Lebanese University

Faculty of Humanities and Letters

English Department
Instructor Pr. Eva AlHajj

Master Research Paper in

Informatics Documentation

Gilman's Foregrounding of Mitchell's Rest Cure in the Yellow Wallpaper

Short Story and Its Implications

Malak Wehbe

malak.wehbe.798@gmail.com

Saida- Lebanon
Academic Year 2019-2020
Table of Contents

I. Introduction

A. Michelle’s Rest Cure: Imperialist Scientific Discourse and Labeling Madness as Inferior

and Feminine P.3

B. Rest Cure vs. West Cure: 19th Treatments Differ Between the Two Genders … Why? P.4

C. Deconstructing Victorian Binary Oppositions as Feminist Movement P.5

D. Yellow Wallpaper Story Genre and Features P.5

II. Discussion

A. Rest Cure: Gilman and the narrator P.6

B. How Patriarchal Science is manifested in Gilman’s Yellow Wallpaper through Metaphors:

Symbols, Oppositions, images, Differences , Similarities and Expressions P.7

C. Disrupting Patriarchal Order of the Scientific Metaphors and Unleashing Repressed

Feminist Metaphors: Symbols, Oppositions, expressions, Differences , Similarities

and Images P.9

III. Conclusion

A. Brief Critical Reviews : King, Morris, and Blackie P.11

B. Mitchell’s Response to the Story and Her Message P.12

A.

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Abstract

The purpose is to present eclectically how literary researchers and critics analyzed Gilman's The
Yellow Wallpaper from stylistic and historical angles using the medical information about the
Mitchell’s infamous Rest Cure in the nineteenth century.

I. Introduction

There is no possibility to label scientific experiments in the Victorian age as objective and
credible especially the association of the huge-sized brain of the male to systematic and
analytic thinking ,whereas the small-sized brain of female to empathy and nurturing, also it is
attributed to incompleteness and incompatibility with cognitive processes (Fine,2010).

A. Michelle’s Rest Cure: Imperialist Scientific Discourse and Labeling Madness as Inferior
and Feminine

Due to the undesirable attribution of low thinking and emotions to females only, Victorian
doctors believe that females are more prone to madness and hysteria than males for they
surrender helplessly after failing to adapt to the modernizing and industrialist nineteenth-
century (Jordan ,1996).

Another way for the nineteenth-century patriarchy to explain women’s madness is their
involvement in cognitive fields rather women’s creativity is recognized by patriarchy as
feminine insanity and hysteria (Rochat, 2017).

Evaluating Victorian doctors’ deductions, cultural feminists pointed out that they failed to look
for the real reasons behind whether economic, political or social (Jordan, 1996).

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Even if Victorian doctors did not treat the patients including females brutally preventing them
from proper cloth and food or leaving them to sleep on filth-cluttered floors as medieval
doctors did, they still retain the dehumanizing medieval concept of “wandering uterus” and
unsatisfied eye that dehumanize “the mad” as “the other”, “the deviant” and define madness
as “unreason”, “disease or illness” and “deviance”, also it is attributed to feminity (Jordan,
1996).

B. Rest Cure vs. West Cure: 19th Treatments Differ Between the Two Genders … Why?

Monopolizing their medical knowledge in their male upper-class group, Victorian doctors keep
the patients especially females ill-informed about their body-mind health matters to enhance
their passivity and submission to them and their patriarchal strategies (Rochat, 2017; Jordan,
1996).

To treat the “ madness” , nineteenth century doctors resorted to the Mitchell’s Rest Cure :
limiting places and activities rather imprisoning the patients and preventing “stimulating”
activities especially which are enjoyed by the patients like reading, writing, knitting , exciting
and inspiring conversations as a part of their “medical therapies”.(science museum.org)

Along with depriving techniques, the doctors adopted reducing patient’s refusals into forced
submission and dependence of infancy: spooning them on fatty milk-based diet, cleaned then
turned them over to bed (science museum.org). Besides, they used electrotherapy upon the
female patients to reposition the wandering and misplaced uterus which they, like the medieval
doctors, discriminatively label as wild thirsty animal seeking for sexual satisfaction (science
museum.org; wired.com).

Whereas the men who suffered from neurasthenia were encouraged to indulge in physical
activities such as “contesting with nature” including hunting and write about their adventures
which to Mitchell's dogmatic view are masculinizing activities to eliminate “feminizing” traits of
neurasthenia (apa.org) .Mitchell’s West Cure to men differ totally from his Rest Cure to women
which discourage them from writing, painting and other enjoyable activities and imprison them
in home (apa.org). Michelle obliges them to stay in home which he describes as their healthy
and right sphere for them and not outside (app.org). Rest cure carries misogynist implications
that oppress and imprison the female patients (apa.org).

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 C. Deconstructing Victorian Binary Oppositions as Feminist Movement

To deconstruct these metaphors about madness and gender roles created by patriarchy and
within medical discourses, feminist writers overthrow essentialist concepts that meaning exist
in essences and is fixed embracing ambiguities and different meanings .Also they questioned
knowledge created by society in contrast to essentialists’ idealization to it as unquestionable
and superior( Jordan,1996; Romlah et al, 2019)

In addition to their indifference toward these imperialist notions, they did not succumb to the
alluding obligations of patriarchal attribution of unquestionable freedom to only male writers
regarding linguistic deviations by essentialists and writing about societal taboos by
constructionists (Kreidly, Feminine versus masculine writing).

