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Essays on The Yellow Wallpaper

If you're looking for a fascinating topic for your next essay, look no further than "The Yellow Wallpaper" by Charlotte Perkins Gilman! 📚 This classic piece of literature offers a treasure trove of themes and insights that will keep your readers hooked. Exploring the eerie, mysterious world of the story, its historical context, and the author's intentions can lead to an exceptional essay that will impress your teachers and peers alike. Let's dive into the madness together! 🌼

The Yellow Wallpaper Essay Topics for "The Yellow Wallpaper" 📝

Choosing the perfect topic for your essay is essential to ensure you have an engaging and well-researched piece. Here are some tips to help you pick the right one:

The Yellow Wallpaper Argumentative Essay 🤨

An argumentative essay on "The Yellow Wallpaper" requires you to take a stance on a particular issue within the story. Some great topics include:

• 1. The portrayal of women's mental health in the 19th century
• 2. The role of gender in the story's confinement theme
• 3. Was John, the husband, truly a villain?

The Yellow Wallpaper Cause and Effect Essay 🤯

Exploring cause and effect relationships can be captivating. Consider these topics:

• 1. The consequences of isolation on the protagonist's mental state
• 2. How societal norms led to the narrator's decline
• 3. The impact of the wallpaper on the narrator's descent into madness

The Yellow Wallpaper Opinion Essay 😌

Express your personal opinions and interpretations with these essay topics:

• 1. Your take on the narrator's relationship with the wallpaper
• 2. Analyze the symbolism of the room's colors according to your perspective
• 3. Why the story remains relevant in today's society

The Yellow Wallpaper Informative Essay 🧐

Inform and educate your readers with these informative essay topics:

• 1. The historical context of women's mental health treatment in the 19th century
• 2. The life and influences of Charlotte Perkins Gilman
• 3. Psychological analysis of the protagonist's descent into madness

The Yellow Wallpaper Essay Example 📄

The yellow wallpaper thesis statement examples 📜.

Here are five examples of strong thesis statements for your essay:

• 1. "In 'The Yellow Wallpaper,' Charlotte Perkins Gilman portrays the damaging effects of the patriarchy on women's mental health, highlighting the need for autonomy and self-expression."
• 2. "The symbolism of the yellow wallpaper reflects the protagonist's struggle for freedom and individuality in a repressive society."
• 3. "John's well-intentioned but oppressive actions towards his wife ultimately drive her to madness in 'The Yellow Wallpaper.'

The Yellow Wallpaper Essay Introduction Examples 🚀

Here are three captivating introduction paragraphs to get your essay off to a strong start:

• 1. "In the eerie world of 'The Yellow Wallpaper,' Charlotte Perkins Gilman delves into the dark corners of a woman's mind trapped by the societal norms of the 19th century."
• 2. "Step into the room with peeling yellow wallpaper and follow the chilling descent into madness as we analyze Charlotte Perkins Gilman's masterpiece."
• 3. "The haunting atmosphere of 'The Yellow Wallpaper' draws readers into a world of confinement, madness, and feminist defiance."

The Yellow Wallpaper Essay Conclusion Examples 🌟

Conclude your essay with impact using these examples:

• 1. "In conclusion, 'The Yellow Wallpaper' serves as a powerful critique of a society that stifled women's voices and autonomy, urging us to recognize the importance of mental health and individuality."
• 2. "As the last layer of wallpaper is torn away, we unveil the disturbing truth of societal oppression. 'The Yellow Wallpaper' reminds us that silence can lead to madness, and it is time to break free."
• 3. "In the end, the yellow wallpaper's patterns mirror the complexities of the human mind, offering a chilling reflection of the societal constraints that once confined women. Gilman's work will continue to resonate as a symbol of rebellion and empowerment."

Comparison Between "The Story of an Hour" and "The Yellow Wallpaper"

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Literary Analysis: The Yellow Wallpaper

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The Importance of The Point of View in The Yellow Wallpaper

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Literary Analysis of The Yellow Wallpaper by Charlotte Perkins Gillman

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1892, Charlotte Perkins Gilman

Short story; Psychological fiction, Gothic literature

The Woman in the Wallpaper, John, Mary, Narrator, Jennie

Based on the theme of madness and being powerless. According to an article in Forerunner magazine’s publication in 1913, The Yellow Wallpaper has been loosely based on the author's own mental illness that she has been going through because of postpartum depression.

Feminism, madness, loneliness, isolation, mental illness , fear, postpartum depression.

It has been influenced by early feminism and gender relations in late 19th-century America. It also deals with the mental breakdown and the postpartum depression, loneliness, and isolation. The Yellow Wallpaper became a symbol of a mental disease and the covering of female loneliness and lack of help after becoming a mother.

It tells a story about a woman who is obsessed with the yellow wallpaper in her room, which is a symbol of falling into psychosis as a result of depression. As the protagonist is placed on a special "cure" at the rented summer estate with her family, she becomes isolated and slowly becomes insane. The Yellow Wallpaper plot shows the structure of domestic life through the lens of madness and the early feminism outlook.

The book has been written by Gilman to persuade her physician that his ways have been wrong. The "Yellow Wallpaper" has been a helping grace for many other women to escape insanity. Some publishers believed that this story was too depressing and rejected to publish it. It is one of the earliest feminism-related stories ever published. Hysteria was among the most frequent diagnoses that was common for women in the 19th century. Gilman has never been paid for her initial publication of the story. Gilman has testified before Congress in favor of woman suffrage at the 1896 Hearing of the National American Woman Suffrage Association.

“But I MUST say what I feel and think in some way — it is such a relief! But the effort is getting to be greater than the relief.” “I never saw a worse paper in my life. One of those sprawling flamboyant patterns committing every artistic sin.” “You think you have mastered it, but just as you get well underway in following, it turns a back-somersault and there you are. It slaps you in the face, knocks you down, and tramples upon you. It is like a bad dream.” “John laughs at me, of course, but one expects that in marriage.” “I am glad my case is not serious! But these nervous troubles are dreadfully depressing. John does not know how much I really suffer. He knows there is no reason to suffer, and that satisfies him.”

The culmination of this short story is so-called "rest-cure" of the Victorian times that has been meant to cure hysteria, loneliness, sadness, or any nervous condition in women living in those times.

It is an important work of art that brings up the issue of a mental breakdown that has been ignored in the 19th century. It also speaks of gender relations and the postpartum depression treatment where the men do not see any problem and choose to ignore it. As the story with the relative feminism and the use of symbols, it is a poignant story that is both disturbing and sincere to explain that the problem of depression and a mental breakdown does exist. As the essay topic, it is used to explain the gender relations and the domestic life of women.

