tells her to stay in bed and do nothing. The way she describes things is very bleak, dark, depressing. She keeps going back to thoughts of the house being haunted and gets anxious. She becomes angry with John for no reason sometimes and thinks it’s from her ‘nervous condition’. Something the reader may not catch onto when she talks about how she doesn’t like her bedroom is how she took the nursery, so right away, we know she has a baby. She feels trapped with the barred windows and not being able to go anywhere, having to just lay down and look at the most revolting yellow wallpaper shes ever seen. Writing the story alone makes her extremely exhausted and she says that John doesn’t know the extent of her suffering. Eventually, it’s made known that she can’t even go near her own child and it makes her increasingly nervous. She has unwanted thoughts throughout the entire story of the terrifying ugly yellow
“The Yellow Wallpaper” is a story about an anonymous female narrator and her husband John who is a physician who has rented a colonial manner in the summer. Living in that house, the narrator felt odd living there. Her husband, john who is a physician and also a doctor to his wife felt that the narrator is under nervous depression. He further mentions that when a person is under depression, every feeling is an odd feeling. Therefore, the narrator was not given permission by John to work but just to take medication and get well fast. This made the narrator to become so fixated with the yellow wallpaper in the former nursery in which she located. She was depressed for a long time and became even more depressed. This ha...
She does not accept their diagnosis but has no other choice but to follow it’s harsh procedures, much like the woman of the 19th century. The wallpaper, rules, and opinions of others stood between the narrator’s imagination and intellectual desires, eventually driving her to insanity. However, she is not the only woman in the story to feel this snared feeling. John’s sister, Jennie, claimed that she wouldn't mind tearing the wallpaper apart herself, proving she also felt oppressed by the strict rules of society. The narrator finds Jennie studying the wallpaper, trying to solve the puzzle behind the bizarre rules and restrictions upon women at the time.
The writer states she is able to see people out on the lawn, even though she has been told there is no one there. She is also paranoid that John and Jennie will find her papers and states she is sure she found them snooping in her things. At one point, she writes she can smell the wallpaper, this screams psychosis. She is convinced that the wallpaper is shaking and that there is a lady who loves behind the paper and when this woman creeps around it causes the shaking. She describes her inability to sleep at night so that her caregivers are glad when she is able to get rest. They even go so far as to make her rest for an hour after her
The story starts out with a hysterical.woman who is overprotected by her loving husband, John. She is taken to a summer home to recover from a nervous condition. However, in this story, the house is not her own and she does not want to be in it. She declares it is “haunted” and “that there is something queer about it” (The Yellow Wall-Paper. 160). Although she acknowledges the beauty of the house and especially what surrounds it, she constantly goes back to her feeling that there is something strange about the house. It is not a symbol of security for the domestic activities, it seems like the facilitates her release, accommodating her, her writing and her thoughts, she is told to rest and sleep, she is not even allow to write. “ I must put this away, he hates to have me write a word”(162). This shows how controlling John is over her as a husband and doctor. She is absolutely forbidden to work until she is well again. Here John seems to be more of a father than a husband, a man of the house. John acts as the dominant person in the marriage; a sign of typical middle class, family arrangement.
The narrator makes comments and observations that demonstrate her will to overcome the oppression of the male dominant society. The conflict between her views and those of the society can be seen in the way she interacts physically, mentally, and emotionally with the three most prominent aspects of her life: her husband, John, the yellow wallpaper in her room, and her illness, "temporary nervous depression. " In the end, her illness becomes a method of coping with the injustices forced upon her as a woman. As the reader delves into the narrative, a progression can be seen from the normality the narrator displays early in the passage, to the insanity she demonstrates near the conclusion.
