The Yellow Wallpaper Timed Essay Draft

Thinking about Charlotte Perkins Gilman's The Yellow Wallpaper, was (and is) hysteria a specifically female disorder?

The word hysteria derives from the Greek language meaning 'uterus', which gives this disorder a specific association to the female sex as it is a vital part of the female anatomy. The diagnosis of this exclusive female disorder is through the educated patriarchal masses from centuries gone as Science Museum (2010) inform us that 'The Philosopher Plato described the uterus as an animal. He said it roamed inside women's bodies, causing symptoms as it moved' (lines 7-8) this is a great insight to see how man viewed the opposite sex as 'animals', as irrational weak beings. The weakness of the female being is preyed upon in the nineteenth and early twentieth century's, especially within literature with the publishing of Jane Eyre (1847) the famous 'mad woman' in the attic and The Yellow Wallpaper (1892)  were woman literary victims yet also written by women who were readily airing their views on hysteria. To distinguish whether hysteria was solely a female disorder both traditionalist view in comparison to The Yellow Wallpaper in order to come to a solid conclusion.

Hysteria is a state of uncontrolled excitement or extreme fear; and a medical condition in which someone is unable to control their emotions or behaviour (Macmillan dictionary, 2009). Like many disorders hysteria  has differing symptoms; due to the individuality of the patient and what century the diagnosis was made. However the common factor they share is the effect they have on the body and mind. Science Museum (2010) characterise hysteria by shortness of breath, heaviness in the abdomen, muscle spasms and fainting; there are also the mental symptoms of anxiety, irritability and general unusual behaviour. Nowadays these 'symptoms' can be seen as normal every day ailments identified in both the female and male sex.

Sigmund Freud proposed a theory that hysteria is the result of a dramatic experience, and unconscious conflicts  as well as  sexual desires which converted into bodily symptoms were to blame for these hysterical neuroses. Freud arguably reflects these ancient philosophers beliefs that these women's reactions are due to being sexually repressed, which was found more common in young women and widows (Science Museum, 2010); this statement suggests that women are the weaker sex and become irrational beings when sexually driven, Freud  is subliminally making the point that women have no control and can be considered the weaker sex. However when discussing whether hysteria is a specific female disorder, Freud himself wrote in 1897 “After a period of good humour, I now have a crisis of unhappiness. The chief patient I am worried about today is myself. My little hysteria, which was much enhanced by work, took a step forward” (Mattioli and Scalzone, 2002) it is important to note that both sexes can suffer from hysteria but due to the period and the type of society and the 'insignificant' role of women they were the weaker sex.

The narrator, a woman from The Yellow Wallpaper is diagnosed with neurasthenia named because of their connection to their emotions, and common among women because they had sensitive minds and delicate bodies which could affect a woman's emotional state. Hysteria was blamed on any activity of the uterus, menstruation, sexual intercourse or birth was to heighten a woman's vulnerability and here the narrator has not long since become a new mother. 'Round and round and round - round and round and round - it makes me dizzy!' (Gilman, 2013, p 9) signifies her emotional symptoms and of her mental instability and mental and emotional agitation of the 'rest cure'. It was physicians who associated abnormal sexual activity with this disease, which is symbolic as historically women are regarded as the original sin that brought the downfall of man and that their sexual desires are not to be

trusted; which insinuates inequality between the female and male sex.

It seems that the honest victims with sensitive nerves were primarily women and were forced to endure what contemporaries would now consider a form of abuse; while the inferior, male medics, would class this as an act of treatment and recovery. The inequality of relationships between gender prove that men were the inferior sex. Evidence further suggests that the medical doctrines were sexist and oppressive to women and although men could also suffer these nervous diseases, like Sigmund Freud, it were the women who were the primary victims because of their mental and physical inferiority; this is exposed through extensive literary works especially that of the female victim in Charlotte Perkins Gilman's The Yellow Wallpaper.

The Yellow Wallpaper Seminar Paper

What are the metaphors in The Yellow Wallpaper and what significance do they have for the narrators descent into madness?

