Miranda 1

Between the Wallpaper

Gilmans The Yellow Wallpaper is a very intricately woven short story that uses

several literary devices to paint the picture of a yellow wallpaper that eventually drives the

narrator, Jane, into insanity with the help of several other factors. The story takes place in the late

19th century with the protagonist who attempts to battle depression with a rest-cure prescription.

Throughout the story there are examples of irony, symbolism, and abstract language or diction

that serve as mechanisms to portray the idea that women in that era fell prey to a dominantly

patriarchal society.

There is a particular irony that may be overlooked when first looking over the text. In the

sixth and tenth paragraphs Jane states John is a physician and My brother is also a physician

(Gilman 304). Both of these men are of high standing, but both come to the conclusion that she is

only suffering of slight depression. The irony presented in this is despite both men being high

status doctors, Jane eventually loses herself in hysteria and is not cured. Not only that, but her

husband, John, prescribes an endless resting period that is now known to only make depression

worse. However, Jane pleaded with John to let her out and let her socialize, but he refuse. Its

ironic how the ill know better than the doctor and unfortunately that is what ultimately leads to

her descent into insanity.

The wallpaper itself serves as a manifestation for the troublesome situation that Jane has

found herself in. As Schumaker puts it in his Too Terribly Good to Be Printed: Charlotte

Gilmans The Yellow Wallpaper, Jane begins to find in its tangled pattern the emotions and

experiences she is forbidden to record (Shumaker 3). So whatever Jane sees the wallpaper to be

can also be what Jane thinks of her current life. If she finds the wallpaper dull, then surely she

will also find her life dull, which must be true since the only thing she is allowed to do is rest.
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Who wouldnt find life dull in that sort of situation? With nothing else to do it seemed only

fitting that the wallpaper be the only outlet for Jane. She essentially becomes one with the

wallpaper and all its patterns and shadows.

The use of abstract language used to describe said patters and shadows is key to finally

tying the entirety of the story as is the lack of language exchanged between Jane and those

around her. Suess addresses the lack of connection between Jane, the language, and the society in

her passage Writings on the Wall Symbolic Orders in The Yellow Wallpaper. First off,

Suess makes the point that Jane draws a parallel between the outer pattern of the wall and law.

Jane constantly obsesses over trying find the order and laws of which the pattern finds and

consistently grows more and more irritated as time passes since there seems to be neither of

each. And even though Jane tries to communicate this frustration with the patter of the wallpaper

and with her isolation to her husband, she finds that its useless to get him to understand. Suess

states the patriarchal structure of language, and therefore, of society, leaves women with a

frustrated relation to both language and society (Para. 34). What Suess describes is precisely the

predicament Jane is in. Without being able to properly to convey her feelings to those around

her, Jane must settle with using this abstract language in describing both the pattern and,

eventually, herself. The realization that she is permanently disconnected from society due to this

language barrier is what eventually pushes her over the edge.

When the insanity finally hits Jane, much is brought to light. Her husband, despite

claiming that he worried so greatly for her, was able to do nothing to help her despite the several

suggestions from Jane. Janes lack of stimulating activity leaves her with nothing, but to

overthink the patterns and thus her own feelings. And the abstract language of Jane fails to make
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a connection with the society around her. These factors combined are what drive Jane insane, but

also show the tragedy of a 19th century woman in a patriarchal society.

Works Cited

Gilman, Charlotte Perkins. The Yellow Wallpaper. Perrines Literature: Structure, Sound and
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Sense. 12th Ed. Editors Thomas R. Arp and Greg Johnson. Stamford, CT: Wadsworth

Cengage Learning, 2015. Print.

Schumaker, Conrad. "Too Terribly Good to Be Printed": Charlotte Gilman's "The Yellow

Wallpaper." American Literature 57.4 (1985): 588. Academic Search Premier. Web. 19

June 2016.

Suess, Barbara A. "The Writing's On the Wall" Symbolic Orders in 'The Yellow

Wallpaper'." Women's Studies 32.1 (2003): 79. Academic Search Premier. Web. 19 June

2016.