The nineteenth century was a breeding ground for many literary movements, including realism, romanticism and naturalism. Realism consists of literature that is consistent, predictable, and sticks to the “simple truth” of how regular people live and talk. Romanticism is literature that contains things of intellect, strangeness and remoteness and tries to make the familiar unfamiliar. Finally, naturalism is literature that has regular people in extraordinary circumstances; the hero is at the mercy of larger social and natural forces, which are cruelly indifferent; traces of social Darwinism can be found in the literature and there is generally a brutal struggle for survival. Realism can be seen in The Yellow Wallpaper by Charlotte Perkins Gilman,
“Now why should that man have fainted? But he did, and right across my path by the wall, so that I had to creep over him every time!”(Gilman 244). The narrator describes herself becoming part of an inanimate object and escaping her confinement. When she becomes depressed after giving birth to her child, the narrator has strict orders to follow in order to “make her better.” As she follows the doctor’s commands and isolates herself from everyone and everything she loved, she loses her mental stability.
The success of “The Yellow Wallpaper” and Jekyll and Hyde is due to its psychological effects brought upon their main characters, due to their doppelganger. The Yellow Wallpaper and Jekyll and Hyde are two different short stories that were both written during the 19th century, which both have a similar style in which they convey a message relating to the norms during that era. The comparison between the main characters and their doppelgangers are raised by creating conflict between the two characters. The woman in the wallpaper from The Yellow Wallpaper and Hyde from Jekyll and Hyde have a psychological effect on the main characters particularly by creating havoc and aid, but affecting them in a different way. Charlotte Perkins Gilman and Louise Stevenson use the doppelgangers of the main character in order to create havoc
In the short story “The Yellow Wallpaper” by Charlotte Perkins Gilman, the emotional state of the narrator and feelings toward her husband are reflected in her description of the setting through the use of first person narration, imagery to portray feelings of oppression and figurative language to create a consistent tone of isolation and cynical irony. The narrator uses symbolism to portray her connection with her observations and the yellow wallpaper. From the moment they moved into their house, the narrator felt like her husband treated her like a child which was shown when he forces her stay in a nursery. John forces the narrator to repress her imagination. While her "habit of story-making" might have found a healthy outlet in writing,
Charlotte Perkins Gilman’s short story “The Yellow Wallpaper” follows an unnamed woman as she struggles with an unspecified mental illness. The narrator and her husband, John, temporarily move to a colonial mansion. While there, the narrator becomes increasingly more obsessed with the yellow wallpaper that covers her bedroom. This obsession increasingly grows until she eventually breaks down at the end of the story. However, while the narrator is struggling with her mental illness, John brushes it off, continually saying that nothing is wrong with the narrator.
Charlotte Perkins Gilman’s “The Yellow Wallpaper,” the narrator, Jane, has postpartum depression. In order to cure this depression, John, Jane’s husband and a doctor, administer the rest treatment on her. Gilman wrote “The Yellow Wallpaper” through her personal experience. Along with writing “The Yellow Wallpaper” she wrote an explanation for why she wrote “The Yellow Wallpaper.”
In the 19th century, the misogynist standards left women in a state where their potential was suppressed. Charlotte Gilman argued against a society where a woman’s mentality and physical health was not fully cared for because of men. She herself had been a victim of these standards causing depression and her journey to not rely on another man shaped her feminist attitude. In 1892, she wrote a piece entitled The Yellow Wallpaper where she unravels the destruction anti-feminist attitudes can cause. By the use of setting Gilman formed her meaning that women deserve not only the same rights but compromise/ To start off, let’s look at the isolated house in the yellow wallpaper
The story “The Yellow Wallpaper” written by Charlotte Perkins Gilman in 1892 shows mental illness through the narrator first hand. The theme in this story is going insane verses loneliness as well as being trapped. These themes are shown through the main character (the narrator of the story) as she works through her own mind, life, and surroundings. First, the theme of the woman’s state of mind is the main focus in this story.
In The Yellow Wallpaper, the woman trapped in the wallpaper often reflects the narrator’s thoughts and actions. Both the narrator and the woman are trapped in their surroundings. The only person in The Yellow Wallpaper that sees the woman is the narrator herself. John, the narrator’s husband, wishes that she becomes better and does not want to change the room she is staying in. Finally, the narrator wishes to be free.
Charlotte Perkins Gilman’s “The Yellow Wallpaper” critiques Victorian womanhood in several ways throughout the text. Victorian women were expected to be pure, dainty, and perfectly angelic. They were also expected to be perfect mothers, wives, and hostesses at all times. If a woman were to express too much emotion, she would be called hysterical. Hysteria was considered a medical condition which rendered a woman incapable of reason or generally thinking like an adult.
Insanity is a deranged state of the mind. Not everyone has the same experiences nor the same symptoms which lead to their mental disorder. In her story “The Yellow Wallpaper,” Charlotte Perkins Gilman presents a peculiar case of insanity. The main character is put on bed rest to overcome her temporary nervous depression. However, while being stuck inside the room, the unreliable narrator increasingly becomes more and more symptomatic.