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As summer progresses in the story "The Yellow Wallpaper," John's treatment of the narrator as though she were a helpless docile child becomes a self-fulfilling prophecy; she sheds the skin of her adult self and gives birth to her inner child via the wallpaper. From the moment she implies she is sick, his behavior becomes more and more parental and authoritarian. Under this guise he slowly disintegrates any resemblance of an adult wife he had. At the end he's victorious because he does beget a child. Simultaneously, he's a loser because the behavior of this childlike being mirrors his own attitude toward his wife: she's defiant and assertive and runs right over him. The tables have reversed.
In the beginning of the story, John laughs at her feelings about the queerness of the estate he has rented for the next three months. He acts as if her imagination has gone wild. Clearly he does not see her as his equal but as an undeveloped being who would entertain such nonsense. John "has no patience with faith" and "he scoffs openly at any talk of things not to be felt and seen" (Gilman 178). John does not have the patience to deal with a lesser being's outlook. It takes a great deal of patience for a parent to deal with the inner workings of a child's imaginative mind.
John and his brother-in-law, both physicians, refuse to believe she is really sick. Instead they assume she has "a slight hysterical tendency" (178). In their eyes depression is not an illness but a symptom of being a female. John has "forbidden her to 'work'" (179). Very often parents don't believe children when they say they are sick. Adults think that children blow things out of proportion in order to get their parents' attention. His prescription for...
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...his infantile creation "had to creep over him" (191) as she escapes from the womb of the wallpaper.
Works Cited
Gilman, Charlotte P. "The Yellow Wallpaper." An Introduction to Literature. Ed. Sylvan Barnett, Morton Berman, and William Burton 10th ed. New York: Harper Collins, 1993. 178-91.
Golden, Catharine. "The Writing of 'The Yellow Wallpaper': A Double Palimset." Studies in Short Fiction 17 (1989): 193-201.
Hume, Beverly A. "Gilman's Interminable Grotesque: The Narrator of 'The Yellow Wallpaper.'" Studies in Short Fiction 28 (1991): 477-83.
Johnson, Gregg. "Gilman's Gothic Allegory: Rape and Re-demption in 'The Yellow Wallpaper.'" Studies in Short Fiction 26 (1989): 521-30.
King, Jeanette, and Pam Morris. "On Not Reading Between The Lines: Models of Reading in 'The Yellow Wallpaper.'" Studies in Short Fiction 26 (1989): 23-32.
Everybody is talkin' these days about Tammany men growin' rich on graft, but nobody thinks of drawin' the distinction between honest graft and dishonest graft." With this sentence in the first chapter Plunkitt sets the tone for his short treatise on New York City politics while Tammany Hall ran the show. George Washington Plunkitt was a senator in New York during the turn of the 19th Century to the 20th Century. He was very successful in politics, and at one time he held four offices at once and collected salaries from three of them. G. W. Plunkitt held any one (or more offices) in Tammany Hall for over forty years. He was a shady politician who took care of his constituents and his bank account. Plunkitt was never shy about becoming rich in politics because he did nothing illegal by the standards of the time. Moreover, Plunkitt never broke the penal code and therefore never spent a day in jail. However, Plunkitt had to defend himself against reformers by distinguishing between honest graft and dishonest graft. He would explain this difference as well as his wealth by saying, "I seen my opportunities and I took 'em." In Plunkitt's own mind, as seen through his writings, he did not regret his actions because he did so much to help the Tammany supporters. Plunkitt's main complaint was against civil service examinations, but in his talks he also instructed young men how to be successful in politics by examining human nature and doing as e had done.
Gilman, Charlotte Perkins. "The Yellow Wallpaper." The Norton Introduction To Literature. Eds. Jerome Beaty and J. Paul Hunter. 7th Ed. New York, Norton, 1998. 2: 630-642.
Gilman, Charlotte Perkins. "Why I Wrote 'The Yellow Wallpaper'" Ed. Catherine Lavender; The College of Staten Island of the City University of New York, Fall Semester, Oct. 1997. (25 Jan 1999) http://www.library.csi.cuny.edu/dept/history/lavender/whyyw.html
Wohlpart, Jim. American Literature Research and Analysis Web Site. “Charlotte Perkins Gilman, “The Yellow Wallpaper.”” 1997. Florida Gulf Coast University
Kennedy, X. J., and Dana Gioia. "The Yellow Wallpaper." Backpack Literature: An Introduction to Fiction, Poetry, Drama, and Writing. 2011. Print.
Wagner-Martin, Linda. "The Yellow Wallpaper." Reference Guide to Short Fiction. Ed. Noelle Watson. Detroit: St. James Press, 1994. 981- 982.
Gilman, Charlotte Perkins. “The Yellow Wallpaper.” Booth, Alison and Kelly J. Mays, eds. The Norton Introduction to Literature. 10th ed. New York: Norton, 2010. 354-65. Print.
Gilman, Charlotte Perkins. “The Yellow Wallpaper”. The Story and Its Writer. Ann Charters. Boston: Bedford/St. Martin’s, 2011. 462-473. Print.
------. "The Writing of 'The Yellow Wallpaper': A Double Palimpsest." Studies in American Fiction. 17 (1989): 193-201.
Johnson, Greg. "Gilman's Gothic Allegory: Rage and Redemption in 'The Yellow Wallpaper.'" Studies in Short Fiction 26:4 (Fall 1989): 521-30.
Gilman, Charlotte Perkins. "The Yellow Wallpaper" The Harbrace Anthology of Literature. Ed. Jon C. Scott, Raymond E. Jones, and Rick Bowers. Canada: Nelson Thomas Learning, 2002. 902-913.
Gilman, Charlotte. “The Yellow Wallpaper.” Literature a World of Writing: Stories, Poems, Plays, and Essays. Ed. David Pike, and Ana Acosta. New York: Longman, 2011. 543-51. Print.
Hume, Beverly A. "Gilman’s ‘Interminable Grotesque’: The Narrator of ‘The Yellow Wallpaper," Studies in Short Fiction 28 (Fall 1991): 477-484.
Horn, Jeff, Leonard N. Rosenband, and Merritt Roe Smith. Reconceptualizing the Industrial Revolution. Dibner Institute Studies in the History of Science and Technology. Cambridge, Mass.: MIT Press, 2010.
However, many disagree with the claim that there is not enough evidence to support the Egyptians being the builders of the pyramids and there are too much evidence to refute it. Alexander, an Egyptologists said those traditional ideas of the builders or the pyramids hasn’t been supported and are not facts (Alexander, 2010). He also argued that there were not any dead king inside those pyramids. Moreover, Dr. Ron Charles, a civil engineer and an archaeologist, discussed that there was and is still no proof that the pyramids were built to be burial tombs or sites for the pharaohs (Merrill, 2012). Dr. Mark Lehner, a professor of Egyptian Archaeology, says that there is graffiti on the ceiling of Khufu’s tomb which provides evidence of their purpose but which was not recorded until 1837 (Lehner,2006).