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Symbolism in The Yellow Wallpaper
Symbolism in The Yellow Wallpaper
Women during the 20th century
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Imprisoned in The Yellow Wallpaper
As man developed more complex social systems, society placed more emphasis of childbearing. Over time, motherhood was raised to the status of “saintly”. This was certainly true in western cultures during the late 19th/early 20th century. Charlotte Perkins Gilman did not agree with the image of motherhood that society proposed to its members at the time. “Arguably ‘The Yellow Wallpaper’ reveals women’s frustration in a culture that seemingly glorifies motherhood while it actually relegates women to nursery-prisons” (Bauer 65). Among the many other social commentaries contained within this story, is the symbolic use of the nursery as a prison for the main character.
From the very beginning the room that is called a nursery brings to mind that of a prison cell or torture chamber. First we learn that outside the house there are locking gates, and the room itself contains barred windows and rings on the walls. The paper is stripped off all around the bed, as far as is reachable, almost as if someone had been tied to the bed with nothing else to do. A jail-like yellow is the color of the walls, which brings to mind a basement full of convicts rather than a vacation house. I think that this image of the nursery as a holding cell is first an analogy for the narrator's feelings of being imprisoned and hidden away by her husband. When she repeatedly asks John to take her away, he refuses with different excuses every time. Either their lease will almost be up, or the other room does not have enough space, etc. Even the simple request to have the paper changed is ignored: “He said that after the wall-paper was changed it would be the heavy bedstead, and then the barred windows, and the...
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...r members of the animal kingdom, humans have not evolved any longer with such strong maternal instinct. Nurseries probably trapped and imprisoned many a young mother who listened to society and did what she thought she was supposed to. And once they got there, maybe they realized it was not how they wanted to live their life. Yet, they could not abandon their families and children, and so they were trapped by the cradle, the toys, the bottles, the nursery.
Works Cited
Bauer, Dale, ed. Charlotte Perkins Gilman, From Women and Economics, "Think Husbands Aren't Mainstays," "Dr. Clair's Place," From The Living of Charlotte Perkins Gilman. Gilman 317-18.
Gilman, Charlotte Perkins. From The Living of Charlotte Perkins Gillman. Gilman 334-44.
- - -. "The Yellow Wallpaper." 1892. Ed. Dale M. Bauer. Boston: Bedford/St. Martin's, 1998. 41-59.
Gilman, Charlotte Perkins. “The Yellow Wallpaper.” 1892. Ed. Dale M. Bauer. Boston: Bedford/St. Martin’s, 1998.
Gilman, Charlotte Perkins. "The Yellow Wallpaper." 1892. The New England Magazine. Reprinted in "Lives & Moments - An Introduction to Short Fiction" by Hans Ostrom. Hold,
differently. "John is a physician, and perhaps- (I would not say it to a living
Charlotte Perkins Gilman’s short story, “The Yellow Wall-Paper”, is a first-person narrative written in the style of a journal. It takes place during the nineteenth century and depicts the narrator’s time in a temporary home her husband has taken her to in hopes of providing a place to rest and recover from her “nervous depression”. Throughout the story, the narrator’s “nervous condition” worsens. She begins to obsess over the yellow wallpaper in her room to the point of insanity. She imagines a woman trapped within the patterns of the paper and spends her time watching and trying to free her. Gilman uses various literary elements throughout this piece, such as irony and symbolism, to portray it’s central themes of restrictive social norms
Charlotte Perkins Gilman's The Yellow Wallpaper is partly autobiographical and it illustrates the fight for selfhood by a women in an oppressed and oppressive environment. In the story, the narrator is not allowed to write or think, basically becoming more dysfunctional as she is entrapped in a former nursery room where bars adorn the windows and the bed is nailed to the floor. In this story there is an obstinacy on behalf of the narrator as she tries to go around her husband's and physician's restrictions, however, there is no resisting the oppressive nature of her environment and she finally surrenders to madness even though it represents some kind of selfhood and resistance because it allows her to escape her oppression, "She obsesses about the yellow wallpaper, in which she sees frightful patterns and an imprisoned female figure trying to emerge. The narrator finally escapes from her controlling husband and the intolerable confines of her existence by a final descent into insanity as she peels the wallpaper off and bars her husband from the room" (Gilman, 1999, 1).