1. Gilman, C. P. (2011). Why I Wrote the Yellow Wallpaper?. https://www.cambridge.org/core/journals/advances-in-psychiatric-treatment/article/why-i-wrote-the-yellow-wallpaper/9F0803493F9D522712BB4B31BA5CCDC2 Advances in psychiatric treatment, 17(4), 265-265. 2. Lanser, S. S. (1989). Feminist criticism," The Yellow Wallpaper," and the politics of color in America. Feminist Studies, 15(3), 415-441. (https://www.jstor.org/stable/3177938) 3. Shumaker, C. (1985). Too terribly good to be printed": Charlotte Gilman's" The Yellow Wallpaper. American Literature, 57(4), 588-599. (https://www.jstor.org/stable/2926354) 4. Davison, C. M. (2004). Haunted House/Haunted Heroine: Female Gothic Closets in “The Yellow Wallpaper”. Women's Studies, 33(1), 47-75. (https://www.tandfonline.com/doi/abs/10.1080/00497870490267197) 5. Oakley, A. (1997). Beyond the yellow wallpaper. https://www.sciencedirect.com/science/article/abs/pii/S0968808097900835 Reproductive Health Matters, 5(10), 29-39. 6. Hume, B. A. (1991). Gilman's" interminable grotesque": The Narrator of" The Yellow Wallpaper". Studies in Short Fiction, 28(4), 477. (https://www.proquest.com/openview/03ec7eec8bbc6db59ba8fa48aff47def/1?pq-origsite=gscholar&cbl=1820858) 7. Hume, B. A. (2002). Managing Madness in Gilman's" The Yellow Wall-Paper". Studies in American Fiction, 30(1), 3-20. (https://muse.jhu.edu/pub/1/article/439664/summary) 8. Johnson, G. (1989). Gilman's Gothic Allegory: Rage and Redemption in The Yellow Wallpaper. Studies in Short Fiction, 26(4), 521. (https://digitalcommons.kennesaw.edu/facpubs/1938/) 9. Bak, J. S. (1994). Escaping the jaundiced eye: Foucauldian Panopticism in Charlotte Perkins Gilman's" The Yellow Wallpaper.". Studies in Short Fiction, 31(1), 39-47. (https://go.gale.com/ps/i.do?id=GALE%7CA15356232&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=00393789&p=AONE&sw=w&userGroupName=anon%7E2783693e)

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A Summary and Analysis of Charlotte Perkins Gilman’s ‘The Yellow Wallpaper’

By Dr Oliver Tearle (Loughborough University)

‘The Yellow Wallpaper’, an 1892 short story by Charlotte Perkins Gilman, has the structure and style of a diary. This is in keeping with what the female narrator tells us: that she can only write down her experiences when her husband John is not around, since he has forbidden her to write until she is well again, believing it will overexcite her.

Through a series of short instalments, we learn more about the narrator’s situation, and her treatment at the hands of her doctor husband and her sister-in-law.

To summarise the story, then: the narrator and her husband John, a doctor, have come to stay at a large country house. As the story develops, we realise that the woman’s husband has brought her to the house in order to try to cure her of her mental illness (he has told her that repairs are being carried out on their home, which is why they have had to relocate to a mansion).

His solution, or treatment, is effectively to lock her away from everyone – including her own family, except for him – and to forbid her anything that might excite her, such as writing. (She writes her account of what happens to her, and the effect it has on her, in secret, hiding her pen and paper when her husband or his sister come into the room.)

John’s suggested treatment for his wife also extends to relieving her of maternal duties: their baby is taken out of her hands and looked after by John’s sister, Jennie. Jennie also does all of the cooking and housework.

It becomes clear, as the story develops, that depriving the female narrator of anything to occupy her mind is making her mental illness worse, not better.

The narrator confides that she cannot even cry in her husband’s company, or when anyone else is present, because that will be interpreted as a sign that her condition is worsening – and her husband has promised (threatened?) to send her to another doctor, Weir Mitchell, if her condition doesn’t show signs of improving. And according to a female friend who has been treated by him, Weir Mitchell is like her husband and brother ‘only more so’ (i.e. stricter).

The narrator then outlines in detail how she sometimes sits for hours on end in her room, tracing the patterns in the yellow wallpaper. She then tells us she thinks she can see a woman ‘stooping down and creeping about behind that pattern.’ At this point, she changes her mind, and goes from being fond of the pattern in the yellow wallpaper to wishing she could go away from the place.

She tells John that she isn’t getting any better in this house and that she would like to leave, but he tells her she is looking healthier and that they cannot return home for another three weeks, until their lease is up and the ‘repairs’ at home have been completed.

Despondent, the narrator tells us how she is becoming more obsessed by the yellow wallpaper, especially at night when she is unable to sleep and so lies awake watching the pattern in the wallpaper, which she says resembles a fungus.

She starts to fear her husband. She becomes paranoid that her husband and sister-in-law, Jennie, are trying to decipher the pattern in the yellow wallpaper, and she becomes determined to beat them to it. (Jennie was actually checking the wallpaper because the thought it was staining their clothes; this is the reason she gives to the narrator when asked about it, anyway. However, the more likely reason is that she and John have noticed the narrator’s obsession with looking at the wallpaper, and are becoming concerned.)

Next, the narrator tells us she has noticed the strange smell of the wallpaper, and tells us she seriously considered burning down the house to try to solve the mystery of what she smell was. She concludes that it is simply ‘a yellow smell!’ We now realise that the narrator is losing her mind rather badly.

She becomes convinced that the ‘woman behind’ the yellow wallpaper is shaking it, thus moving the front pattern of the paper. She says she has seen this woman creeping about the grounds of the house during the day; she returns to behind the wallpaper at night.

The narrator then tells us that she believes John and Jennie have become ‘affected’ by the wallpaper – that they are losing their minds from being exposed to it.

So the narrator begins stripping the yellow wallpaper from the walls, much to the consternation of Jennie. John has all of his wife’s things moved out of the room, ready for them to leave the house. While John is out, the narrator locks herself inside the now bare room and throws the key out the window, so she cannot be disturbed.

She has become convinced that there are many creeping women roaming the grounds of the house, all of them originating from behind the yellow wallpaper, and that she is one of them. The story ends with her husband banging on the door to be let in, fetching the key when she tells him it’s down by the front door mat, and bursting into the room – whereupon he faints, at the sight of his wife creeping around the room.

That concludes our attempt to summarise the ‘plot’ of ‘The Yellow Wallpaper’.