Charlotte Perkins Gilman's The Yellow Wallpaper (1892) is arguably a self-reflective short story, illustrating the role of women in a patriarchal society during the nineteenth century. Gilman uses various symbols throughout the story, to highlight  subtle messages of female oppression and inequality that lead to the scarring of the protagonists mind. When discussing the matter of insanity Emel Ertugrul (HamptonRoads, 2012) informs us "Mental illness is not something to be taken lightly. If you think of it metaphorically, it's about literally breaking through and figuring out what you want to do. You should be able to make your own choices" (lines 18-20).  The text is lined with metaphors to help demonstrate the underlying statement of personal freedoms; I will examine the most dramatic metaphors Gilman used to associate with the decline of the narrators mental health, to the struggle with nineteenth century male domination.

The first metaphor to acknowledge the recurrent theme of the female social struggle, against male domination, is through the garden. The initial view of the garden prompts beautiful and blooming imagery,  which overall represent the endless possibilities for humanity; however, here within The Yellow Wallpaper the possibilities for the female sex present a limitation through external and internal forces. 'There is a DELICIOUS garden! I never saw such a garden' (Perkins Gilman, 2013: p2)  this metaphorical reference is used to convey the narrators longing to go outside, and 'I can see the garden, those mysterious deep-shaded arbors, the riotous old fashioned flowers, and bushes and gnarly trees' (Perkins Gilman, 2013: p3) here the garden symbolises the society in which the narrator resides, and the word 'mysterious' arguably displays women's possibilities and opportunities left undiscovered as there are areas of society restricted to nineteenth century women. Subliminally the messages evoke the issues of gender social/economic inequality, traditional gender roles and male perceptions of womankind; questioning the female abilities signify female oppression within marriage.

Another significant metaphor to mention tying to the theme of oppression and male dominance is the metaphorical bed; a simple domestic object is transformed into a symbol of traditional masculine dominance. 'And this great heavy bed which is all we found in the room, looks as if it had been through the wars' (Perkins Gilman, 2013: p4) the emphasis of the word 'heavy' suggests the intensity of the oppression upon the narrator from her husband and other male influences; to add further oppressive evidence, 'There is nothing left but that great bedstead nailed down, with the canvas mattress we found on it'  (Perkins Gilman, 2013: p10) this arguably accounts for the traditional chauvinistic role of men during the nineteenth century. The bed is antique and immovable hence the attention to 'nailed down' which stands for traditional masculine views which reflect the culture of the time. Although the bed is old it successfully serves its purpose here, as a fixed dominated culture preys on the weakness of women; because of their restricted opportunities which reflect their status within society. The bed is also a location for intimacy, a symbol of sexual activity used as a repressive measure as a form of control within marriage, John tries to use this method to get his wife to conform to the roles of a dutiful wife and mother.

The main metaphor is that ambiguous that it could represent the colour yellow and its association with illness, the domesticity of the wallpaper in comparison with the domestic role of women; the wallpapers representative pattern indicates the clear barrier between male and female spheres and also seen as  a piece of text the narrator obsesses to interpret. The imprisoned woman behind the wallpaper is a metaphor itself as she symbolises the degradation of the souls of women. The feminist interpretation focuses on the lurid colour and inconstant pattern of the wallpaper. 'The colour is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing' (Perkins Gilman, 2013: p7) this statement refers to the restrictions bestowed upon women and 'The colour is repellent, almost revolting; a smouldering unclean yellow, strangely faded by the slow turning sunlight' (Perkins Gilman, 2013: p2) creates a further negative imagery forced upon women. The colour yellow is associated with illness which tie to the narrators state of mind; and weakness, the males perception of women reinforce the theme of oppression. The latter reference subliminally states that the inequality is 'hideous', the use of 'infuriating' and 'torturing' reinforce the emotional feelings from the women of the age.

The information explored has led to the conclusion that there were factors the narrator could not control, that led to her mental breakdown. The initial stimulus is the restriction of her creative personality, possibilities were not open to the married female sector, they were trapped by the domestic life which traps you as wife and mother. The garden symbolises opportunities that are out of reach for the narrator, something which she longs for; the metaphorical bed blames further male dominance, traditionalist values and ways. The final metaphor signifies the narrators transmission from mentally oppressed to a mentally free character, as Ertugrul previously stated this was an action she alone carried out and made a choice of insanity to allow her mind to be free, her own choice. In its entirety the statement of The Yellow Wallpaper can be blamed on the male dominated sphere and their ill suited treatment to her condition, stimulated her mental decline and further issues of isolation, loneliness and restrain.

