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The Yellow Wallpaper
The Reception of The Yellow Wallpaper by Charlotte Perkins Gilman is a landmark
feminist literary work that exposes the psychological and emotional price a woman has to pay for
being oppressed by a patriarchal society. First published in 1892, the story condemned medical
practices and gender norms of the 19th century that despoiled women as a group and denied
them autonomy. It is presented as a feminist literary criticism of the powerful ways in which
society used the power to disunite individuals to those who are allowed to be outside like men
and those who are constrained to be caged within the four walls of their houses counted as their
only domicile such as the women and thus strip off their independence. From a psychoanalytic
point of view, the tale reveals how the narrator's psychoanalytic unconscious experiences
oppression, as repression and confinement, guide the narrator down a path to madness.
Using feminist and psychoanalytic criticism combined, I will critically examine The
Yellow Wallpaper in this essay. The thesis is that Gilman uses the psychological breakdown of
the narrator as a method of directing the audience's attention to the fact that the oppression of the
female gender system is a catastrophe (Gilman 1). This critique highlights the limitations women
are expected to live by the arts that can be practiced, the freedom they can enjoy, and finally, the
outcry that these limitations have on women’s process of self-expression as a whole, and in turn,
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brings women to shatter our identity, shatter our self, bring about the degeneration of our mental
health. The analysis focuses on three key aspects of the story: the meaning of the yellow
wallpaper as a symbol, the imprisonment the narrator is forced into, and the final erasure of self
for the narrator.
19th-century society is an examination of the place of women in society and their gender
roles and power dynamics therein. In The Yellow Wallpaper, the author uses a feminist
interpretation to show how gender roles of the 19th century had an enormous effect on women's
lives and experiences. Back then, women could only be wives and mothers, and they couldn't
support themselves intellectually or gain independence independently. In addition to being based
on cultural norms, these expectations were supported through legal and medical practice, which
controlled women by male authority. The perfect symbol for such patriarchal controls is John,
the narrator's husband (Gilman 1). He is part husband, part physician, lord, and master to the
narrator's life, brushing her as a husband can, dismissing what she thinks and feels as irrational
as a physician. His use of diminutive terms such as little girl for her in this situation also reflects
the paternalism prevalent in nineteenth-century gender relations. He appoints her as some figure
of the child to be patronized. It is psychological control that infantilizes the narrator: As she is
unable to do so, her agency is removed, and she is made into a passive object.
However, the narrator's voice displays an unequivocal criticism of that dynamic. Having
tried at first to resist John's authority, she never succeeds: I do not even listen to her opinions.
John dismisses her when she says more social interaction and creative contact seem to help her
condition; he tells her she needs to rest for her health to heal. Another example is his difficulty
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seeing her point of view: it is yet another woman's experience being invalidated in the world of
mental health.
But where the story breaks out of this limited, gendered relationship between the narrator
and John and condemns gender roles on a systemic level, the oppression of the woman over
'falling from grace' is critiqued. Patriarchal control is contained in the medical establishment,
exemplifying John's authority as a physician (Gilman 2). The rest cure, as prescribed for the
narrator, was prescribed as the treatment for women diagnosed with hysteria or other mental and
nervous disorders, which often were the result of repression of women's desires and ambitions.
In this story, Gilman calls out the patriarchal assumptions of 19th-century medicine and the
treatment's perpetuation of traditional gender roles by describing the devastating effects of the
treatment.
One of the most striking uses of wallpaper as a multiplier symbol is The Yellow
Wallpaper. On one level, the yellow wallpaper represents the confinement of women in the
domestic. The pattern mimics the chaotic and oppressive fashion of the installer. It mirrors the
narrator's sense of physical and social entrapment: The demands of the customs she was thrust
into in her room. At the start of the story, the wallpaper repulses the narrator; it is undeniably
repulsive, almost despicable; it is a smoldering unclean yellow (Rzadtki 1). The wallpaper is a
fantastic metaphor for all the domestic roles and constraints her visceral reaction to the wallpaper
symbolizes. However, the narrator eventually becomes obsessed with the wallpaper as we
continue the story and begins to see a woman trapped in it. For this, he is trapped, and the figure
goes to the narrator, who becomes an unconscious project of feeling trapped and needing
freedom.