‘The Yellow Wallpaper’ begins by dangling the idea that what we are about to read is a haunted house story, a Gothic tale, a piece of horror. Why else, wonders the story’s female narrator, would the house be available so cheaply unless it was haunted? And why had it remained unoccupied for so long? This is how many haunted house tales begin.

And this will turn out to be true, in many ways – the story is often included in anthologies of horror fiction, and there is a ‘haunting’ of a kind going on in the story – but as ‘The Yellow Wallpaper’ develops we realise we’re reading something far more unsettling than a run-of-the-mill haunted house story, because the real ghosts and demons are either inside the narrator’s troubled mind or else her own husband and her sister-in-law.

Of course, these two things are linked. Because one of the ‘morals’ of ‘The Yellow Wallpaper’ – if ‘moral’ is not too strong a word to use of such a story – is that the husband’s treatment of his wife’s mental illness only succeeds in making her worse , rather than better, until her condition reaches the point where she is completely mad, suffering from hallucinations, delusions, and paranoia. So ‘The Yellow Wallpaper’ is a haunted house story … but the only ghosts are inside the narrator’s head.

‘The Yellow Wallpaper’ borrows familiar tropes from a Gothic horror story – it ends with the husband taking an axe to the bedroom door where his cowering wife is imprisoned – but the twist is that, by the end of the story, she has imprisoned herself in her deluded belief that she is protecting her husband from the ‘creeping women’ from behind the wallpaper, and he is prepared to beat down the door with an axe out of genuine concern for his sick wife, rather than to butcher her, Bluebeard or Jack Torrance style.

Narrative Style

As we mentioned at the beginning of this analysis, ‘The Yellow Wallpaper’ has the structure and style of a diary. This is in keeping with what the female narrator tells us: that she can only write down her experiences when her husband John is not around. But it also has the effect of shifting the narrative tense: from the usual past tense to the more unusual present tense.

Only one year separates ‘The Yellow Wallpaper’ from George Egerton’s first volume of short stories , which made similarly pioneering use of present-tense narration in order to depict female consciousness.

The literary critic Ruth Robbins has made the argument that the past tense (or ‘perfect tense’) is unsuited to some modes of fiction because it offers the ‘perspective that leads to judgment’: because events have already occurred, we feel in a position to judge the characters involved.

Present-tense narration deters us from doing this so readily, for two reasons. First, we are thrown in amongst the events, experiencing them as they happen almost, so we feel complicit in them. Second, because things are still unfolding seemingly before our very eyes, we feel that to attempt to pass judgment on what’s happening would be too rash and premature: we don’t know for sure how things are going to play out yet.

Given that Gilman is writing about a mentally unstable woman being mistreated by her male husband (and therefore, given his profession, by the medical world too), her decision to plunge us headlong into the events of the story encourages us to listen to what the narrator is telling us before we attempt to pronounce on what’s going on.

The fact that ‘The Yellow Wallpaper’ is narrated in the first person, from the woman’s own perspective and in her own voice, is also a factor: the only access we have to her treatment (or mistreatment) and to her husband’s behaviour and personality is through her: what she tells us and how she tells it to us.

But there is another narrative advantage to this present-tense diary structure: we as readers are forced to appraise everything we are told by the narrator, and scrutinise it carefully, deciding whether we are being told the whole story or whether the narrator, in her nervous and unstable state, may not be seeing things as they really are.

A good example of this is when, having told us at length how she follows the patterns on the yellow wallpaper on the walls of her room, sometimes for hours on end, the narrator then tells us she is glad her baby doesn’t have to live in the same room, because someone as ‘impressionable’ as her child wouldn’t do well in such a room.

The dramatic irony which the narrator cannot see but which we, tragically, can, is that she is every bit as impressionable as a small child, and the yellow wallpaper – and, more broadly, her effective incarceration – is clearly having a deleterious effect on her mental health. (The story isn’t perfect: Gilman telegraphs the irony a little too strongly when, in the next breath, she has her narrator tell us, with misplaced confidence, ‘I can stand it so much easier than a baby, you see.’)

In the last analysis, ‘The Yellow Wallpaper’ is so unsettling because it plays with established Gothic horror conventions and then subverts them in order to expose the misguided medical practices used in an attempt to ‘treat’ or ‘cure’ women who are suffering from mental or nervous disorders. It has become a popular feminist text about the male mistreatment of women partly because the ‘villain’, the narrator’s husband John, is acting out of a genuine (if hubristic) belief that he knows what’s best for her.

The whole field of nineteenth-century patriarchal society and the way it treats women thus comes under scrutiny, in a story that is all the more powerful for refusing to preach, even while it lets one such mistreated woman speak for herself.

10 thoughts on “A Summary and Analysis of Charlotte Perkins Gilman’s ‘The Yellow Wallpaper’”

I absolutely loved this story. read it a few times in a row when I first crossed paths with it a few years ago –

“The Yellow Wallpaper” remains one of the most disturbing books I’ve ever read. Excellent analysis!

Fantastic book.

I cringe every time this story appears on a reading list or in a curriculum textbook. It’s almost hysterical in tone and quite disturbing in how overstated the “abuse” of the wife is supposed to be. It’s right up there with “The Awakening” as feminist literature that hinders, instead of promoting, the dilemma of 19th century women.

How is it overstated?

To witness the woman’s unraveling and how ignored she is, to me, a profound statement how people with emotional distress are not treated with respect.

• Pingback: ‘The Yellow Wallpaper’: A Summary of Charlotte Perkins Gilman’s Story – Interesting Literature

Terrific analysis. Gothic fiction is always open to many forms of reading and particularly for feminist reading – as openly presented by Angela Carter’ neo-gothic stories (which I would love to read your analyses of one day Oliver!). ‘the Yellow Wallpaper’ I think is the go-to story for most feminist commentators on Gothic fiction – and rightly so. I can’t help notice the connections between this story and the (mis)treatments of Sigmund Freud. Soooo much in this story to think about that I feel like a kiddie in sweet shop!

Thank you as always, Ken, for the thoughtful comment – and I completely agree about the links with Freud. The 1890s really was a pioneering age for psychiatric treatment/analysis, though we cringe at some of the ideas that were seriously considered (and put into practice). Oddly enough I’ve just been rearranging the pile of books on the floor of my study here at IL Towers, and The Bloody Chamber is near the top of my list of books to cover in due course!

I will wait with abated breath for your thoughts! I love Angela Carter :)

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Charlotte Perkins Gilman’s classic short story, "The Yellow Wallpaper" tells the story of a young woman’s gradual descent into psychosis. " The Yellow Wallpaper" is often cited as an early feminist work that predates a woman’s right to vote in the United States. The author was involved in first-wave feminism, and her other works questioned the origins of the subjugation of women, particularly in marriage. "

The Yellow Wallpaper" is a widely read work that asks difficult questions about the role of women, particularly regarding their mental health and right to autonomy and self-identity. We’ll go over The Yellow Wallpaper summary, themes and symbols, The Yellow Wallpaper analysis, and some important information about the author.

