Social outlooks in the 19th century encouraged a sort of pessimistic altruism that could hold resulted in a adult female thought of herself as nil, as or worth less than nil. Womans of that clip were controlled by “ higher-ups ” like their hubbies or male parents and forced to lose their individuality under quashing societal system — patriarchate. In “ The Yellow Wallpaper ” , Gilman skilfully reveals this facet that drives adult female despairing by manufacturing the plotline of her ain narrative. Gilman ‘s storyteller is confined in a baby’s room and forced to make nil because it ‘s recommended for her mental unwellness. But by her patriarchal hubby and the intervention without sing her as a being, the storyteller ‘s status gets worsened. With nil to excite the storyteller, she becomes haunted with detecting the xanthous wallpaper and conceive ofing a creeping adult female inside it. It becomes an inspiration for the storyteller to happen self-identity. Identifying herself with the creeping adult female in wallpaper, the storyteller wholly descends into lunacy at the stoping. Throughout the procedure of seeking for a true individuality of the storyteller, Gilman begs the of import inquiries to be asked: What deprives the storyteller of her individuality? What does the xanthous wallpaper symbolize? And in conclusion, does her insanity record itself as a victory or a licking? In this paper, I will try to cover these replies from a feminist position with the subject of “ seeking for individuality ” .
Officially born into the outstanding and well-known Beecher household in 1860 as Charlotte Anna Perkins, Gilman was eager and passionate for self-reformation from when she was a kid. The excessively critical fortunes in Gilman ‘s life, nevertheless, forged impenetrable obstructions on the way to her extreme desires. In her childhood, for illustration, she underwent traumatic experiences, particularly when Gilman ‘s male parent abandoned the household high and dry, go forthing them impoverished when she was merely 13. Therefore, her household was sent to shack with relations and relocated so frequently during her dim and missing childhood. This could hold been one ground that Gilman developed such an ambivalent sentiment towards matrimony and a factor that could hold influenced her to non get married during her early maturity. Of class, that chaste vow was severed when she married, but the twosome ‘s sweet curses terminated when the two came down with a determination to disassociate with one girl left at the terminal of their unsuccessful relationship. Many old ages subsequently, Gilman was remarried to her cousin and they remained merrily married until his sudden decease. Tragically, in 1935, Gilman discovered that she had an incurable instance of chest malignant neoplastic disease and committed self-destruction after functioning old ages as an advocator for the right-to-die.
“ Gilman used her energies and her gifts in an attempt to understand the universe and her topographic point in it and to widen that cognition and those penetrations to others. ” ( Lane, 1990:229 ) Gilman lived at a clip of great alteration and underwent events that had great influence on the development of the American society such as Industrial Revolution and Women ‘s Movement. Not accepting these events happen without appropriate scrutiny, she became an enthusiastic author, observer, societal critic, and women’s rightist. She criticized the restriction of societal order, particularly its effects on the position of adult females. In her plants, Gilman devoted herself to animating adult females with her radical thoughts and raising the criterion of life for adult females by indicating out terrible jobs in society.
Unfortunately, Gilman ‘s work was buried in the archives of literature and temporarily bury amongst devouring readers in the old ages following her decease. In the 1970s, nevertheless, feminist authors and theoreticians rediscovered and reappraised Gilman ‘s work for its accurate show show of societal maltreatment. Many of Gilman ‘s Hagiographas are read today as important illustrations of feminist literature. “ The Yellow Wallpaper ” in peculiar has generated much attending as modern readers appreciate both its literary value and profound societal commentary.
1.2 The Yellow Wallpaper and Social Background of the Time
When “ The Yellow Wallpaper ” , was published in the 1892 edition of The New England Magazine, people merely praised the narrative ‘s keen imagination and chilling temper. However, this narrative was categorized as a chilling reminder that revealed powerful force of societal norms after it was released one time more in The Feminist Press at 1973 as a separate volume. Soon plenty, “ The Yellow Wallpaper ” became the representative icon of feminist literature.