As the story progresses in, The Yellow Wallpaper, it is as if the space of the bedroom turns in on itself, folding in on the body as the walls take hold of it, epitomizing the narrator's growing intimacy with control. Because the narrator experiences the bedroom in terms of John's draconian organization, she relies on her prior experiences of home in an attempt to allay the alienation and isolation the bedroom creates. Recalling her childhood bedroom, she writes, "I remember what a kindly wink the knobs of our big, old bureau used to have, and there was one chair that always seemed like a strong friend . . . I could always hop into that chair and feel safe" (Gilman 17). Ironically, Gilman's narrator cannot retire to the otherwise "personal haven" of the bedroom because she is always already there, enclosed within the attic room of John's desires, bereft of her own voice and personal history. The narrator's imagination is altogether problematic for John, who would prohibit his wife from further fancifulness: "[John] 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. So I try" (Gilman 15-16). For Gaston Bachelard, who devotes himself to a phenomenological exploration of the home in The Poetics of Space, "imaginative power" is the nucleus of the home, if not the home itself. Memories of prior dwellings are for Bachelard a fundamental aspect of creating new homes based on a continuity with the past and past spaces. "[B]y approaching the house images with care not to break up the solidarity of memory and imagination," writes Bachelard, "we may hope to make others feel all the psychological elasticity of an image that moves us at an unimaginable depth" (6). Bachelard's "elasticity" infers that spatial depth and expansion are contingent upon a psychological flexibility of imagination. Gilman's narrator is notably denied this elasticity when her physician/husband attempts to prevent her from writing. "I did write for a while in spite of them," the narrator explains, "but it does exhaust me a good deal--having to be so sly about it, or else meet with heavy opposition" (Gilman 10).
The story begins when she and her husband have just moved into a colonial mansion to relieve her chronic nervousness. An ailment her husband has conveniently diagnosed. The husband is a physician and in the beginning of her writing she has nothing but good things to say about him, which is very obedient of her. She speaks of her husband as if he is a father figure and nothing like an equal, which is so important in a relationship. She writes, "He is very careful and loving, and hardly lets me stir without special direction." It is in this manner that she first delicately speaks of his total control over her without meaning to and how she has no choices whatsoever. This control is perhaps so imbedded in our main character that it is even seen in her secret writing; "John says the very worst thing I can do is to think about my condition...so I will let it alone and talk about the house." Her husband suggests enormous amounts of bed rest and no human interaction at all. He chooses a "prison-like" room for them to reside in that he anticipates will calm our main character even more into a comma like life but instead awakens her and slowly but surely opens her eyes to a woman tearing the walls down to freedom.
The narrator is ordered by her husband, who is serving as her physician as well, that she is “absolutely forbidden to work” and instead get “perfect rest,” and “all the air” the narrator can get (Gilman, 549). The narrator is confined to spend her time in a room which is playing tricks on her mind until she can no longer identify reality from her imagination. Another cause of the narrator’s loneliness is her husband’s rare presence at home due to his work as a physician, “away all day, and even some nights when his cases are serious,” leaving the narrator with his sister, who even then also leaves the narrator alone most of the time (Gilman, 550). The narrator falls into a state of insanity because she hardly had anyone with her to normally interact with. The only interaction she did have was that of the yellow wallpaper which constantly plagued her
Upon moving in to her home she is captivated, enthralled with the luscious garden, stunning greenhouse and well crafted colonial estate. This was a place she fantasized about, qualifying it as a home in which she seemed comfortable and free. These thoughts don’t last for long, however, when she is prescribed bed rest. She begins to think that the wallpaper, or someone in the wallpaper is watching her making her feel crazy. She finally abandons her positivity towards what now can be considered her husband’s home, and only labels negative features of the home. For example, the narrator rants about the wallpaper being, “the strangest yellow…wallpaper! It makes me think of… foul, bad yellow things” (Gilman). One can only imagine the mental torture that the narrator is experiencing, staring at the lifeless, repulsive yellow hue of ripping
In the story The Yellow Wallpaper, Gilman uses personal experience with a vivid fictional ending to accomplish her goal of informing her readers of feminist and social issues. Characters within the story are the narrator, who becomes known as Jane at the end; John, the narrator’s husband and physician; Jennie, John’s sister who becomes the typical housewife in that time to allow the narrator to rest; and Mary, who takes care of the baby. The narrator and John rent an estate in the country, which could also be looked upon as “a haunted house” (2) in the narrator’s eyes. Ever since the birth of their child, the narrator has developed a temporary nervous depression. John, being a high standing physician, feels the “rest cure” is exactly what she needs to help with her newfound depression, which restricts her emotions and does not allow expression, ultimately making it worse. However, with her husbands esteemed profession she blindly accepts what John recommends.