"The Yellow Wallpaper" Summary

"The Yellow Wallpaper" details the deterioration of a woman's mental health while she is on a "rest cure" on a rented summer country estate with her family. Her obsession with the yellow wallpaper in her bedroom marks her descent into psychosis from her depression throughout the story.

The narrator of "The Yellow Wallpaper" begins the story by discussing her move to a beautiful estate for the summer. Her husband, John, is also her doctor , and the move is meant in part to help the narrator overcome her “illness,” which she explains as nervous depression, or nervousness, following the birth of their baby. John’s sister, Jennie, also lives with them and works as their housekeeper.

Though her husband believes she will get better with rest and by not worrying about anything, the narrator has an active imagination and likes to write . He discourages her wonder about the house, and dismisses her interests. She mentions her baby more than once, though there is a nurse that cares for the baby, and the narrator herself is too nervous to provide care.

The narrator and her husband move into a large room that has ugly, yellow wallpaper that the narrator criticizes. She asks her husband if they can change rooms and move downstairs, and he rejects her. The more she stays in the room, the more the narrator’s fascination with the hideous wallpaper grows.

After hosting family for July 4th, the narrator expresses feeling even worse and more exhausted. She struggles to do daily activities, and her mental state is deteriorating. John encourages her to rest more, and the narrator hides her writing from him because he disapproves.

In the time between July 4th and their departure, the narrator is seemingly driven insane by the yellow wallpaper ; she sleeps all day and stays up all night to stare at it, believing that it comes alive, and the patterns change and move. Then, she begins to believe that there is a woman in the wallpaper who alters the patterns and is watching her.

A few weeks before their departure, John stays overnight in town and the narrator wants to sleep in the room by herself so she can stare at the wallpaper uninterrupted. She locks out Jennie and believes that she can see the woman in the wallpaper . John returns and frantically tries to be let in, and the narrator refuses; John is able to enter the room and finds the narrator crawling on the floor. She claims that the woman in the wallpaper has finally exited, and John faints, much to her surprise.

Background on "The Yellow Wallpaper"

The author, Charlotte Perkins Gilman, was a lecturer for social reform, and her beliefs and philosophy play an important part in the creation of "The Yellow Wallpaper," as well as the themes and symbolism in the story. "The Yellow Wallpaper" also influenced later feminist writers.

Charlotte Perkins Gilman

Charlotte Perkins Gilman, known as Charlotte Perkins Stetsman while she was married to her first husband, was born in Hartford, CT in 1860. Young Charlotte was observed as being bright, but her mother wasn’t interested in her education, and Charlotte spent lots of time in the library.

Charlotte married Charles Stetsman in 1884, and her daughter was born in 1885. She suffered from serious postpartum depression after giving birth to their daughter, Katharine. Her battle with postpartum depression and the doctors she dealt with during her illness inspired her to write "The Yellow Wallpaper."

The couple separated in 1888, the year that Perkins Gilman wrote her first book, Art Gems for the Home and Fireside. She later wrote "The Yellow Wallpaper" in 1890, while she was in a relationship with Adeline Knapp, and living apart from her legal husband. "The Yellow Wallpaper" was published in 1892, and in 1893 she published a book of satirical poetry , In This Our World, which gained her fame.

Eventually, Perkins Gilman got officially divorced from Stetsman, and ended her relationship with Knapp. She married her cousin, Houghton Gilman, and claimed to be satisfied in the marriage .

Perkins Gilman made a living as a lecturer on women’s issues, labor issues, and social reform . She toured Europe and the U.S. as a lecturer, and founded her own magazine, The Forerunner.

Publication

"The Yellow Wallpaper" was first published in January 1892 in New England Magazine.

During Perkins Gilman's lifetime, the role of women in American society was heavily restricted both socially and legally. At the time of its publication, women were still twenty-six years away from gaining the right to vote .

This viewpoint on women as childish and weak meant that they were discouraged from having any control over their lives. Women were encouraged or forced to defer to their husband’s opinions in all aspects of life , including financially, socially, and medically. Writing itself was revolutionary, since it would create a sense of identity, and was thought to be too much for the naturally fragile women.

Women's health was a particularly misunderstood area of medicine, as women were viewed as nervous, hysterical beings, and were discouraged from doing anything to further “upset” them. The prevailing wisdom of the day was that rest would cure hysteria, when in reality the constant boredom and lack of purpose likely worsened depression .

Perkins Gilman used her own experience in her first marriage and postpartum depression as inspiration for The Yellow Wallpaper, and illustrates how a woman’s lack of autonomy is detrimental to her mental health.

Upon its publication, Perkins Gilman sent a copy of "The Yellow Wallpaper" to the doctor who prescribed her the rest cure for her postpartum depression.

"The Yellow Wallpaper" Characters

Though there are only a few characters in the story, they each have an important role. While the story is about the narrator’s mental deterioration, the relationships in her life are essential for understanding why and how she got to this point.

The Narrator

The narrator of the story is a young, upper-middle-class woman. She is imaginative and a natural writer, though she is discouraged from exploring this part of herself. She is a new mother and is thought to have “hysterical tendencies” or suffer from nervousness. Her name may be Jane but it is unclear.

John is the narrator’s husband and her physician. He restricts her activity as a part of her treatment. John is extremely practical, and belittles the narrator's imagination and feelings . He seems to care about her well-being, but believes he knows what is best for her and doesn't allow her input.

Jennie is John’s sister, who works as a housekeeper for the couple. Jennie seems concerned for the narrator, as indicated by her offer to sleep in the yellow wallpapered room with her. Jennie seems content with her domestic role .

Main Themes of "The Yellow Wallpaper"

From what we know about the author of this story and from interpreting the text, there are a few themes that are clear from a "Yellow Wallpaper" analysis. "The Yellow Wallpaper" was a serious piece of literature that addressed themes pertinent to women.

Women's Role in Marriage

Women were expected to be subordinate to their husbands and completely obedient, as well as take on strictly domestic roles inside the home . Upper middle class women, like the narrator, may go for long periods of time without even leaving the home. The story reveals that this arrangement had the effect of committing women to a state of naïveté, dependence, and ignorance.

John assumes he has the right to determine what’s best for his wife, and this authority is never questioned. He belittles her concerns, both concrete and the ones that arise as a result of her depression , and is said so brush her off and “laugh at her” when she speaks through, “this is to be expected in marriage” He doesn’t take her concerns seriously, and makes all the decisions about both of their lives.