The plot line of “ The Yellow Wallpaper ” is simple. After giving birth, the storyteller suffers from some vague unwellness — a sort of nervous weariness or depression ; hence, her hubby, a physician, decides to take her into a colonial house off in the countryside for three months. For the ailed immature married woman, the full household is expected to set to a rural life style, and her sister-in-law takes over the boring family jobs and newborn baby as they may be damaging to the married woman ‘s recovery. Additionally, she is kept from run intoing others, authorship, and basking any other activity that may necessitate a alleged “ harmful ” degree of concentration and attempt. Even though she is pampered with her hubby ‘s attending and love, her mental wellness opportunities the opposite way and descents into an irrevokable status of insanity. Hence, the readers are able to glance into her ain universe of crazes through the entries of her diary that she keeps off from her hubby ‘s nosy position. Indeed, the suave method in which she executes her outstanding usage of sentence structure and sentence spacing clearly proves that there were several breaks. Not merely do the rhythmic passages elicit suspense and adrenaline-pumping fright, but it besides allows the readers to sympathise with the chief character and increasingly understand the development of her huge uncomfortableness. However, when it is finally revealed that she is eventually insane, the readers doubtless fall into the same daze as does her hubby.
Her pathetic narrative clearly exemplifies precisely how a adult female may lose her freedom and self individuality under the patriarchal societal system. When “ The Yellow Wallpaper ” was written, the place of adult females was really different from what it is today. Womans could non vote and they were destined to pass their lives merely in domestic domain. Though some could gain, the rewards they got were lawfully owned by their male parents and hubbies. They were merely forcibly expected to carry through their responsibilities as devoted female parents and married womans and be satisfied with the fact. Likewise, though their consciousness was bit by bit rousing, their legal and societal positions were still based on their dependance upon the work forces around them. This struggle and psychic discontinuity caused a kind of craze for many adult females of the clip. In that sense, the nervous breakdown the storyteller is enduring in this narrative is typical of that peculiar century. Under such societal backgrounds, Gilman reveals adult females ‘s limited and laden state of affairs by seting the storyteller against the conventions of those black yearss. Ironically, though the storyteller ‘s hubby is seen as the clear scoundrel through the whole narrative, he is merely a contemplation of the society he belongs to. The storyteller ‘s desire and passion to happen more in her life do non hold with societal outlooks and they make her grow off from the idealised theoretical account of adult female at that clip.
1.3 Literature Review: Surveies on “ The Yellow Wallpaper ”
After giving birth, Gilman herself suffered depression for three old ages and eventually succumbed to the “ rest remedy ” prescribed by the celebrated doctor, Dr. Silas Weir Mitchell. However, because she was forced to make nil and see no one, Gilman ‘s depression got worse and worse. She finally refused those waies and returned to her day-to-day modus operandis and work. Then, she recovered and wrote “ The Yellow Wallpaper. ” Here, she claimed that the short narrative was basically a critical proposition against the physician who had tried to bring around her through uneffective agencies, and proudly stated the intent of composing it, “ It was non intended to drive people brainsick, but to salvage people from being driven loony, and it worked ” ( Gilman, 1992:53 ) .
However, it was non easy for Gilman to print “ The Yellow Wallpaper ” because editors and readers were unwilling and unready to accept it. When the narrative was sent to Scudder, an influential editor, the reaction was beyond climbing nightshade and excessively critical. He refused the narrative as stating that “ I could non forgive myself if I made others every bit suffering as I have made myself ” ( Scudder, 1998:33 ) . It is possible that the ambiance of Victorian America and its high outlooks for literature within their cultural and socially recognized scope required that Scudder reject “ The Yellow Wallpaper. ” The narrative did non propose the sort of elating stoping like typical narratives of the clip ; furthermore, the supporter who became insane was an ordinary middle-class married woman. Gilman ‘s uncomfortable portraiture of such a normal female citizen falling into lunacy within the Victorian patriarchal societal system caused Scudder to experience “ suffering, ” and he may hold rejected the narrative for the intent of protecting his readers from the tabu daze factor of it.
