Husband-Doctor: A Stifling Relationship In Gilman’s “the Yellow Wallpaper ” At the beginning of “The Yellow Wallpaper”, the protagonist, Jane, has just given birth to a baby boy. Although for most mothers a newborn infant is a joyous time, for others, like Jane, it becomes a trying emotional period that is now popularly understood to be the common disorder, postpartum depression. For example, Jane describes herself as feeling a “lack of strength” (Colm, 3) and as becoming “dreadfully fretful and querulous” (Jeannette and Morris, 25).
In addition, she writes, “I cry at nothing and cry most of the time” (Jeannette and Morris, 23).
However, as the term postpartum depression was not in the vocabulary of this time period, John, Jane’s husband and doctor, has diagnosed Jane as suffering from “temporary nervous depression [with] a slight hysterical tendency” (30).
(Colm) It may be more accurate to view the symptoms she develops later in the story-visual hallucinations, delusions, paranoia-as stemming from a psychotic condition that, prior to the birth of her son, was subdued or in control.
The birth of her son precipitated a confrontation with John and became a catalyst of her psychosis. Jane’s child may be considered a catalyst because, although he is not named for us by the narrator, he will be the recipient of his father’s last name. Walsh points out “the stress laid in the clinic on the father as word and figure, so that what is finally important might be called the perception of paternity or the relation to paternity” (78).
The Essay on Depression Time Illness Depressed
Depression Everybody has 'the blues' or 'feels down' from time to time. It's normal to feel sad for short periods, especially if something bad had happened in our lives. But those of us who suffer from depression have much more than 'the blues', and our feelings can last for a long time. There are many sufferers of this illness; at any one time, 5% of Canadians are depressed, and 10-20% will ...
When applied to a reading of “The Yellow Wallpaper,” this translates into the following: The birth event is one of the times, perhaps the first, that Jane actually confronts her relation to the father of her son, John.
In relation to the above, until the very last few lines of the story, Jane herself, is unnamed. (Hume, 477) This absence correlates with the void she has in the place at which a non-psychotic person would have a relation to the Husband/Father. Furthermore, even though her name eventually is revealed, it is, in essence, a no name: Jane, as in Jane Doe, as in anonymous, without a history or connections of any sort. Aside from Jane’s anonymity, there are other indications that Jane does not fit into the wife / mother relationship.
From the opening lines, Gilman makes it clear that the world of the story is feminist. For example, Jane describes the house that she and John rent as an “ancestral hall” and a “hereditary estate” (Bates), phrases that recall the male dominance of Western society. Also, the story’s representative male, John, is described in the story as “practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures” (Bates, 53).
John represents law and order and reality. As Jane’s physician-husband, he is identified as ruler or Jane in all domains, personal, professional, and social.
Unfortunately for Jane, the methods by which John attempts to cure his wife are extremely rational and as structured as he is. A devout “empiricist” (Shu maker 591), he orders for Jane “a schedule prescription for each hour in the day” (Gilbert and Gubar) and bids her over and over again to maintain “proper self control” (Gilman) and “to use [her] will and good sense” (Hume, 478) to suffocate any imaginative or disruptive tendencies. The power of John’s medical diagnosis, as Treichler points out, goes far beyond the limits of loving advice, however, as Jane’s mental illness gets worse. John does more than merely diagnose the medical problem from which Jane suffers; rather, he “speaks to define woman’s condition” (Treichler, 65).
The Essay on One Orwell Story Order
Shooting elephants, pigs and other animals: Orwell's struggle for political emancipation Ant " on io Lopes, Universidade do Algarve Abstract One might say that Orwell has almost become a persona non grat a amongst left-wing intellectuals: Williams refers to him as an 'exiled? and a 'vagrant? Jameson deems him a 'counterrevolutionary? As a matter of fact, despite Orwell's claims to being a leftist, ...
Although this explanation of Jane holds some worth, it fails to take into concern the many instances in which Jane shows a strong fighting spirit against John’s condescending medical advice. While King and Morris recognize Jane’s behavior as showing “an increasingly submissive exterior” (30), they do not in any other way distinguish between Jane’s exterior and interior responses to John and the patriarchal order.
However, the text of Jane’s diary not only reveals Jane’s awareness that John is manipulating her, it also provides evidence that she has learned to turn the tables on his supposed authority. As Greg Johnson has pointed out, Jane’s descriptions of John are typically sarcastic and mocking (524).
For instance, even as Gilman makes it clear that Jane recognizes John’s forced captivity as mainly to blame for her continued illness-“I wish he would take me away from here!” -immediately after this entreaty, Jane writes “It is so hard to talk with John about my case, because he is so wise, and because he loves me so” (Roudiez).
For John, that of which he is not in strict control, such as Jane’s writing (Kristeva), is considered “absurd” precisely because it reduces his power.
