” By Charlotte Perkins Gilman Essay, Research Paper The Yellow Wallpaper – Journey into Insanity In “The Yellow Wallpaper”, by Charlotte Perkins Gilman, the dominant/submissive relationship between an oppressive husband and his submissive wife pushes her from depression into insanity.
” By Charlotte Perkins Gilman Essay, Research Paper
The Yellow Wallpaper – Journey into Insanity
In “The Yellow Wallpaper”, by Charlotte Perkins Gilman, the dominant/submissive relationship between an oppressive husband and his submissive wife pushes her from depression into insanity.
Flawed human nature seems to play a great role in her breakdown. Her husband, a noted physician, is unwilling to admit that there might really be something wrong with his wife. This same attitude is seen in her brother, who is also a physician. While this attitude, and the actions taken because of it, certainly contributed to her breakdown; it seems to me that there is a rebellious spirit in her. Perhaps unconsciously she seems determined to prove them wrong.
As the story begins, the woman — whose name we never learn — tells of her depression and how it is dismissed by her husband and brother. “You see, he does not believe I am sick! And what can one do? 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
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tendency — what is one to do?” (Gilman 193). These two men — both doctors — seem completely unable to admit that there might be more to her condition than than just stress and a slight nervous condition. Even when a summer in the country and weeks of bed-rest don’t help, her husband refuses to accept that she may have a real problem.
Throughout the story there are examples of the dominant – submissive relationship. She is virtually imprisoned in her bedroom, supposedly to allow her to rest and recover her health. She is forbidden to work, “So I . . . am absolutely forbidden to “work” until I am well again.” (Gilman 193). She is not even supposed to write: “There comes John, and I must put this away — he hates to have me write a word.” (Gilman 194).
She has no say in the location or decor of the room she is virtually imprisoned in: “I don’t like our room a bit. I wanted…But John would not hear of it.” (Gilman 193).
She can’t have visitors: “It is so discouraging not to have any advice and companionship about my work…but he says he would as soon put fireworks in my pillow-case as to let me have those stimulating people about now.” (Gilman 196).
Probably in large part because of her oppression, she continues to decline. “I don’t feel as if it was worthwhile to turn my hand over for anything. . .” (Gilman 197). It seems that her husband is oblivious to her declining conditon, since he never admits she has a real problem until
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the end of the story — at which time he fainted.
John could have obtained council from someone less personally involved in her case, but the only help he seeks was for the house and baby. He obtains a nanny to watch over the children while he was away at work each day: “It is fortunate Mary is so good with the baby.” (Gilman 195). And he had his sister Jennie take care of the house. “She is a perfect and enthusiastic housekeeper.” (Gilman 196).
He does talk of taking her to an expert: “John says if I don’t pick up faster he shall send me to Weir Mitchell in the fall.” But she took that as a threat since he was even more domineering than her husband and brother.
Not only does he fail to get her help, but by keeping her virtually a prisoner in a room with nauseating wallpaper and very little to occupy her mind, let alone offer any kind of mental stimulation, he almost forces her to dwell on her problem. Prison is supposed to be depressing, and she is pretty close to being a prisoner.
Perhaps if she had been allowed to come and go and do as she pleased her depression might have lifted: “I think sometimes that if I were only well enough to write a little it would relieve the press of ideas and rest me.” (Gilman 195). It seems that just being able to tell someone how she really felt would have eased her depression, but John won’t hear of it. The lack of an outlet caused the depression to worsen: “…I must say what I feel and
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think in some way — it is such a relief! But the effort is getting to be greater than the relief.” (Gilman 198).
Meanwhile her reaction is to seek to prove him wrong. “John is a physician, and perhaps . . . perhaps that is one reason I do not get well faster. You see he does not believe I am sick! And what can one do?” (Gilman 193). It seems to me that while putting on an appearance of submission she was frequently rebelling against her husband’s orders. She writes when there is nobody around to see her, she tries to move her bed, but always keeps an eye open for someone comming. This is obvious throughout the story.
It also seems to me that, probably because of his oppressive behaviour, she wants to drive her husband away. “John is away all day, and even some nights when his cases are serious. I am glad my case is not serious!” (Gilman 195). As her breakdown approaches she actually locks him out of her room: “I have locked the door and thrown the key down into the front path. I don’t want to go out, and I don’t want to have anybody come in, till John comes. I want to astonish him.” (Gilman 203). I see no reason for this other than to force him to see that he was wrong, and, since she knew he couldn’t tolerate hysteria, to drive him away.
STORY OF AN HOUR QUOTES
There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.
And yet she had loved him–sometimes. Often she had not. What did it matter! What could love, the unsolved mystery, count for in face of this possession of self-assertion which she suddenly recognized as the strongest impulse of her being!
“Free! Body and soul free!” she kept whispering.
Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. “Louise, open the door! I beg, open the door–you will make yourself ill. What are you doing Louise? For heaven’s sake open the door.”
“Go away. I am not making myself ill.” No; she was drinking in a very elixir of life through that open window.
Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with a shudder that life might be long.
She arose at length and opened the door to her sister’s importunities. There was a feverish triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister’s waist, and together they descended the stairs. Richards stood waiting for them at the bottom.
Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of accident, and did not even know there had been one. He stood amazed at Josephine’s piercing cry; at Richards’ quick motion to screen him from the view of his wife.
But Richards was too late.
When the doctors came they said she had died of heart disease– of joy that kills.
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