Without a uncertainty, after its publication, “ The Yellow Wallpaper ” was greeted with strong but assorted reactions and commentaries. Readers of that sheltered clip period criticized this work of literature harshly for its unnatural context and forbidden plot line. On the other manus, for feminist critics, it was regarded as a literary chef-d’oeuvre because it offered a feminist position on the societal state of affairs facing sexual political relations when most writers were frightened and preferred to remain in the safe zone to delight the easy aroused audience. Hedges evaluated it:
For aside from the visible radiation it throws on the personal desperations, and the artistic victory over them, of one of America ‘s foremost women’s rightists, the narrative is one of the rare pieces of literature we have by a nineteenth-century adult female which straight confronts the sexual political relations of the male-female, husband-wife relationship ( Hedges, 1992:124 ) .
And Gilbert and Gubar referred to the “ The Yellow Wallpaper ” as “ a dramatic narrative of female parturiency and flight, a paradigmatic narrative which seems to state the narrative that all literary adult females would state if they could talk their ‘speechless suffering ‘ ” ( Gilbert and Gubar, 1998:34 ) .Warren besides praised “ The Yellow Wallpaper ” as “ a annihilating portrayal of a adult female fighting to liberate herself from a conventional, personality-destroying matrimony based on compressing sex functions ” ( Warren, 1984:259 ) .
Through many feminist readings, “ The Yellow Wallpaper ” became non merely a horror piece, but a fictional sphere in which Gilman questioned and challenged the submissive function forced upon adult females. The short narrative became an daring work that still serves as an encouraging icon of female strength and doggedness even if they may be suppressed by male laterality.
In respect to the shocking and controversial stoping, critics still continue to debate whether her descent into lunacy was either a victory or a licking. Relatively talking, the earliest surveies conducted in the 1970s deemed “ The Yellow Wallpaper ” as a winning narrative of a adult female trying to liberate herself from a patriarchal society. Gilbert and Gubar gave the most optimistic reading about such a topic as stating that:
A purportedly huffy adult female has been sentenced to imprisonment in the ‘infected ‘ house of her ain organic structure ; nevertheless, through designation with the dual trapped on the other side of the wallpaper, the adult female -whom society perceived as mad- flights from her textual and architectural parturiency into the unfastened infinite of her authorization ( 36 ) .
Through Kennard ‘s eyes, the storyteller ‘s lunacy was seen even more optimistically as “ a signifier of higher saneness, as an indicant of a capacity to see truths other than those available to the logical head ” ( Kennard, 1992:180 ) .
But some critics, on the other manus, stress the obvious restrictions of the storyteller ‘s state of affairs at the terminal of the narrative. In Hedges ‘s position, the storyteller achieves impermanent freedom but “ is destroyed ” ( Hedges, 1992:132 ) because she is wholly huffy, so she claims it can non be a complete “ freedom ” ( 131 ) .
Chapter Two Analysis of “ The Yellow Wallpaper ” with the Theme of “ Identity ”
2.1 Searching for Identity
2.1.1 Patriarchy and Identity
In the 19th century America, adult females were repressed, judged, and controlled by a patriarchal system of societal order. Womans did non portion the same duties and rights that work forces possessed as a natural gift, and were kept near merely as “ objects ” instead than people. Similarly in “ The Yellow Wallpaper, ” the storyteller ‘s individuality is besides forced down by such petroleum and suppressing societal outlooks and duties-patriarchy.
