Charlotte Perkins Gilman used her personal bout with postpartum depression to create a powerful fictional narrative which has broad implications for women. When the narrator recognizes that there is more than one trapped, creeping woman, Gilman indicates that the meaning of her story extends beyond an isolated, individual situation. Gilman’s main purpose in writing The Yellow Wallpaper is to condemn not only a specific medical treatment but also the misogynistic principles and resulting sexual politics that make such a treatment possible.
The unequal relationship between the narrator and John is a microcosm of the larger gender inequity in society. Gilman makes it clear that much of John’s condescending and paternal behavior toward his wife has little to do with her illness. He dismisses her well-thought-out opinions and her “flights of fancy” with equal disdain, while he belittles her creative impulses. He speaks of her as he would a child, calling her his “little girl” and saying of her, “Bless her little heart.” He overrides her judgments on the best course of treatment for herself as he would on any issue, making her live in a house she does not like, in a room she detests, and in an isolated environment which makes her unhappy and lonely. John’s solicitous “care” shows that he believes the prevailing scientific theories which claim that women’s innate inferiority leaves them, childlike, in a state of infantile dependence.
Gilman makes John the window through which readers can view the negative images of women in her society. In Gilman’s lifetime, women’s right to become full citizens and to vote became one of the primary issues debated in the home, the media, and the political arena. As women’s reform movements gained the strength that would eventually win the vote in 1920, the backlash became more vicious and dangerous. Noted psychologists detailed theories that “proved” women’s developmental immaturity, low cognitive skills, and emotional instability. Physicians, who actually had little knowledge of the inner workings of the female body, presented complex theories arguing that the womb created hysteria and madness, that it was the source of women’s inferiority. Ministers urged women to fulfill their duty to God and their husbands with equal submission and piety. In indicting John’s patronizing treatment of his wife, Gilman indicts the system as a whole, in which many women were trapped behind damaging social definitions of the female.
One can see the negative effects of John’s (and society’s) treatment of the narrator in her response to the rest cure. At first, she tries to fight against the growing lethargy that controls her. She even challenges John’s treatment of her. Yet, while one part of her may believe John wrong, another part that has internalized the negative definitions of womanhood believes that since he is the man, the doctor, and therefore the authority, then he may be right. Because they hold unequal power positions in the relationship and in society, she lacks the courage and self-esteem to assert her will over his even though she knows that his “treatment” is harming her. Deprived of any meaningful activity, purpose, and self-definition, the narrator’s mind becomes confused and, predictably, childlike in its fascination with the shadows in the wallpaper.
In the end, the narrator triumphs over John—she literally crawls over him—but escapes from him only into madness. As a leading feminist lecturer and writer, Gilman found other options than madness to end her confinement in traditional definitions of womanhood. Eventually, Gilman divorced her husband, who married her best friend, and her husband and her best friend reared her child. The public, friends, and family so sharply censured Gilman for her actions that she knew many women would stay in unhealthy situations rather than risk such condemnation. By having the story end with the narrator’s descent...
(The entire section is 98,213 words.)