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
Everyone’s seen the classic cartoons. Wile E. Coyote chasing the Roadrunner around a bend, only the Roadrunner turns, but our comedic--and usually stupid--villain doesn’t. So, he falls from a height of what looks like about 500,000 feet, only to become a small puff of smoke at the bottom of the canyon. After all, if what happens to you when you fall from that height were to have happened to Mr. Coyote, that would have been a very short lived cartoon series. Maybe this example is an exaggeration, but the idea is the same: violence comes streaming into our homes every single day through our TVs not to be viewed, but to be devoured. It’s been proven that sex and violence sell. For those of us who can tell the difference between reality and fantasy, the effect of TV violence is miniscule. But for our children--who think when the Mighty Morphin’ Power Rangers come to the local shopping mall, that it’s the biggest event since Bert told Ernie he snores too loud--the violence seen on TV seems like a logical reaction to life’s problems. And that’s a problem within itself. The impact of televised violence on children is only a slice of the pie that is the problem with the endless stream of violent acts on TV.
Haney-Peritz, Janice. "Monumental Feminism and Literature 's Ancestral House: Another Look At 'The Yellow Wallpaper '." Women 's Studies 12.2 (1986): 113. Academic Search Complete. Web. 24 Nov. 2014.
When families sit down to watch television, they expect to watch family type of shows. Family type shows meaning rated PG or PG13, sitcoms and movies that do not include weapons, killing, foul language, and non-socially accepted actions. When children killing, they start to believe that it is accepted. Do children think that killing and hurting others and themselves have little meaning to the real life, children can become traumatized. Most killers or violators of the law blame their behavior on the media, and the way that television portrays violators. Longitudinal studies tracking viewing habits and behavior patterns of a single individual found that 8-year-old boys, who viewed the most violent programs growing up, were the most likely to engage in aggressive and delinquent behavior by age 18 and serious criminal behavior by age 30 (Eron, 1). Most types of violence that occur today links to what people see on television, act out in video games or cyberspace games, or hear in music. Media adds to the violence that exists today and in the past few decades. It will continue in the future if it is not recognized as a possible threat to our society. When kids go to a movie, watch television, play video games or even surf the web, they become part of what they see and hear. Soaking violence in their heads long enough becomes a part of the way they think, acts, and live. The line between pretend and reality gets blurred.
Wagner-Martin, Linda. "The Yellow Wallpaper." Reference Guide to Short Fiction. Ed. Noelle Watson. Detroit: St. James Press, 1994. 981- 982.
“Yellow Wallpaper” by Charlotte Gilman was analyzed by many perspective readers and writers. In my research paper I analyzed work by Ann Oakley and Karen Ford. These two authors had similar but yet different arguments. During my review process on both articles, I found that there can be many interpretations of any literary work. When you typically see topics written about women, you tend to see biased explanations. Reading these from a female standpoint you would go on to assume the writer will only defend what is morally right.
Showalter, Elaine. “On ‘The Yellow Wallpaper’.” The Story and Its Writer. Ann Charters. Boston: Bedford/St. Martin’s, 2011. 1631-1636. Print.
...demonstrates the oppression that women had to face in society during the nineteenth century. The nursery room, the yellow wallpaper, and the windows, all symbolize in some way the oppression of women done by men. She bases the story on one of her life experiences. Charlotte Gilman wrote the story because she believed that men and women should be treated equally.
Gilman, Charlotte Perkins. “The Yellow Wallpaper.” The Yellow Wallpaper and Other Stories. Mineola: Dover, 1997. Print.
Thanks to the miracle of television the average American child watches 8,000 murders and 100,000 acts of violence before finishing elementary school (Early Concerns 113). Television violence is responsible for the increase in childhood violence. Watching violence is a popular form of entertainment, and watching it on television is the number one way that children are exposed to violence. Local news shows provide extensive converage of violent crimes in order to increase their ratings (Felson 96). Violence usually refers to physical aggression and aggression is usually defined as any behavior involving intent to harm another person (Sege 34).