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From a feminist point of view, the wallpaper represents the social structure of the
confining and deindividuation of women. It should be noted, however, that Gilman believed that
the wallpaper's domestic and humble nature referenced a connection to the traditional roles
allotted to women. It is represented by the 'outrageous angles' and florid arabesque' design,
indicating the need for submission and perfection. However, if psychoanalytic theory is applied,
a more accurate perception of the relationship between the narrator and the wallpaper can be
obtained. According to Freud, these desires, in particular, will often resurface in symbolic form
as part of the repression of unresolved desires and conflicts in the unconscious mind (Rzadtki 2).
The wallpaper is a canvas for the narrator where repressed emotions and frustrations are placed.
The contradiction between her inner freedom and her outer lack of it is what busied her with the
wallpaper.
The most central and essential element of The Yellow Wallpaper, The narrator, a crucial
target of Gilman's criticism, is the 'rest cure' given to The narrator. The rest cure to treat women
with nervous disorders incorporated rest and physical inactivity, the avoidance of any intellectual
or creative stimulation, and, in its most extreme form, developed by Dr. Silas Weir Mitchell, the
rest cure. The treatment did not promote recovery due to that because most of the time, it only
made the conditions it was supposed to treat worse by preventing the women from being able to
engage in meaningful activity and silencing them. Gilman has experienced the rest cure, as
presented in The Yellow Wallpaper. In 1887, Gilman tried the rest cure after a about with
postpartum depression. She writes in her autobiographical essay ''Why I wrote The Yellow
Wallpaper?'' that the treatment made her nearly mad, so she quit and advocated for women's
power in mental health issues (Rzadtki 1). In the story, the rest cure also affects the narrator. She
is continually isolated, pushed into more isolation, and discouraged from writing or doing
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anything intellectual. She grows more and more isolated from the world and becomes more and
more obsessed with the wallpaper. The story is about the danger of stripping people from
expressing themselves and taking agency away from them.
The yellow wallpaper is a potent symbol of the erasure of self, the narrator herself. In her
early sequence, she finds the wallpaper ugly, a disgusting thing that smolders so strangely
discordantly that it awakens a sense of anguish and disquiet. The story goes on, however, and
soon, the wallpaper occupies more and more of her attention and, by metaphor, her identity. She
sees a woman behind the wallpaper, trapped and trying to break out. The narrator and woman
behind the wallpaper are the same; her wish for freedom takes shape in her. The image of the
woman trapped behind the wallpaper reflects the conflict between suppressed desires for self-
expression and forces that oppress without time and space.
The narrator becomes more and more focused on the wallpaper and imagines herself in
the figure she sees behind it. The woman crawls around the room, raking the bars of her
imprisonment,' she imagines. This is not only a madness symptom, but that the narrator is
subconsciously fighting with herself to define her own identity and to show that she, too, is a
prisoner and trying to break free just as the poor man was. An attempt at Divalian agency and
selfhood in a world that, much to her despair, robbed her of just that. All this, though, is part of
the reason for her growing fixation on the wallpaper and ensuing breakdown, a tragic lesson
about what happens to repression. Continuing to become obsessed with the image of the woman,
she slowly loses touch with her reality and brings more and more of her reality to be that image
until she is what she thinks she is.
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Tearing down the wallpaper at the climax of the story, finally obliterating the last of its
pieces, is a powerful, if tragic, imagination of freedom. She symbolically rips the paper from the
walls to peel back the oppressions that kept her in check and reveal whose identity she has lost.
Her identification with the woman behind this wallpaper, whom we know is herself, is the last
breakdown of her identity as an individual. Even the narrator's actions act as an act of resistance
and total disintegration. Because of the oppression she has internalized, she cannot go back to the
person she once was at the beginning of the story, and she is no longer the person she once was.