First, the storyteller in this narrative is wholly dominated by her hubby, John, which is non an uncommon instance when taking the background and historical context of the state of affairs. The storyteller says, “ John laughs at me, of class, but one expects that in matrimony. John is practical in the extreme. He has no forbearance with religion, an intense horror of superstitious notion, and he scoffs openly at any talk of things non to be felt and seen and put down in figures ” ( 13 ) . As such, John is so “ rational ” and humbled by his gender high quality that he does n’t care for his married woman ‘s true emotional uncomfortableness and simply believes that she is enduring from nil more than a “ little hysterical inclination. ” Alternatively, as a doctor, he prescribes the “ rest remedy, ” restricting the storyteller to the baby’s room and forbiding her from utilizing her imaginativeness because he believes it would decline her wellness. Throughout the narrative, John treats the storyteller, his married woman, like a kid as he dearly calls her either a “ blest small goose ” or a “ small miss. ” Besides, when the storyteller tries to speak about what troubles her to him, he ignores her despair and refuses to see her as an equal and more as his line of duty. Though we can evidently see that he loves and attentions for his bride, the manner he expresses this kind of worship and fancy is perfectly restricted, limited, and hypocritical. He does n’t listen or even try to sham involvement at the face of her personal desires and esteem her individuality or being at all. In making so, the storyteller is forced to go a submissive married woman to her biased and extremely sexist hubby.
At the same clip, the storyteller is compelled and tempted to populate life consequently as a devoted female parent like Jennie, John ‘s darling younger sister. While the storyteller invariably fails in her responsibilities as “ the angel in the house, ” Jennie heartily undertakes all the maternal responsibilities that the 19th century positions about the function of adult females typically suggests like completing all the family jobs, fostering the household, contradicting her ain desire for the interest of a stable matrimony, and remaining content to pass her life as a trophy female parent and bride. The storyteller about covetously observes, “ She is a perfect and enthusiastic housekeeper, and hopes for no better profession. I verily believe she thinks it is the composing which made me ill! ” ( 17 ) . Jennie symbolizes the merrily domesticated adult female, while the storyteller is portrayed as being a portion of an unnatural category for harbouring a unsafe desire to interrupt free from such domestic restraints. Writing is merely manner for the storyteller to show herself, but Jennie agrees with John ‘s rating and besides prevents her from basking such simple activities that require no striving attempt on the storyteller ‘s portion. Jennie may be able to understand the storyteller better than John as a adult female, but she does n’t listen to her, either, and efforts to chasten her to be a socially accepted female parent and homemaker like herself. This forceful outlook stifles the storyteller and bit by bit deters her from detecting her ain true dignity.
The “ rest remedy ” that is prescribed to the storyteller when she is enduring from neurasthenia is besides a symbol of patriarchate that demolishes her human individuality. The intervention prioritizes her to linger in the confines of a baby’s room, partake in absolute remainder, maintain off from mental or societal activities, and besides requires a complete isolation from household and friends. Although John, the storyteller ‘s hubby and physician, means good to bring around his mentally troubled married woman, he finally worsens her wellness by dividing her from the outside universe. The “ rest remedy ” merely narrows the focal point onto the physical status of the patient and non the emotional or mental, which subsequently proves to be uneffective in bring arounding her unidentified complaint. John lone considers her as a inactive topic of intervention and, in some instances, as a canonized but incapable overgrown baby. The patriarchal societal system that forces a adult female ‘s entry in the domestic scene and her obeisance in a doctor/ patient relationship is influential in this peculiar intervention.
Then, the storyteller ‘s noncompliant action of opposition for self-expression in the narrative escalates to the interrupting point with the “ authorship ” issue. The chief character hides her diary because composing in it is deeply against her hubby ‘s wants. She attempts to conceal her diary every clip he returns from his concern excursions, stating each clip: “ There comes John, and I must set this away-he hatreds to hold me compose a word. ” Although John “ perfectly forbids ” her from authorship by reasoning that it would basically disrupt her recovery, the storyteller feels that composing provides her freedom and comfort because she genuinely believes that “ congenial work, with exhilaration and alteration, would make good ” ( 14 ) . As Gilbert references and asserts, function of authorship is for the storyteller ‘s personal look instead than an action of opposition toward her hubby in this narrative. For this ground, she keeps composing the secret diary and showing her feelings on the pages because authorship is the lone accessible method she can take advantage of to liberate her independent sentiments and bring out her ain individuality amongst the constricting degrees of repression. In that sense, her implemented inaction would hold bit by bit led to her dry and unexpected suicide and the act of composing really represents a meaningful battle for self-actualization.