The idea that there is such a thing, for example, as “ghostliness” is inconceivable to John because it cannot be “felt and seen.” Therefore, he refuses to even listen to Jane’s thoughts on the topic. For instance, when she “tried to have a real earnest reasonable talk with him the other day, and tell him how [she] wish[ed] he would let [her] go and make a visit to Cousin Henry and Julia” (Kristeva), John disallows such an action as it would constitute a break in the schedule he had, in his patronizing belief that “Father” knows best, set for her. Rather than consider the potential validity of Jane’s suggestion, “dear John gathered me up in his arms and just carried me upstairs and laid me on the bed, as sat by me and read to me till it tired my head. He said I was his darling and his comfort and all he had, and that I must take care of myself for his sake, and keep well” (Kristeva).
The Essay on Yellow Wallpaper Woman Paper World
An Ironic Triumph In "The Yellow Wallpaper", a story by Charlotte Perkins Gilman, the conflict centers on the protagonist's inability to maintain her sanity in a society that does not recognize her as an individual. Her husband and brother both express their own will over hers, forcing her to conform to "an appropriate code of behavior for a sick woman." She has been given a "schedule prescription ...
John’s suppression of Jane’s efforts to gain control of her own life through her choice of medicine-“less opposition and more society and stimulus” (Gilbert and Gubar) and the opportunity to write in her own words-reflects the more general oppression of Jane, as a woman and as a mentally ill person, by the patriarchal nature of the relationship with her husband. However, although John has faith in what he believes to be the logical, Reality-based strength of his resolve, incidents such as the one discussed above show that the Symbolic Order does not gather its strength from the logic of Reality but from the patriarchal tradition that engendered it.
From this viewpoint, even the non psychotic woman who, according to Lacan, has been able to constitute herself fully within this order may either fail to recognize or choose to reject the supposed logic a part of in this patriarchal relationship. In conclusion, Because Jane, as the woman in the wallpaper, does escape from the wallpaper, she believes she has succeeded in creating her own relationship with John. At the end of the story, we see, in fact, that Jane does not belong to the same world or have the same identity as earlier. She says to John, “‘I’ve got out at last, … in spite of you and Jane. And I’ve pulled off most of the wallpaper, so you can’t put me back'” (Tripathi, 65).
Thus, Jane is no longer Jane, floundering in what she perceives as a patriarchal relationship. Instead, Jane is the woman who fought her way out from behind the bars of the outside pattern, so that she is able to “creep by daylight” and even to question aloud the reasons for the actions of those around her. Jane now feels capable of wondering about John, “Now why should that man have fainted?” and still remains strong enough in her new sense of identity to “creep over him” (Tripathi, 69).
In this one brief moment, Jane triumphs, in the sense that she literally walks all over the stifling Husband-doctor. Works Cited Hogan, Patrick Colm. “Structure and Ambiguity in the Symbolic Order.” Criticism & Lacan.
Eds. Patrick Colm Hogan and Lalita Pandit. Athens: U of Georgia P, 1990. 3-30. King, Jeannette and Pam Morris.
The Essay on The Independence Of Women The Yellow Wallpaper
The Independence of Women "The Yellow Wallpaper," written by Charlotte Perkins Gilman, is a story of a woman, her psychological difficulties, and her husband's so called therapeutic treatment of her ailments during the late 1800 s. The story begins with a young woman and her husband traveling to the country for the summer to help heal the young woman's psychological condition. Upon reading thins ...
“On Not Reading Between the Lines: Models of Reading in ‘The Yellow Wallpaper.’ ” Studies in Short Fiction 26. 1 (Winter 1989): 23-32. Walsh, Michael. “Reading the Real in the Seminar on the Psychoses.” Criticism & Lacan. Eds.
Patrick Colm Hogan and Lalita Pandit. Athens: U of Georgia P, 1990. 64-73. Dock, Julie Bates.
‘But No One Expects That’ Charlotte Perkins Oilman’s “The Yellow Wallpaper’ and the Shifting Light of Scholarship.” PLM A 111. 1 (Jan 1996): 52-65. Gilbert, Sandra M. and Susan Gubar.
The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. 2 nd ed. New Haven: Yale UP. 2000. Treichler, Paula A. “Escaping the Sentence: Diagnosis and Discourse in ‘The Yellow Wallpaper.’ ” Tulsa Studies in Women’s Literature 3.
1-2 (Spring-Fall 1984): 61-77. Johnson, Greg. “Gilman’s Gothic Allegory: Range and Redemption in ‘The Yellow Wallpaper.’ ” Studies in Short Fiction 26. 4 (Fall 1989): 521-30. Powers of Horror: An Essay on Abjection. Trans.
Leon S. Roudiez. New York: Columbia UP, 1982. Kristeva, Julia. Desire in Language: A Semiotic Approach to Literature and Art. New York: Columbia UP, 1980.
Tripathi, Vanashree. “Charlotte Perkins Gilman’s ‘The Yellow Wallpaper’: A Gyno graph.” Indian Journal of American Studies 27. 1 (Winter 1997): 65-69. Lacan, Jacques.
Ecr its: A Selection. Trans. Alan Sheridan. New York: W.
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