As such, she has no say in anything in her life, including her own health, and finds herself unable to even protest.

Perkins Gilman, like many others, clearly disagreed with this state of things, and aimed to show the detrimental effects that came to women as a result of their lack of autonomy.

Identity and Self-Expression

Throughout the story, the narrator is discouraged from doing the things she wants to do and the things that come naturally to her, like writing. On more than one occasion, she hurries to put her journal away because John is approaching .

She also forces herself to act as though she’s happy and satisfied, to give the illusion that she is recovering, which is worse. She wants to be a good wife, according to the way the role is laid out for her, but struggles to conform especially with so little to actually do.

The narrator is forced into silence and submission through the rest cure, and desperately needs an intellectual and emotional outlet . However, she is not granted one and it is clear that this arrangement takes a toll.

The Rest Cure

The rest cure was commonly prescribed during this period of history for women who were “nervous.” Perkins Gilman has strong opinions about the merits of the rest cure , having been prescribed it herself. John’s insistence on the narrator getting “air” constantly, and his insistence that she do nothing that requires mental or physical stimulation is clearly detrimental.

The narrator is also discouraged from doing activities, whether they are domestic- like cleaning or caring for her baby- in addition to things like reading, writing, and exploring the grounds of the house. She is stifled and confined both physically and mentally, which only adds to her condition .

Perkins Gilman damns the rest cure in this story, by showing the detrimental effects on women, and posing that women need mental and physical stimulation to be healthy, and need to be free to make their own decisions over health and their lives.

The Yellow Wallpaper Analysis: Symbols and Symbolism

Symbols are a way for the author to give the story meaning, and provide clues as to the themes and characters. There are two major symbols in "The Yellow Wallpaper."

The Yellow Wallpaper

This is of course the most important symbol in the story. The narrator is immediately fascinated and disgusted by the yellow wallpaper, and her understanding and interpretation fluctuates and intensifies throughout the story.

The narrator, because she doesn’t have anything else to think about or other mental stimulation, turns to the yellow wallpaper as something to analyze and interpret. The pattern eventually comes into focus as bars, and then she sees a woman inside the pattern . This represents feeling trapped.

At the end of the story, the narrator believes that the woman has come out of the wallpaper. This indicates that the narrator has finally merged fully into her psychosis , and become one with the house and domesticated discontent.

Though Jennie doesn’t have a major role in the story, she does present a foil to the narrator. Jennie is John’s sister and their housekeeper, and she is content, or so the narrator believes, to live a domestic life. Though she does often express her appreciation for Jennie’s presence in her home, she is clearly made to feel guilty by Jennie’s ability to run the household unencumbered .

Irony in The Yellow Wallpaper

"The Yellow Wallpaper" makes good use of dramatic and situational irony. Dramatic literary device in which the reader knows or understands things that the characters do not. Situational irony is when the character’s actions are meant to do one thing, but actually do another. Here are a few examples.

For example, when the narrator first enters the room with the yellow wallpaper, she believes it to be a nursery . However, the reader can clearly see that the room could have just as easily been used to contain a mentally unstable person.

The best example of situational irony is the way that John continues to prescribe the rest-cure, which worsens the narrator's state significantly. He encourages her to lie down after meals and sleep more, which causes her to be awake and alert at night, when she has time to sit and evaluate the wallpaper.

The Yellow Wallpaper Summary

"The Yellow Wallpaper" is one of the defining works of feminist literature. Writing about a woman’s health, mental or physical, was considered a radical act at the time that Perkins Gilman wrote this short story. Writing at all about the lives of women was considered at best, frivolous, and at worst dangerous. When you take a look at The Yellow Wallpaper analysis, the story is an important look into the role of women in marriage and society, and it will likely be a mainstay in the feminist literary canon.

What's Next?

Looking for more expert guides on literary classics? Read our guides on The Cask of Amontillado and The Great Gatsby .

Need important and interesting quotes? Check out these 18 To Kill a Mockingbird Quotes and 9 Great Mark Twain Quotes .

For help analyzing literature and writing essays , read our expert guide on imagery , literary elements , and writing an argumentative essay .

Carrie holds a Bachelors in Writing, Literature, and Publishing from Emerson College, and is currently pursuing an MFA. She worked in book publishing for several years, and believes that books can open up new worlds. She loves reading, the outdoors, and learning about new things.

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Literary Analysis of “The Yellow Wallpaper”, Essay Example

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Charlotte Perkins Gilman’s, “The Yellow Wallpaper” is a seemingly personal account of female oppression during the 19 th century. At that time in history women were commonly seen as possessions or property, rather than an equal partner to their spouse. The story details the narrator’s journey as she explains many details about the people and places that surround her, which are very symbolic for a number of themes. Not only are relationships and society restrictive, but she also finds that her house and bedroom are particularly repressive to her physical being as well as her emotional growth. This paper will explore the various symbolic meanings found in Gilman’s story and also relate that to the oppressive nature of women during that time in history. The narrator identifies her feelings of oppression and imprisonment in her marriage just as the “woman behind the wallpaper” does; both women are looking for a way out, but unable to escape the physical restraints placed on them.

A Summer Retreat For Nervous Depression

The story begins with the account of both the house and grounds that the narrator and her husband will be staying at for a summer retreat. She is very expressive with her descriptions, but she spends much of her time explaining how she believes that there is something off or “queer” about the house and grounds. Once inside the house she begins to imagine and even describes the patterns in the wallpaper and walls of the home. The negative energy that she uses to explain could be from her being diagnosed with “nervous depression” by her husband, who is also a doctor. She states that she is prescribed “phosphates and tonics….and absolutely forbidden to work until I am well again (Gilman 1). In order to better understand the narrator and her feelings, one must understand the viewpoint and beliefs about women during this time. At this point in history, women that suffered from mood swings or other emotions were often to be said to be crazy or have depression that should be treated with rest and restricted activity. This is exactly what the narrator is supposed to do, rest, stay in her bedroom and is explicitly forbidden to write or express her thoughts. Her creative expression kept in her journal is considered badly John and she is forced to hide her journal from him as well as and others that enter the home.