The Yellow Wallpaper Feminist Criticism

When we discuss feminism we assume that women have the same human rights as men, the same opportunities regarding their individual choices in their careers, politics and self expression. Feminist texts state that there is an oppression to women via the patriarchal powers. Normally a feminist text is produced by a female and will point out varied digressions. As Ames (2011) informs 'in a work of fiction, the main character, or heroine, personifies the social struggle against male domination.' The Yellow Wallpaper embodies the female struggle when seeking freedom of thought. It is clear that in the late nineteenth century when this text was published (1892) the author, Charlotte Perkins Gilman, recognised the female struggles; becauase of a society run by men. This is made clear through the prominent male characters and the theme of male dominance is seen through the Narrators physician husband John, and the brief reference to Dr. Mitchell. Evidence suggests further dominance through the environment in which the Narrator is placed; together these elements highlight the imprisonment of both nineteenth and twentieth century women and this control they had held over them by men. The Yellow Wallpaper is therefore a perfect example of a feminist text, it acknowledges the oppressive husband that attempts to save his wife but instead contributes to her mental breakdown, sending her mad. The story illustrates how established protocols of behaviour could have devastating effects on the women of Gilman's time (Ames, 2011).

Initially the husband is portrayed as thedominating spouse, and he holds complete control over his wife, the Narrator. He arguably, talks to her in a child-like derogative manner, he treats her as an inferior believing his wife's ideas, thoughts and creativness as laughable. It is only when the Narrator takes control of his own thoughts that the character roles are reversed. John was once a strong, protective husband becomes womanised, 'Now why should that man have fainted?' (Gilman, 2013: p12). Furthermore as Andrews (2010) states, 'in accepting her delirium, Jane has reversed the traditional roles of mother and wife; John's shock at this reversal shows further need to control his wife, lest he be seen as a"woman" by society.' Maybe the names are specific to the cause John and Jane 'Doe' this man and wife could represent any husband and any wife?

By constructing specialist sentences, along with metaphoric references that create specific imagery of which implies male oppression. It is also arguable that Charlotte Perkins Gilman's feminist views and experiences that helped to produce the dialogue of the Narrator. She is seemingly a character that tries to resist authority, 'I did write for a while in spite of them' (Gilman, 2013: p2). The desire to express herself through her creativness was restricted through her science inspired husband; she feels that through her writing she can express secrets which she believes she could not air to her husband. The use of her writing in her journalhides her thoughts from her husband and society; the fact that her husband has complete control and responsibility over his wife has left the Narrator feeling useless, alone, under pressure and imprisoned. Due to the pressures of the nineteenth centuries society the Narrator is made to feel gratefulto her husband for eliminating the need for her own self thought.

The story takes place in the top floor nursery, the Narrators confinement and the feminist views here are enhanced by the Narrators unhealthy surroundings. It is arguable whether to consider the Narrator as a prisoner to her husband? The wallpaper also enhances the repression, and the fact that her husband will not change her environment emphasises his masculine superiority over his wife. Ames (2011) argues 'the paper itself, though not physically restraining her like the gates and bars, represents a psychological prison. All of her thoughts are devoted entirely to the paper; she is captivated by it, unable to pull her mind from the strange allure of its pattern. This all connects to the image of the woman trappedbehind the paper; the protagonist's mind is not freed until the end of the story, when she has removed most of the paper.'

This text can be used as a creative tool to decrypt and present feminist findings, they illustrate the physical and mental hardship of women, all expressed through the characterisation of the husband, the wife and their environment; and that the pyschological problems they faced were placed upon them by society. Gilman was a firm believer that in order to be free of these struggles, gender roles must be removed from the social order for women to ever be free in society. 

       

Important Quotes and Analysis

"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.” (Gilman, 2013: p1)

This is a statement found in the early stage of The Yellow Wallpaper's short story and it reveals the Narrators real desire to think independently. This can also be identified as an implicit criticism to women and their place within society and to not think of her "condition" which is supported by her husband John, which also highlights the man's role in marriage and hence, society. This is the first indication that shows the narrator has internalized her husband's authority and hears his voice inside her head; this is the start of her mental struggle and her attempt to not think of her unhappiness. Here is a plea for intelligent interaction. She feels bad whenever she thinks about her “condition,” that is, about both her depression and her condition in general within her oppressive marriage (SparkNotes Editors, 2006).