All these facts besides imply the existent ground as to why the chief supporter should stay anon. from the beginning to the terminal of this narrative. It is unusual that the chief character has no name and fails to present herself while the other minor characters ( even the nursemaid ) appear to hold a name. Gilman intentionally deprived the storyteller of a name to stress the fact that adult females of that historical epoch lose their individualities, being forced to populate merely as ideal female parents or married womans in the patriarchal society. This thought is so open-ended that presumptively any married woman, female parent, or-in general, women-may have their ain personal individuality stripped from them amongst the workings of such a dehumanizing and male-dominated society.
2.1.2 Symbolism of the Yellow Wallpaper
While the storyteller is confined in the baby’s room, she begins to prosecute her aspirations to happen out the mystical significance of the wallpaper and fabricate fanciful narratives stemming from it as she observes its picturesque designs and intricate forms. Because she disobeys John ‘s orders and suggestions after conceive ofing the adult female trapped in the xanthous wallpaper, it has a symbolic significance as an inspiration for her to detect her true individuality.
As she surveies the wallpaper during her free clip, she feels that she is interrupting free from her subjugation and exclaims, “ And I know John would believe it absurd. But I must state what I feel and think in some way-it is such a alleviation! ” ( 19 ) . While being prohibited to compose and partake in such recreational activities, the xanthous wallpaper becomes her greatest and merely ocular and mental pleasance as she proclaims, “ Life is really much more exciting now that it used to be. You see, I have something more to anticipate, to look frontward to watch ” ( 22 ) . Whenever the storyteller attempts to discourse about her pent-up feelings to her hubby, he would non hear of it, nevertheless, the wallpaper seems to listen to her manic ideas and reflect her truest emotions. Thereby, the storyteller ‘s battle to detect the stationary wallpaper symbolizes seeking for her individuality by the attack she uses to portray its significance throughout the narrative.
When the storyteller “ meets ” the xanthous wallpaper for the first clip, she thinks that it is the “ worst paper ” that she has ne’er seen in her life. As it takes on the function of mirroring her unconscious head, she does non experience satisfied with herself and go even more and more baffled and lost within the Chamberss of her ain saneness. Consequently, the procedure that the storyteller undergoes to happen significance in the form worsens her status, yet she continues the hunt regardless of it being damaging to her wellness. The longer the storyteller admires the paper, the more definition she perceives in both parts of the paper, which reveals itself to be a front form of bars and a back form that resembles a adult female. Continuously, the storyteller dissects these uneven forms from the design, conceive ofing eyes and other organic signifiers non native to its original form. The storyteller notes with captivation and horror of “ the shadow of the adult female who is crawling in the wallpaper, ” ( 24 ) in which she besides realizes that “ the adult female seems to agitate the form to acquire out of the wallpaper ” ( 25 ) . The storyteller parallels this vision of the caged adult female to her ain current province wherein she is confined in the baby’s room room, unable to pattern her personal autonomies to her ain freedom of will. In summing up, the unidentified adult female trapped behind the barricaded form of the xanthous wallpaper most evidently represents the storyteller ‘s societal status and her province of head.
At foremost, the adult female in the wallpaper appears to be unagitated during the daylight, but behaves wildly in the dark when she violently shakes the form to liberate herself from the bars. As clip goes on, the adult female in the wallpaper begins to be active both during the twenty-four hours and dark ; hence, the storyteller becomes perfectly obsessed with detecting the amorphous figure. When she tries to bring out the inhumed secrets inside of her, the adult female trapped in wallpaper inspires the storyteller to listen to her ain pent-up inner voice. At the same clip, she encounters uncomfortable truths that drive her to hopelessness ; accordingly, we can detect the storyteller ‘s passage from her credence to her gradual desire to get away.