One of the most symbolic meanings of the story is the restriction of the narrator’s ability to write in her journal or express her thoughts. This suggests that her thoughts and feelings are not important to her husband, John or anyone for that matter. She relates to the reader that John suggests that her writing is simply neurotic worry and that it is not good for her treatment. Her treatment of course is rest and staying out of the way of her husband for the most part, which causes her to see herself as a burden (Gilman 3). At this time in history mental illness was poorly understood and those afflicted were often locked away or isolated from others. It was believed, just like the narrator states that the afflicted individual must take control of their emotions and make the necessary changes. Women were often treated like children in the respect that they needed to be guided and were unable to make decisions for themselves. To further this train of thought, John commonly referred to his wife in the story as a “blessed little goose” and even a little girl (Gilman 7). While it seems that John is giving his wife pet names, these are more symbolic of a person that is unable to care for themselves or is childlike, which was consistent with the beliefs of the time.

Not only was he attempting to control his wife through their marriage, but he was also a doctor that could prescribe “treatment” for her, which further restricted her.

Bars on the Windows

The narrator was locked away on the second floor and her husband and sister in law, Jennie and a nanny were her caregivers. Her food is brought to her and the nanny tends to her child, while Jennie is said to be the perfect housekeeper. There is no reason for her to leave her room, as she is to rest and not engage in any work. The room that she is placed in is described as being lit by the sun and spacious, but she details that it may have been where children stayed.  The manner by which she describes leads the reader to believe that it is a nursery, as the windows are barred and there are rings and things in the wall (Gilman 2). She explains that there are bars on the windows, which likely were placed there because of the children that the room was used for. The symbolic bars on the window noted by the narrator represent the feeling of being held against her will with no escape. On one side she was faced with a repressive husband that refuses to hear her concerns and the only other way out was secured with bars. She sees her marriage and surroundings as a prison, bars on the windows and being confined to a room where her actions are dictated by others. She is not free to move about or engage in any activity under the pretext that it would worsen her condition. Ironically, depression is said to improve with a persons increased activity level, which is another form of symbolic oppression in the story and in society in general during that time period.

Women’s Oppression

At one point in the story she states that she likes to fantasize about people walking on the walkway or grounds of the estate, however is discouraged by her husband. This represents the disregard for her imagination or creative thought process. This can also be seen in his disregard for her writing as she states, “he hates to have me write a word” (Gilman 2).  A woman’s ability or right to work is an expression of herself and this story represents the way that it was stunted. Instead the only job that a woman was capable of was taking care of her family, and in this story that had even been taken from the narrator. It was the woman’s job to engage in domestic care of both the children and spouse, not work outside the home or have income of her own. Society placed many restrictive beliefs on females, giving them little freedom or rights as a citizen. During this time in history, women that divorced their husbands or did not obey them were considered second class citizens. In some cases they were not allowed to engage in society as they had broken the sacred code of marriage. In a sense the narrators physical being is trapped in her room, however her emotional being is trapped through the inability to write, work, care for her children or even explain her medical condition.

The Patterned Wallpaper

The narrator describes the wallpaper as yellow with a revolting and hideous pattern (Gilman 2). She sees bulbous images and what she describes as broken necks in the papers design. She asks her husband to change rooms; however he says that it is the best room for her recovery. Drawing from the fact that it was a child’s nursery one could make the comparison again that she is being treated like a child. Some of the wallpaper according to the narrator is already been picked or torn. Through the story, she begins to see figures behind the wallpaper that she believes is a woman who is trapped. This shadow or trapped woman is described as, “dim shapes that get clearer every day” (Gilman 10).

In the beginning, the narrator, was only able to see odd patterns, however not the females that she believes to be trapped. She says that the woman stays behind the bars as they bind her. The woman is silent or still during the day, however when night comes the woman rattles the bars that entrap her inside the wall or behind the wallpaper itself. Her beliefs about this woman can be seen as her own mental illness or struggle with being oppressed by her husband and society as well. She claims that this woman creeps and greatly desires to be set free from the constraints of the wallpaper.

Just as the narrator is hiding her journal and inner thoughts from her husband, the woman behind the wallpaper hides in the sunlight, but moves under the moonlight. This signifies the hiding of the female presence, but only expressing herself when no one is looking. Throughout the story, the narrator becomes more obsessed with the wallpaper, the figures and movement of the pattern. This is her only source of entertainment and she begins to identify with the woman that is trapped. As the story moves along and she becomes even more depressed, she begins to make plans to free the woman. Her goal is to do so within two days, which is their scheduled departure date from the house. She begins picking and tearing at the wallpaper to not only free the woman she sees, but also as a source of taking her own control (Gilman 11). She is defying her husband, as he certainly would not approve of her actions or thoughts. As she tears the wallpaper she hears shrieks, but is intent on allowing the woman to go free. During the time that she is peeling the paper, she contemplates jumping out the window, but is unable to because there are bars on the windows. She also notes that she is afraid of all the other women creeping outside. Some may feel that the narrator has been driven mad by the wallpaper at this point, however it seems that the meaning is that of her final decision not to care what her husband thinks. She is following what she feels and standing up for her own freedom by releasing the woman behind the wallpaper. When her husband learns of her actions, he breaks his way into the room and then faints at the sight of what she has done. He, of course believes that she has gone completely mad and faints. The story ends with the narrator creeping around the perimeter of the room, even stepping over his body in the process (Gilman 12). Again her stepping over his body is symbolic that she is no longer under his control, even though she has likely suffered a nervous breakdown and has lost her mind.

In conclusion, Gilman’s story is that of a personal account from a female’s perspective. The narrator comes to identify with the women in the wallpaper that she imagines. Of course these delusions are due to her illness, which is most likely related to depression and post-partum, as there is a baby referenced in the story. Medical conditions were not understood and the general consensus of the time was to use natural remedies coupled with rest. Those that suffered from depression or other mental disorders would likely be separated from the general community as they simply didn’t know what else to do with them. Along with the narrator suffering from depression, she was also a victim of historical oppression. During this time, women were seen as less than equal and not allowed to express opinions or take an active role in decision making. Their place was in a domestic role and nothing more. While some might say that the wallpaper drove the narrator crazy, others might see it as an escape from an oppressive reality in the only manner that she could control; her own thoughts and bizarre actions!

Works Cited

Gilman, Charlotte. “The Yellow Wallpaper, by Charlotte Perkins Gilman; The Yellow Wallpaper Page 1.” Page By Page Books. Read Classic Books Online, Free. . N.p., n.d. Web. 27 Sept. 2011. <http://www.pagebypagebooks

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Told in first person, the narration reveals the writer’s depression due to her worsened emotional and mental state. Conversely, John symbolically represents the male-dominated world that assigns women specific roles they must take and remain trapped in the wallpaper.

