The Yellow Wallpaper by Charlotte Perkins Gilman is a short story set in the 1890s about a female narrator who struggles with postpartum depression. She moves into a home for the summer with her husband, John. Since she has this sickness, John forbids her from doing any sort of activities other than some houes work. If she was doing anything, her husband would want her to rest to help with her illness. This was a common "cure" known at the rest cure back then.
The Yellow Wallpaper by Charlotte Perkins Gilman is a short story told through diary entries of a woman who suffers from postpartum depression. The narrator, whose name is never mentioned, becomes obsessed with the ugly yellow wallpaper in the summer home her husband rented for them. While at the home the Narrator studies the wallpaper and starts to believe there is a woman in the wallpaper. Her obsession with the wallpaper slowly makes her mental state deteriorate. Throughout The Yellow Wallpaper Charlotte Perkins Gilman uses many literary devices such as symbolism, personification and imagery to help convey her message and get it across to the reader.
Symbolism Analysis of The Yellow Wallpaper One might know that Charlotte Perkins Gilman, author of the short story “The Yellow Wallpaper” uses the wallpaper in the main character’s room as a symbol for a bigger underlying meaning. This is a short story about a young women diagnosed of depression and “a slight hysterical tendency”. In hopes of healing the narrator, her husband moves them into an old, ornate home for the summer and required her to refrain from any activity to calm her mind. However, instead of getting better, the narrator goes into a deeper level of madness. This madness is caused by her obsession over what she believes is animate patterns and a trapped women in a peeling, aged wallpaper in her room.
The house is in a super-isolated place. The house represents the narrator 's personal emotions; restricted and isolation. In the story, “The Yellow Wallpaper”, the symbolism of the the wallpaper and the diary demonstrate the psychological difficulties, that were caused by being disrespected and thought less of, during the 19th century for women across the United States. In the “Yellow Wallpaper”, the woman 's husband John neglects her symptoms of postpartum and says she has a slight hysterical tendency. As this progresses, the woman starts to go mad from ignorance and starts to believe there is someone behind the Wallpaper.
In Charlotte Perkins Gilman’s short story, “The Yellow Wallpaper”, the narrator is suffering from postpartum depression. The narrator 's husband John, who also happens to be her physician, prescribes the rest cure to help lift his wife of her depressive state and ultimately heal her depression. However, the rest cure does not allow the narrator to experience any mental stimulation. Therefore, to manage her boredom the narrator begins obsessing over the pattern of the yellow wallpaper. After analyzing the pattern for awhile, the narrator witnesses a woman trapped behind bars.
Thus, the bars in the narrator’s window serve as a gothic symbol for the relationship the narrator has with her husband because of the way in which they both restrict her independence and power. This symbolism reveals Gilman’s critique of patriarchal society, as she draws attention to the confinement of women in society through the physical confinement of the narrator. This suggests that Gilman condemns the way in which patriarchal society limits the independence and authority of woman at this time. Furthermore, the narrator observes that “John is away all day, and even some nights” (Gilman 1686). This displays that John does not understand the challenges the narrator faces because of her confinement and he simply assumes that he knows what is best for her.
Nine years old, alone, suffering from the death of her brother, Liesel has been separated from her mother and left at 33 Kimmel Street in Molching to live with Hans and Rosa Hubermann. In this book narrated by Death himself Liesel is made fun of at school because she is unable to read. Early on Liesel realizes that she is powerless without words and this is one of the things that drives her throughout the book to never be powerless… wordless. Liesel has nightmares when she is first living at Himmel Street and she has to be sat with by Hans through the night. Liesel is happy and content living on Himmel Street and she becomes good friends with a guy named Rudy Steiner that is always trying to kiss her.
It is a story that could actually happen. In the story, Jane expresses concerns about her mental health to her husband, John, a doctor, who through good intentions and believing that he is doing the right thing, requires that his wife stays in bed all the time, and not do any of the things she would normally or would like to do. Due to being bed ridden, Jane becomes worse until she reached the limit and goes crazy. John’s behavior and decisions at this time were considered to be completely normal. The Yellow Wallpaper is considered to fall in the genre of realism because it represents the way life was for women during the nineteenth century.
It is this male dominance that deems women as second class citizens who do not need an education. In ‘Alicia who sees mice’, Alicia attends university , due to her mother dying she has ‘inherited her mother’s rolling pin and sleepiness’ although she has the opportunity to study , it is not as important as looking after her family. Esperanza’s mother is not as lucky , she is a typical women in Latin America. Her life revolves around her marriage, family and children. Due to being a woman , Esperanza’s mother was not able to complete her education , instead she was forced to stay at home and look after Esperanza and her siblings while her husband provided for them, she strongly resents this ‘“I could have been somebody, you know?
By the end of the play, both Nora and Mrs. Linde have entered new phases in their lives. Nora has chosen to abandon her children and her husband because she wants independence from her roles as mother and doll-wife. And Mrs. Linde has chosen to abandon her independence to marry Krogstad and take care of his family. They have both chosen their own fates without any male influence whatsoever. In act three Mrs. Linde sits in the Helmers’ house, waiting for Krogstad in order to persuade him of retiring the letter (which affected Nora’s relationship by telling the truth about the money loan) from the letterbox, she suggests that they have “a great deal to talk about,” Mrs. Linde starts by saying that she felt the marriage was necessary for the sake of her brothers and mother but regrets having ignored her heart, which told her to stay with Krogstad.