Then, the storyteller perceives the adult female trapped in the wallpaper as a representation of herself that is trapped by the restrictive forms of her ain society. For this ground, she is determined to rend the wallpaper off the walls as if she attempts to get the better of her state of affairs and for good extinguish the patriarchal forces that restrain her: “ I pulled and she shook, I shook and she pulled, and before forenoon we had peeled off paces of that paper ” ( 25 ) . Finally, the storyteller liberates the adult female captivated in the wallpaper by destructing it ; moreover, she identifies herself with the figure and finally becomes mentally unstable. The storyteller is no longer an unpleasant or pent-up adult female as she declares, “ It is so pleasant to be out in this great room and weirdo around as I please! “ ( 26 ) .
And throughout the whole procedure, the colour yellow has a important symbol. The xanthous colour is normally associated with affection and felicity ; nevertheless in this narrative, it is linked to a malignant beginning that descends the storyteller into insanity. As the “ uncomfortable ” xanthous colour, it non merely symbolizes feelings of defeat and choler that the storyteller feels under repressions, but besides alludes the old and airless patriarchal society she faces in an dry manner. Gilman likely decided the doubtful colour “ xanthous ” with a important intent to depict the unpleasant ambiance, and I think it worked surprisingly. From detecting the wallpaper to destructing it, the full procedure symbolizes the storyteller ‘s battle to rediscover her self-identity in the thick of such “ yellowed ” societal restraints.
2.2 Insanity: Victory or Defeat?
At the chilling coda of this narrative, the storyteller escapes in a manner no 1 expected. When John discovers his married woman creeping on her custodies and declaring “ I ‘ve got out at last, ” ( 27 ) he is so overwhelmed by her drastically changed status that he faints. The storyteller, by interacting with the wallpaper and the adult female trapped within the intricate designs, and making the elusive significance of the wallpaper, undertakings her psychotic ideas and inclinations to the object of her compulsions and thirsts for her autonomy from a mostly patriarchal society wholesomely embodied in her hubby. At the breakage point, the restrictions and limitations set by her hubby ‘s actions are the really cause that drives her into arrant insanity.
Then, does the storyteller genuinely triumph and writhe her manner out of her supposedly inevitable day of reckoning at last? A few opinionative critics like Gilbert and Gubar argue that the narrative ‘s decision is non based on mere lunacy ; instead, they perceive the immature married woman ‘s province of insanity as a dalliance triumph because she was able to get away her hubby John ‘s demanding clasps and interrupt the smothering bonds between her and a cruel, tyrannizing patriarchal society ( Gilbert and Gubar, 1998:36 ) . They might see the “ insanity ” as a triumph because the patriarchal and hypocritical hubby of the storyteller, John, is temporarily defeated, or at least momently stunned. John ‘s feminine swoon of surprise can be viewed as the least victory that the huffy adult female achieves. Likewise, Schopp-Schilling besides sees the storyteller ‘s concluding descent into lunacy as a supreme rebelliousness “ which finally enables her to crawl triumphantly over her hubby ” ( Schilling, 1992:143 ) . By rupturing the wallpaper off, the storyteller feels that she has achieved a sense of self-expression that could n’t hold been executed or carried out by other individuals, and though the storyteller loses her saneness in the procedure, she displays a stable opposition to such oppressive domestic restraints and makes an arbitrary determination, so the insanity is finally interpreted as a victory or flight from her symbolic parturiency.