Because the narrator's language and behavior shift subtly but profoundly throughout the
story, this gradual erasure of self is made all the more poignant. At the outset of the narrative,
she writes relatively self-consciously and quite plainly. She relates the treatment she received
that upset her in a reasoned, reflective way, how she became irritated with the rest cure, and how
she was uncomfortable with her surroundings. Throughout the story, however, her prose
becomes increasingly broken and more irrational as she loses her ability to sustain a sense of
self.
As the narrator's language and observations change, it is clear that language becomes
very obsessed with the wallpaper and the imagination of the woman behind it. Soon, she begins
to feel undated, losing track of time and losing track of reality. Her identity in the title of her
journal is the significant turning point by which her distinct narrative voice is lost as the journal
entries become increasingly erratic and disjointed. All women share in the narrator's descent into
madness. Still, the tragedy is only that, only if we continue to live within such a society that
represses us and, by this repression, denies us our voices and our autonomy. As a result of her
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inability to act or speak freely, she psychically breaks down, and we can say that her personality
is eliminated.
Finally, in the final scene, the narrator shares the victory of the woman in the wallpaper,
which she shares triumphantly as she cries, 'I've got out at last, and I've pulled off most of the
paper, so you can't put me back!' (Gilman 1). Before this, she thinks she had freed herself from
the bounds laid upon her but had lost herself. Finally, the narrator's identification with the
woman in the wallpaper is a total and complete disintegration that has her internalized as the
oppression she experiences and does find a point of division from which the narrator's identity
begins and ends as opposed to the very forces intending to oppress her.
By using Freud’s theory of repression as a psychoanalytic theory, we have a good way to
understand the erasure of the narrator's self-identity. For Freud, repression, therefore, means a
forcing, pushing away, or squashing of unpleasant thoughts, feelings, desires, etc., below the
conscious level into the person's unconscious. Obsessed by the wallpaper begins to function as a
mechanism of escaping her stricken reality, playing out her need for public freedom, both
personal freedom and self-expression, in ways she could not in real life. Her desires of this
nature are denied her ability to be in the open to confront such because society expects her to be
a submissive and quiet wife and mother. In her unconscious, she instead holds the oppressive
pattern that prevents her from living and from the repressed desires that appear as the chaotic,
entangled pattern of the wallpaper. Since this, her madness may be the consequence of her
inability to reconcile what she had to do with what she was desperate to want. The more her
sense of identity and agency are repressed, the more she is obsessed with the wallpaper. Through
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this, society refuses to recognize her autonomy and thus violence her selfhood, which she
inevitably succumbs to a psychological breakdown.
In conclusion, with The Yellow Wallpaper, we are given an examination of confinement,
oppression, repression, and psychological breakdown within the patriarchal gender roles and
medical practices created during the 19th. This essay has argued that Gilman utilizes a story to
expose the way that the oppressiveness of patriarchal control upon a woman's mental health and
individuality. Hamlet provides a tragic representation of sonne times but is also a massive
critique of the social structures that allow sonne times to be effective. But Gilman's timeless,
haunting story reminds us that women's autonomy always matters and that depriving someone of
the freedom to self-express is dangerous. Gilman challenges readers to address the prevalent
imagination of liberty. She symbolically rips the paper from the walls to peel back the layers of
oppression that kept her in check and reveals the identity she has lost in the process. That last
breakdown of her identity as an individual is her identification with the woman behind the
wallpaper, whom we think is her. The narrator's actions are an act of resistance and total
disintegration. She is no longer the person she was at the start of the story, and she can no longer
get back to the person she once was because of the oppression she has internalized.
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Works Cited
Rzadtki, Beate. "Gilman, Charlotte Perkins: The Yellow Wallpaper." Kindlers Literatur Lexikon
(KLL), 2020, pp. 1-2.
Gilman, Charlotte Perkins: The Yellow Wallpaper." Kindlers Literatur Lexikon (KLL), 2020, pp.
1-2, openlibrary-repo.ecampusontario.ca/xmlui/handle/123456789/1280.
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