The Yellow Wallpaper 2 Essay, Research Paper

In “The Yellow Wallpaper”, by Charlotte Perkins Gilman,

the dominant/submissive relationship between an

oppressive husband and his submissive wife pushes her

from depression into insanity.

Flawed human nature seems to play a great role in her

breakdown. Her husband, a noted physician, is unwilling

to admit that there might really be something wrong with

his wife. This same attitude is seen in her brother, who is

also a physician. While this attitude, and the actions taken

because of it, certainly contributed to her breakdown; it

seems to me that there is a rebellious spirit in her.

Perhaps unconsciously she seems determined to prove

them wrong.

As the story begins, the woman — whose name we never

learn — tells of her depression and how it is dismissed by

her husband and brother. “You see, he does not believe I

am sick! And what can one do? If a physician of high

standing, and one’s own husband, assures friends and

relatives that there is really nothing the matter with one

but temporary nervous depression — a slight hysterical

tendency — what is one to do?” (Gilman 193). These two

men — both doctors — seem completely unable to admit

that there might be more to her condition than than just

stress and a slight nervous condition. Even when a

summer in the country and weeks of bed-rest don’t help,

her husband refuses to accept that she may have a real

problem.

Throughout the story there are examples of the dominant

- submissive relationship. She is virtually imprisoned in

her bedroom, supposedly to allow her to rest and

recover her health. She is forbidden to work, “So I . . .

am absolutely forbidden to “work” until I am well again.”

(Gilman 193). She is not even supposed to write: “There

comes John, and I must put this away — he hates to have

me write a word.” (Gilman 194). She has no say in the

location or decor of the room she is virtually imprisoned

in: “I don’t like our room a bit. I wanted . . . But John

would not hear of it.” (Gilman 193)

.

She can’t have visitors: “It is so discouraging not to have

any advice and companionship about my work. . . but he

says he would as soon put fireworks in my pillow-case as

to let me have those stimulating people about now.”

(Gilman 196).

Probably in large part because of her oppression, she

continues to decline. “I don’t feel as if it was worthwhile

to turn my hand over for anything. . .” (Gilman 197). It

seems that her husband is oblivious to her declining

conditon, since he never admits she has a real problem

until the end of the story — at which time he fainted.

John could have obtained council from someone less

personally involved in her case, but the only help he

seeks was for the house and baby. He obtains a nanny to

watch over the children while he was away at work each

day: “It is fortunate Mary is so good with the baby.”

(Gilman 195). And he had his sister Jennie take care of

the house. “She is a perfect and enthusiastic

housekeeper.” (Gilman 196).

He does talk of taking her to an expert: “John says if I

don’t pick up faster he shall send me to Weir Mitchell in

the fall.” But she took that as a threat since he was even

more domineering than her husband and brother. Not

only does he fail to get her help, but by keeping her

virtually a prisoner in a room with nauseating wallpaper

and very little to occupy her mind, let alone offer any kind

of mental stimulation, he almost forces her to dwell on her

problem. Prison is supposed to be depressing, and she is

pretty close to being a prisoner.

Perhaps if she had been allowed to come and go and do

as she pleased her depression might have lifted: “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

195). It seems that just being able to tell someone how

she really felt would have eased her depression, but John

won’t hear of it. The lack of an outlet caused the

depression to worsen: “. . . I must say what I feel and * *

* * * Roberts 4 think in some way — it is such a relief!

But the effort is getting to be greater than the relief.”

(Gilman 198).

Meanwhile her reaction is to seek to prove him wrong.

“John is a physician, and perhaps . . . perhaps that is one

reason I do not get well faster. You see he does not

believe I am sick! And what can one do?” (Gilman 193).

It seems to me that while putting on an appearance of

submission she was frequently rebelling against her

husband’s orders. She writes when there is nobody

around to see her, she tries to move her bed, but always

keeps an eye open for someone comming. This is

obvious throughout the story.

It also seems to me that, probably because of his

oppressive behaviour, she wants to drive her husband

away. “John is away all day, and even some nights when

his cases are serious. I am glad my case is not serious!”

(Gilman 195). As her breakdown approaches she

actually locks him out of her room: “I have locked the

door and thrown the key down into the front path. I don’t

want to go out, and I don’t want to have anybody come

in, till John comes. I want to astonish him.” (Gilman 203).

I see no reason for this other than to force him to see that

he was wrong, and, since she knew he couldn’t tolerate

hysteria, to drive him away.

Gilman, Charlotte Perkins. “The Yellow Wallpaper.” 1892.

The New England Magazine. Reprinted in “Lives &

Moments – An Introduction to Short Fiction” by Hans

Ostrom. Hold, Orlando, FL 1991.