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As per Charlotte Perkins Gilman’s ‘The Yellow Wallpaper’ has been first distributed 1899 by Small and Maynard, Boston, MA. ‘The Yellow Wallpaper’ was a women’s activist break however and elucidation of the imagery and it was viewed principally as a powerful story of ghastliness and craziness in the convention of Edgar Allan Poe. Charlotte Perkins Gilman constructed the story in light of her involvement with a ‘rest fix’ for psychological instability. The ‘rest fix’ motivated her to compose a scrutinize of the medicinal treatment recommended to ladies experiencing a condition at that point known as ‘neurasthenia’ (Golden 145).

Indeed, it applauded the work as ‘one of the uncommon bits of writing we have by a nineteenth-century lady who straightforwardly faces the sexual governmental issues of the male-female, spouse wife relationship.’. Almost these pundits recognize the story as a women’s activist content written in dissent of the careless treatment of ladies by a man centric culture.

In any case, ‘The Yellow Wallpaper’, the storyteller experiences misery following the introduction of her tyke. Her significant other, John, analyze her conduct as ‘delirium.’ He endorses her rest and rents a house in the nation for her recovery, and it was on its surface, about a lady made crazy by post pregnancy anxiety and a risky treatment. In any case, an examination of the hero’s portrayal uncovers that the story is in a general sense about personality. The hero’s projection of a fanciful lady which at first is just her shadow against the bars of the backdrop’s example pieces her character, disguising the contention she encounters and inevitably prompting the total breakdown of the limits of her personality and that of her anticipated shadow.

On July 3, 1860, Charlotte Anna Perkins Gilman was conceived in Hartford, Connecticut. Charlotte Perkins Gilman was the main scholarly in the ladies’ development amid the initial twenty years of the twentieth century. Her dad was Frederick Beecher Perkins, and her mom was Mary Fitch Westcott. The Beecher’s, including her initial good example, Harriet Beecher Stowe, affected her social feelings. In her later life as an author, she was kept on doubting her innovative side, in spite of the fact that she at times gave it opportunity. In 1882 Gilman met Walter Stetson, who proposed marriage under three weeks after their first gathering.

In spite of the fact that Stetson regarded Gilman and comprehended her complaints to a conventional marriage, it was not to be a glad association. Gilman was pregnant inside half a month, and she was liable to extraordinary attacks of sorrow all through the pregnancy and a while later. She started to feel increasingly a detainee—not of her significant other but rather of the establishment of marriage—and preliminary detachments and treatment of her ‘nerves’ neglected to help. In 1886, Gilman had a breakdown and was dealt with for insanity by nervous system specialist S. Weir Mitchell, who recommended totaled rest and restraint from work. In spite of the treatment, Gilman deteriorated and dreaded for her mental soundness. She chose to bring matters into her hands, isolated from Stetson, and moved to California, where she started to distribute and address on the financial and household reliance of ladies.

Next, the fizzled marriage was to be the motivation for a few ballads that helped built up Gilman’s notoriety and for her story ‘The Yellow Wallpaper,’ which has turned into her most generally anthologized work. At the season of its distribution in 1892, ‘The Yellow Wallpaper’ took advantage of perusing ‘The Yellow Wallpaper,’ it is essential to get a handle on the authentic setting of Gilman’s story. Since that time, Gilman’s story has been examined by scholarly commentators from an extensive variety of points of view, including personal, authentic, mental, women’s activist, semiotic, and sociocultural. Amid the late nineteenth century, ladies were viewed as weaker than men, both physically and rationally, and were permitted next to no close to home office.

Through the storyteller of the short story acknowledges she has a disease; her significant other’s sentiments of skill and predominance keep her from getting treatment. Indeed, even her conclusion of ‘mania’ is established in her general public’s comprehension of ladies’ wellbeing and life systems. Late nineteenth century assumptions about conjugal jobs and emotional wellness laid the foundation for this story. Amid the 1890s, Gilman distributed the short story ‘The Yellow Wallpaper,’ in light of her breakdown and rest treatment. Henceforth, Gilman experienced episodes of wretchedness stemming her longing to fill in as craftsman, essayist, and supporter of ladies’ rights and the contention between this craving and her more conventional job as spouse and mother.

One technique Gilman utilizes is the backdrop as an image of the storyteller’s repression. The backdrop can likewise be believed to symbolize the storyteller’s psyche. After some time, the storyteller sees the example of her room’s yellow backdrop as a progression of bars, detaining the state of a lady behind them. The storyteller and the caught lady can be translated. For instance, she composes,’ I pulled, and she shook, and she pulled, and before morning we had peeled off yards of that paper.’ Her gathering of people esteems the yellow backdrop on an individual level as a spouse with a controlling husband and on a fundamental level as a lady in a controlling society. Emblematically, this mirrors the estimations of the general public in which the storyteller lives. They esteem this since When the storyteller pulls at the yellow backdrop, the caught lady shakes it. On the other hand, when the storyteller shakes it, the caught lady pulls. The lady caught behind the backdrop’s example reflects the stifled female self-caught in a man centric culture.

In spite of the fact that the storyteller may not understand it, her demonstration of pulling down the backdrop fills in as a demonstration of insubordination. By attempting to free this lady, she is endeavoring to free herself. On a bigger topical scale, her demonstration shows how she needs to break free of the societal limitations holding her back. The storyteller’s possible suspicion of the caught lady’s character can be perused as emblematic of the storyteller’s recovery of her autonomy, inauspicious as it might be. Subsequently, by utilizing the word decision’ crawling’ done by the lady in the backdrop is a physical showcase of the untainted vulnerability the storyteller has been pushed into by her significant other and her sickness.

When it is later uncovered that the storyteller herself has been crawling around her room, it ends up questionable whether the storyteller is reliably observing the state of a lady in the backdrop or is, actually, responding to her shadow. John’s regular nonappearances and the inevitable disclosure that he knows about the storyteller’s evening time alertness consider the likelihood that her hallucinations have been expedited by cooperating with her shadow. In the event that this is valid, a definitive truth of the story—that the storyteller is the lady in the backdrop—conveys a physical and also mental measurement. For instance, she kept in touch with: ‘It is a similar lady, I know, for she is continually crawling, and most ladies don’t crawl by sunshine.’ The storyteller of ‘The Yellow Wallpaper’ encounters her battle in a profoundly close to home field: her home and brain.

In any case, entries, for example, this one propose that she perceives the more extensive ramifications of her encounters and the potential impacts they have on other ladies. In determining that ‘most ladies don’t crawl by sunshine,’ she appears to propose that most other ladies do in any case ‘creep,’ or slither, just not when they can be seen. While the storyteller proceeds to depict herself slithering around her room, the stating prompts perusers to consider how all ladies are diminished to sneaking in some ways, regardless of whether they take awesome consideration not to be taken note. This section strengthens the imagery of ‘crawling’ as a demonstration of enslavement and demonstrates the storyteller’s developing mindfulness that numerous components of her imprisonment are a direct result of her sex.

