The narrator confides in “dead language” (Treichler) as a source to freely express herself from the captivity placed upon her from her husband in an attempt to cure her condition of temporary nervous depression. The dead language represents writing in the journal for the narrator of the story. It is considered dead as she must be secretive about it for the fear of her husband John finding her writing as “he hates to have [her] write a single word” (Gilman). The woman is forbidden to work as a result of her husband’s treatment for her condition. He does not want her practicing discourse as he believes she is sick and her treatment is to be alienated from work, life, and writing to cure her condition.
The women trapped behind that wallpaper represent the lack of power and freedom women had at this time” (“gender in” Esposito). Gilman’s personal life and experiences have had influences over her writing of this novel. Written in the Encyclopedia of Themes in Literature, “The Yellow Wallpaper is an autobiographical short story based on Charlotte Perkins Gilman 's own experience with illness in the 'rest cure’” (“illness in” Esposito). With information inside of what it is like to have all stimulation forcefully taken from you by a male spouse, she was able to create a short story that follows bases of a true situation and the entire breakdown along the
The Yellow Wallpaper Although on the surface The Yellow Wallpaper, by Charlotte Perkins Gilman, is a story about one woman’s struggles with sanity it is not. In truth, it is a story about the dominant/submissive relationship between an oppressive husband and his submissive wife. The husband, John, pushes his wife’s depression to a point quite close to insanity. The narrator seems to destroy herself through her overactive imagination and her urge to write. When they arrive she seems well in control of her faculties, but by the time they are readying for departure, she has broken down.
“If a physician of high standing, and one’s own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression-a slight hysterical tendency-what is one to do?” (519). Here Gilman illustrates early on that the woman has no voice of her own even in her own mental state. The last part of the question, “what is one to do”, seems to allude to the fact that has given in to the overassertive voice of her husband. Gilman shows us another example of our heroine’s loss of identity due to her “loving” husband’s smothering attention. “He is very careful and loving, and hardly lets me stir without special direction” (520).
She goes on to say that her husband,” hates to have [her] write a word” and hurriedly tries to hide away her notebook (Gilman ___). This Guevara 2 quote displays the woman’s incoherence to her own submissive condition in her marriage, since she is not allowed to write... ... middle of paper ... ...e end of this short story, the narrator has freed herself from the constraints of her marriage, society, and even freed her own mind. In the short story “The Yellow Wallpaper” by Charlotte Perkins Gilman, the narrator of the story undergoes a variable amount of changes in order to free herself from the chains of society. Her journey ranges from being honest and compliant to the patterns of domestic, marital status to becoming a woman who frees herself from the suppressive expectations of a woman in society. Her insanity displays a paradox, as she becomes saner by the end of her transformation, causing her to free herself from her repressed mind, and marital expectations.
In Charlotte Perkins Gilman’s short story, “The Yellow Wallpaper”, a woman suffering from postpartum depression is prescribed a “rest cure”. She is forced to stay in a room with yellow wallpaper which She says is “committing every artistic sin” (Gilman 419). The woman convinces herself that there is a woman trapped in the yellow wallpaper, and it is her job to free and catch her. She begins to mix reality with fantasy and she unknowingly becomes suicidal and drives herself mad. Charlotte Perkins Gilman’s “The Yellow Wallpaper” uses dialogue, narration, and symbolism to show that women are not taken seriously when it comes to mental health.
Part way through the story, she begins seeing a woman moving behind the wallpaper, as if trying to escape it. Is she actually seeing herself in the wallpaper, as suggested by Chris Tildon, or is the hallucination what she fears she is becoming? At the end of the story, she takes on the role of the "creeping" woman and follows a smudge around the room and over her fainted husband. This supports the idea that she is the woman that has been trapped in the paper. Maybe she feels trapped and tormented by John's lack of sympathy for her condition.
By the end of the story she actually thinks she is the woman who had been trapped in the wallpaper and has finally escaped from it. In Gilman’s “The Yellow Wallpaper”, the narrator seems trapped both mentally and physically. Her husband, John, keeping her away from others because of her nervous condition is one cause of her feeling trapped
This statement implies that due to the fact that her husband is also her physician, that this conflict of interest is perhaps detrimental to her recovery. The narrator goes on to describe the helplessness she feels in her situation, which was is a recurring theme in the story. Roberts 2 Gilman states, “If a physician of high standing, and one’s own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression—a slight hysterical tendency—what is one to do? . .
The narrators' condition weakens at the end of the story, as she is driven mad by numerous influences who tried controlling her for what they believed to be assisting her. The images the character makes in her mind are related to her husband and the confinement she is forced to endure and because of the continuing pressure, until she finally cracks. The story behind "The Yellow Wallpaper," is derived from Gilman's personal experience with numbing confinement. When S. Weir Mitchell diagnosed Charlotte Perkins Gilman as suffering from of "nervous prostration," he prescribed what many nineteenth-century physicians believed to be necessary rest. Included in Mitchell's Rest Cure treatment was locking Gilman away in his Philadelphia sanitarium for a month, enforcing strict isolation, limiting intellectual stimulation to two hours a day, and forbidding her to touch pen, pencil, or paintbrush ever again much like Gilman's character in "The Yellow Wallpaper."