On the other manus, some critics assert that her irrevokable status in the terminal is more of a licking instead than optimistic success. In contrast with Gilbert and Gubar ‘s statements, Haney-Peritz argues that “ the storyteller does non travel out into unfastened state ; alternatively, she turns an hereditary hall into a haunted house and so code herself in this as a fantasy figure ” ( Peritz,1992:271 ) . Presumably, it is merely in her subconscious that the storyteller can suppress her mental restraints. She seems to prevail in the terminal by crawling over John, but such an eldritch act is merely summoned from the suffering deepness and corners of her desire and depression. She is unable to get the better of the hindrances that confine her in saneness, and consecutive, her freakish insanity empowers her to happen and show herself. Additionally, it is noticeable that John merely fainted, which leaves the open-ended possibility of her hubby waking up from his province of unconsciousness later on and suppressing her even more harshly for fright of her psychological wellness and reason worsening. Therefore, with her hubby ‘s suppression merely suspended for a specific sum of clip, the storyteller is non precisely safe or genuinely free from her domestic ties.
Both sides of the argument are accredited. In assorted ways, the storyteller both wins and loses. The storyteller ‘s brief victory can non be discredited because her hideous insanity had improbably changed John ‘s attitude: “ John who was ne’er nervous in his life ” ( 15 ) cried. His transmutation perchance paved the way and might hold established the foundation for adult females ‘s possible release. At the same clip, the storyteller could non hold wholly achieved such an overthrow because this release goes unluckily manus in manus with her insanity. However, I would instead label her stoping enterprises as a trifle of a victory because at least it could go inspiration for every adult female that was contending against such oppressing societal restraints. I guess this is what Gilman tried to appeal through this narrative. Gilman stated the intent of composing this narrative like this, “ It was non intended to drive people brainsick, but to salvage people from being driven loony, and it worked ” ( Gilman, 1992:53 ) . She has shown what consequences will come when a adult female is confined with no ego look, no rights to do her ain determination, and no desire to excite her. By that, the stoping non merely merely points out the badness of those jobs but besides inspires adult females to defy oppressive gender functions, to take back repressions, and particularly to happen their ain ways to carry through their desires.
Chapter Three Decision
Gilman ‘s “ The Yellow Wallpaper ” is so astonishing in that she non merely skilfully created and fabricated the complex plotline of her ain narrative, but she besides incorporated the cardinal and important causes that led adult females of that clip to insanity as a consequence of their mental torment and anxiousness. Although this influential short narrative is seemingly similar to Gilman ‘s other plants in its consciousness of adult females ‘s jobs, it really distinguishes itself from the remainder. Even Gilman herself considers it different and particular under certain fortunes. The writer one time claimed that she did n’t anticipate the narrative to be categorized as a piece of “ literature ” in any manner because she wrote the narrative for a “ particular ” intent. “ The existent Purpose of this narrative was to make Dr. S. Weir Mitchell, and convince him of the mistakes of his ways. I sent him a transcript every bit shortly as it came out, but no response. However, many old ages subsequently I met person who knew him who said he had told them that he had changed his intervention since reading ‘The Yellow Wallpaper. ‘ If that is fact, so I have non lived in vain ” ( Gilman, 1983:317 ) . Despite this, “ The Yellow Wallpaper ” has been regarded as the best of Gilman ‘s originative authorship and chef-d’oeuvre in American literature. Unlike many mainstream literary plants at that clip, “ The Yellow Wallpaper ” does non offer an uplifting stoping or present a desirable female theoretical account ; instead, through her word picture of a adult female riotously falling into insanity by agencies of a corrupted patriarchate, it dreadfully accuses the utmost limitations facing adult females in their society by stressing the annihilating consequences of societal and physical parturiency and the dangers of limited flight.
Ultimately, Gilman leads the reader to concentrate on the destructive powers of societal restraints and the annihilating calamities that could be an progeny of such a rigorous system. I wholeheartedly agree with Gilman ‘s concerned but strong sentiment in “ The Yellow Wallpaper. ” Today modern adult females have comparatively more freedom of look and enjoyment than adult females from old epochs ; nevertheless, in our present society, there still exists anon. victims of the patriarchal societies, enduring, like the narrative ‘s storyteller, from “ John ” and some sort of “ wallpaper. ” I would meekly propose that our society should go on its brandished attempts to get rid of the remained domestic and sexist restraints lest another nameless, pent-up adult female should travel insane or go another victim to such societal atrociousnesss.