“He says that with my imaginative power and habit of story-making, a nervous weakness like mine is sure to lead to all manner of excited fancies, and that I ought to use my will and good sense to check the tendency. So I try. I think sometimes that if I were only well enough to write a little it would relieve the press of ideas and rest me.”(Gilman, 2013: p3)

This statement reveals the difference between man and woman, of the Narrator and her physician husband. John believes that his wife's imagination and creativeness has enhanced  her weakness and thus became a victim to hysteria. However, the Narrator knows what is best for her own welfare by engaging herself in her imagination and creativeness she will avoid these hysterical irrational behaviour.

"John says if I don't pick up faster he shall send me to Weir Mitchell in the fall. But I don't want to go there at all. I had a friend who was in his hands once, and she says he is just like John and my brother, only more so!" (Gilman, 2013: p4)

 The statement differs from the rest of the text because it refers to a specific nineteenth century physician "Dr. Mitchell". Maybe the 'friend' she is referring to is in fact Charlotte Perkins Gilman who treated her with the rest cure, with almost disastrous consequences. This statement implies there is more than narration it is arguably a direct message regarding the destruction the rest cure could cause.

"I'm getting really fond of the room in spite of the wallpaper. Perhaps because of the wallpaper. It dwells on my mind so!" (Gilman, 2013: p5)

This remark in the Narrators journal indicates a turning point; she persists in her statement that the wallpaper is hideous but this slowly turns into a fascination where it has become a disturbing source of enjoyment and comfort in her confinement (Novelguide, 2012). The wallpaper is one of the  most significant metaphors within this literary text; she has noted that this particular  domestic item, the wallpaper, has become the focal point in her mind. What the Narrator fails to notice is because of her situation (her confinement and the oppression upon her) her mind has nothing of substance, the only thing she can concentrate on is the lurid yellow wallpaper.

"There are things in that wallpaper that nobody knows about but me, or ever will." (Gilman, 2013: p6)

This important statement acknowledges the how important the influence over the wallpaper has had over the Narrator and to how far she has incorporated the wallpaper into her own sense of self. This passage highlights the discovery and wonder of the wallpaper, that her fixation is to be the sole observer; this is also the first insight into how isolated she is which only enhances her paranoia and decline into madness.

"Life is very much more exciting now than it used to be." (Gilman, 2013: p8)

This comment is where the Narrator finds Jennie touching the wallpaper, and this arguably captures Gilman's sarcastic sense of humour. This is the part of the short story where the Narrator is completely obsessed with the wallpaper, the pattern, the colour even the smell and all of her spare time is left thinking about the wallpaper. The wallpaper is her life now and she is no longer feels bored, as Novelguide (2012) informs 'the comment is funny, but the reader knows that someone who would make such a joke is not well.'

"At night in any kind of light, in twilight, candlelight, and worst of all by moonlight, it becomes bars! The outside pattern, I mean, and the woman behind it is as plain as can be." (Gilman, 2013: p7)

This is a powerful symbol of female power. The light of the moon has a symbolic association to lunacy and here it highlights how she has totally succumbed to the power of the wallpaper the 'as plain as can be' creates her a new reality and helps to establish the steps necessary to escape.

"I don't like to look out of the windows even-there are so many of those creeping women, and they creep so fast. I wonder if they all came out of the wallpaper as I did?" (Gilman, 2013: p11)

This passage is full of self identification, something the narrator has seemingly avoided and what the audience are already connected with. Here, paranoia and fear combine to reveal the Narrator’s nearly complete submission to the needs of her imagination (Novelguide,2012). The woman in the patterned wallpaper 'creeps' through fear of discovery like the Narrator who fears to be discovered by her physician husband. The woman in the wallpaper is a reflection of herself 'creeping and stooping';  the reasoning for her not wanting to look out of the window is because she knows there are many women like her, and becomes afraid to look at them.

"'I've got out at last,' said I, in spite of you and Jane. And I've pulled off most of the wallpaper, so you can't put me back!' Now, why should that man have fainted? But he did, and right across my path by the all, so that I had to creep over him every time!" (Gilman, 2013: p12)

This is symbolic to the Narrators total mental breakdown that now the wallpaper is down she can be freed; and her freedom is now to freely to creep . Her husband is now reduced to 'that man', which shows the change in mentality and attitudes towards her husband.