The madness of a woman

The protagonist of the story is a writer with a wildly creative imagination who is up to(p) to write, because of her controlling husband, only in secret. Her husband and her brother, both doctors, cerebrate that she is simply the victim of a weak constitution, and they feel that the resume rests in drugs, exercise, and, above all, abstinence from work. "Personally," she writes, I disagree with their ideas. Personally, I believe that congenial work, with excitement and change, would do me good" (251). In other words, she knows, intuitively, that writing would heal her, for it would put her in see with herself, her feelings and thoughts, and would til nowtually bring the healing she needs. However, because she cannot freely and proudly indicate her imagination, which would likely ease whatever mental, emotional or even physical problems she has, her creativity takes a twisted course and she goes mad.

The confederacy between the control of the wife by the husband, and the wo valet de chambre's stifled creativity is emphasized throughout the story. She wants to write, plainly her husband--not only a man but a doctor, another symbol of authority--feels that writing bequeath only add to her suffering. She disagrees with him, and with her brother, but she would never consider argument with them about the issue. Instead, she writes in secret. This choice deed overs her to express herself, but the maneuver she produces, and the mind which produces it, be increasingly in-grown

She becomes the child her husband sees her as being. When she wants to visit her relatives, he refuses to allow her to do so, and she tries to argue the point: "I did not sire out a very good case for myself, for I was crying before I had finished" (255).

Finally, the wallpaper becomes her angiotensin converting enzyme and only reality.

Again, had she been allowed to create freely, she would likely halt recovered her health, would have been satisfactory to care for her child, and would have been cap adequate to(p) of dealing much effectively with her husband and society, although she certainly would not have been actually happy except when she was writing. As it is, however, she loses her mind to the wallpaper: " on that point are things in the wallpaper that nobody knows about but me, or ever will" (256).

Gilman, Charlotte Perkins. "The Yellow Wallpaper." N.P.: N.P., N.D. 250-261.

Her madness drives her to flake polish off off all the wallpaper because she believes that with it off she will be free and not have to hide any longer: "I've got out at last . . . in spite of you and Jane. And I've pulled off most of the paper, so you can't put me back!" (261).

In her state, she is unable(predicate) of caring for her child: "Such a dear louse up! And yet I cannot be with him, it makes me so nervous" (252). Were she able to write freely as she wished, she likely would have been able to care more effectively for her child.

It is a big, airy room, the wholly floor nearly, with windows that look all ways, and air and sunshine galore. It was baby's room first and then playroom and gymnasium, I should judge; for the windows are barred for little children. . . . (251).

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