Introduction The Yellow Wallpaper is a narration that contains numerous images that must be interpreted so as to comprehend the narrative. It depicts issues that implicate the narrator straightforwardly. Initially, the symbolism appears unlikeable, torn, soiled and impure yellow. The most unpleasant is the apparent indistinct structure, which intrigues the narrator in an attempt to comprehend its organization. After gazing at the paper for long, she notices a ghostly substructure behind the main structure, continuously creeping and stooping, looking for a fleeing from behind the main structure, which has come to is similar to the bars of confinement. The storyteller perceives this confinement as embellished with the heads of numerous women, all of whom were strangulated in an attempt to flee. Apparently, the wallpaper symbolizes the organization of family, medication, and custom in which the storyteller discovers she is entrapped. Wallpaper is household and modest, and Gillman cleverly utilizes this frightening, hideous paper as imagery of the household existence that entraps numerous women (Gilman, p. 1).
Moreover, this narration depicts the repression of females by males and resistance against the male-controlled community. Their yellow paper is figurative of the psychological screen that males tried to place on females in the 1800s. The yellow coloration is frequently connected with illness or feebleness, as well as the narrator’s odd sickness is a figure of male’s repression of the female gender. The two windows from which the narrator frequently gazes out of, scrutinizing the universe, is figurative of the probabilities of females if seen as equivalent by opposite genders.
The wallpaper is an allegory of the metal screen that males tried to impose upon females. The coloration is repugnant, unpredictable and irritating, but the structure is tormenting. This is figurative of the constraints imposed on females. The author is asserting subliminally that the refutation of equivalence for females by males is a repugnant deed and that when males appear to award females some measure of equivalence, it is usually unreliable. The utilization of the expressions infuriating and tormenting are depictions of emotions of females in the 1800s. The storyteller asserts that she is almost stringently prohibited to undertake any work by her spouse and brother. The narrator utilizes the expression work to signify intellectual or sovereign relations with the community. In the 1800s, unaccompanied female in the public was perceived as a prostitute.
The writer narrates of their departing at a summer home with her spouse, John, a doctor, and that she is ill. In her ailing state, her spouse and brother, both doctors, reassure her that everything is perfect. This is figurative of females of the 1800s fighting for equivalence while being disregarded and repressed by males. Furthermore, the author asserts that in her situation she had less resistance and more community and motivation, but John claims that the worst action she could undertake is to reflect on her situation, and she admits it makes suffer. In this scenario, the storyteller is writing of males’ opposition to equality. Moreover, less resistance and more community, as well as the stimulus, is an apparent depiction of the ambitions of females’ suffrage. In addition, the constriction to reflect on her situation is a portrayal of the narrator’s statement that when females try to liberate themselves, men repress then and impose the ideology of inferiority. Furthermore, the narrator concludes by exclaiming she had escaped despite Jane. In addition, she declares that she had pulled off a substantial portion of the paper, so she could not be drawn back. Additionally, in her last remarks, she reveals that is only via final destructive deeds that she can be liberated from the repression. She has fled forever and has broken the bonds depicted by the paper (Gilman, p. 3).
Gilman, Charlotte Perkins. The Norton Anthology of American Literature: Volume C. W.W. Norton, New York, 2002.