In the second logical component of the beginning of the story, another methodology Gilman utilizes the house in which the storyteller and her better half stay symbolize the general public that limits the storyteller. The house can be perused as a physical portrayal of the connection between the storyteller’s body and brain. At first, the storyteller needs a room on the principal floor of the house with roses by the window. She additionally wishes to draw in with the world outside herself: she needs to see companions and work on her composition. Rather, the storyteller is compelled to remain on the second floor of the house in an expansive, confused stay with noticeable harm and distractingly appalling backdrop. Thus, the storyteller is denied imaginative incitement and headed to focus on her psychological state.

Another technique Gilman utilizes sensational incongruity in depicting the storyteller’s association with her better half. In spite of the fact that John appears to think about his better half’s prosperity, he effectively hampers her treatment by setting her on a rest fix. While he demands that she needs to quit ‘working’ until the point that she recuperates, the storyteller experiences weariness and turns out to be effectively depleted by keeping her composition mystery. Her absence of office worsens her condition, driving her to tears and sadness. After some time, as the storyteller’s freedom develops through her singular battles with the backdrop, she appears to end up mindful of the incongruity of her circumstance: that her better half, the medicinal master, is totally uninformed of his significant other’s actual state.

Notwithstanding, she utilizes is presumptions the traditions of the mental repulsiveness story to investigate the situation of ladies inside the organization of marriage, particularly as drilled by the ‘respectable’ classes of her chance. At the point when the story was first distributed, most perusers accepting it as a frightening story about a lady in an extraordinary condition of awareness—a holding, exasperating.

A Rose for Emily and The Yellow Wallpaper: Compare & Contrast Essay

Introduction.

This essay aims to examine two short stories: A Rose for Emily, written by William Faulkner, and Charlotte Gilman’s The Yellow Wallpaper. Both authors examine the relations between physical and psychological confinement. It is possible to argue that Faulkner and Gilman show that physical confinement can be primarily explained by psychological or social alienation an individual.

This is one of the central themes to which both writers attach importance. However, there is a critical difference that one should identify. In particular, William Faulkner describes the experiences of a person who voluntarily chooses seclusion as a way of escaping reality. In contrast, Charlotte Gilman focuses on the life of a woman forced into isolation by other people. That is the main thesis of this paper.

A Rose for Emily and The Yellow Wallpaper: Main Characters

First of all, it is essential to examine the experiences of both characters. Both of them are physically isolated from other people. For example, Emily Grierson, who lives in a fictional town named Jefferson, does communicate her neighbors. She decides not to maintain any contacts with her neighbors, even though she is financially dependent on them. One should note that Emily belongs to an old Southern family that was prominent during the Antebellum Period.

However, these people cannot adjust to the new social, political, and economic environment. For instance, she says that Colonel Sartoris freed her from taxes without realizing this man died more than ten years ago (Faulkner 527). The narrator describes this person as “a tradition, a duty, and a care; a sort of hereditary obligation” (Faulkner 526).

To some extent, this woman is an object of curiosity because of her self-imposed seclusion (Faulkner 527). The main character of Gilman’s story is also isolated from other people. She cannot leave the upstairs bedroom. Moreover, her husband does not let her work or see other people. He only insists that she should stay within the house. This seclusion eventually proves unbearable to her. That is one of the issues that should be taken into account.

Furthermore, much attention should be paid to psychological confinement. This issue is particularly important if one speaks about the unnamed narrator in The Yellow Wallpaper. She is denied the opportunity to interact with others. That is one of the reasons why she becomes so obsessed with the patterns of the wallpaper.

For example, she believes that these patterns begin to move; moreover, the narrator is convinced that there is some “woman behind” who shakes it (Gilman 735). To some degree, this behavior can be explained by the fact that she cannot communicate with any person except her husband. A similar argument can be made about Emily, whose mental problems manifest themselves thoroughly only after her death.

In particular, her neighbors learn that she kept the corpse of her lover in the house. Overall, it is possible to say that these short stories show that physical confinement is closely related to psychological isolation. Furthermore, they eventually result in mental impairments. That is one of the main dangers that people should be aware of.

However, several differences should be taken into consideration. First, it should be noted that Emily Grierson is not forced to live in complete seclusion. She does not want to accept the fact that the world of her youth disappeared completely. She kills her lover, Homer, in an attempt to retain him forever.

So, by living in isolation, she tries to turn a blind eye to reality. So, her physical isolation originates from her escapism or unwillingness to face the changes undergone by the society. One can say that Emily’s psychological confinement is the central theme which William Faulkner explores. This is one of the details that can be singled out.

In contrast, Charlotte Gilman describes a person confined against her will. This short story symbolizes the confinement of women in the domestic sphere. In many cases, they did not have an opportunity to participate in public life.

As it has been said before, the main character of Charlotte Gilman’s story is not allowed to work. Such situations were prevalent in the nineteenth century. So, her physical and social isolation eventually leads to her insanity. In turn, the author depicts the destructive effects of this ideology on an individual. This is one of the main points that can be made.

On the whole, these literary works show how different people can struggle with psychological and physical confinement. William Faulkner’s short story indicates that the physical isolation of a person can be explained primarily by social and psychological alimentation.

In contrast, Charlotte Gilman pays attention to the feelings of a person whose physical confinement turns into psychological alienation and madness. However, it is important to remember that these writers depict the life of people who are completely separated from public life. These are the main aspects that can be identified.

Works Cited

Faulkner, William. “A Rose for Emily.” Literature: The Human Experience. Ed.

Richard Abcarian, Andrea Lunsford, and Marvin Klotz. New York: Macmillan Higher Education, 2006. 526-533. Print.

Gilman, Charlotte. “The Yellow Paper.” Literature: The Human Experience. Ed.

Richard Abcarian, Andrea Lunsford, and Marvin Klotz. New York: Macmillan Higher Education, 2006. 729-738. Print.

• Summary & Analysis
• Themes & Symbols
• Quotes Explained
• Essay Topics
• Essay Examples
• Questions & Answers
• Charlotte Perkins Gilman: Biography
• Chicago (A-D)
• Chicago (N-B)

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IvyPanda . 2022. "A Rose for Emily and The Yellow Wallpaper: Compare & Contrast." August 9, 2022. https://ivypanda.com/essays/a-rose-for-emily-and-the-yellow-wallpaper/.

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Bibliography

IvyPanda . "A Rose for Emily and The Yellow Wallpaper: Compare & Contrast." August 9, 2022. https://ivypanda.com/essays/a-rose-for-emily-and-the-yellow-wallpaper/.

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