A gothic story of the tortuous efforts of a woman to resolve the
disturbed musings of her mind, "The Yellow Wallpaper" transports the reader into realms of both
depression and repression. Forced into bed rest and forbidden to engage in any activity until she
is considered well again as she suffers from post-partum depression, the narrator of Charlotte
Perkins Gilman's story feel helpless against the patriarchal forces of both her husband and the
doctor. Intuitively, she knows what is good for her, but she has to be "sly" about it or she
meets with opposition:
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I sometimes fancy that in my condition if I had less
opposition and more society and stimulus--but John says the very worst thing I can do is to think
about my condition, and I confess it always makes me feel
bad.
Indeed, it is this very
repression that drives Gilman's narrator into the obsessive musings about the hideous yellow
wallpaper that covers the interior of the room to which she is confined. She describes it
as
One of those
sprawling flamboyant patterns committing every artistic sin.It is
dull enough to confuse the eye in following, pronounced enough constantly to 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.
Clearly, this tainted
wallpaper becomes for the narrator a tangible representation of her tortuous, repressed
confinement in which she finds herself. In the efforts of the woman to free herself from her
oppression by Dr. S. Weir Mitchell represented by "a strange, provoking, formless sort of figure"
as a "debased Romanesque" she envisions the wallpaper reaching the grotesque:
All those strangled
heads and bulbous eyes and waddling fungus growth just shriek with
derision!"
Finally, in her desperate
effort to release herself and conquer her mental and emotional imprisonment, the woman tears down
the wallpaper to free the woman--herself--behind it, crawling along the floor from wall to wall.
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