Embracing deconstructive techniques including reversing imperialist binary opposition between

superior and inferior that imbibes on dualism , creating shifts and deviations , shedding light on
women’s rights and freedom , criticizing Victorian doctors’ practices and deductions and
questioning the facts created by patriarchy and its medical figures in feminist writings
particularly Gilman’s Yellow Wallpaper which oppose the discriminative “treatments” in the
nineteenth century and the patriarchal system (Jordan,1996;Collins and Mayblin, 1996/ 2012;
Romlah et al,2009).

D. Yellow Wallpaper Story Genre and Features

Like other feminist writings, The Yellow Wallpaper Short Story is emancipatory, bildungsroman
that focuses on the narrator's formation toward independence and educational rather than the
indoctrination of the patriarchal and didactic style to the girls to be “The Angel of the House”:
polite, obedient and loyal to the patriarchal family and society including carrying unreasonable
and misplaced guilt for others’ mistakes (Sindradóttïr, 2015; Rochat, 2017).

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In The Yellow Wallpaper, Gilman deconstructed the gender and madness metaphors created by
nineteenth century patriarchy (Jordan, 1996; Romhal et al, 2009).She also questioned the
credibility of its medical “treatments” especially the Rest Cure which she suffered from and
suggest her own treatments for her body-mind health: a topic patriarchy and its medical figures
unwillingly to discuss about with patients especially females (Rochat, 2017).

Furthermore, an ambivalence of discourses is created due to using deconstructive techniques

to disrupt the comfort of patriarchal determinacy which is unfamiliar and undesired by the
fanatic figures (Jordan, 1996; Wolter, 2009; Rochat, 2017, Collins and Mayblin, 1996/ 2012;
Romlah et al, 2009).

II.Discussion

Inserting images, symbols, emotions, postures, words and physical actions, Gilman generated
metaphors as “symbolic linkages and transformation of meaning ” through ambiguities,
differences and similarities to show the severity of the domestic imprisonment the Rest Cure
had caused to her (Lakoff ,Johnson and Duhl ctd in Jordan, 1996; Romhal et al,2009).

A. Rest Cure: Gilman and the narrator

Abiding by“ Dr.Mitchell's immediate diagnosis of Gilman’s” illness which is neurasthenia , her
husband carried out “[Mitchell’s] dogmatic view in limiting places and role of women in society”
and Mitchell’s discriminative attitude toward emancipating women who , according to him,
should be curbed and conditioned as a “resolution” to the fabricated illness ( Vertinsky qtd in
Rochat,2017).
In other words , the Rest Cure confined her in Philadelphia Sanitarium for a month to forbid
her from “touching a pencil or a paint brush” so as not to be stimulated intellectually(John Back
qtd in Rochat, 2017).The doctors dismissed her own “observations about her body-mind health
matters” treating her like a child (Rochat,2017).

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Similarly, John deprives the narrator from writing and from visiting her cousins and coversing
with them conditioning her to think that these activities stimulate her “fantasies” leading her to
lose control of her nerves (Salas, 2002).

Besides, he casts the narrator’s repulsion from the wallpaper that it does not have any peculiar
smell; it is just “humidity, rain and mold” (Green, 0:01-13:35). Not only he ignored her
observations and needs to visit her cousin which is “unhealthy” and “stimulating”, but also he
dismiss her observations as “whims” and denied her an academic, accurate and credible
explanation about her medical case and the actual causes:“ a temporary nervous depression - a
slight hysterical tendency” whereas the reality it is severe disorder particularly it is
neurasthenia which may not be temporary (Gilman qtd in Salas,2012; science museum.org).

He fears that she gain an access to medical knowledge threatening his authority as patriarchal
medical figure (Rochat, 2017).

Also he refused the narrator's request to remove it (Wolter, 2009).Gilman creates ambiguity
by shedding light on John’s desire to keep the wallpaper whether symbolically to kill her with
the chemicals particularly “sickly sulfur tint” ( Gilman qtd in Salas,2012) alluded by
Delashmit(Wolter,2009) or to imbibe on the “sexual emissions ”of the patriarchal wallpaper
which strengthen him as indicated by Karpinski (Karpinski ctd and qtd in Wolter,2009) or to
drive her crazy when she compares the smell to a urine of her absent newly borne infant’s
saturated diapers as mentioned by Vedeer, after her neurotic pregnancy , fatigue , childbirth
and high levels of hormones (Wolter,2009; Jordan,1996;Doucet et al ,2009).

B. How Patriarchal Science is manifested in Gilman’s Yellow Wallpaper through

Metaphors: Symbols, Oppositions, images ,Differences, Similarities and
Expressions

Dualist order between science and reality in contrast to art and imagination is established
(Jordan, 1996; Sullivan, 1982) and deconstructed when Gilman erased the boundaries between
the pair the same as the Lacan's concept (Jordan, 1996; Wolter, 2009; Romlah et al, 2009).
Hence, the writer sheds light on the dualist order patriarchy set up between“ the imaginary
world” : the female , the patient world and “the (m)other’s world ”against the “real/symbolic
world”: the male ,doctor world and the father’s world (Jordan,1996;Sullivan,1982; Romlah et al
,2009).

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Lacan describes the symbolic and real world as superior to the imaginary focusing on that when
the male child finds a lack in “the (m) other” and her “imaginary world” he had resorted to ,he
will leave it to retrieve to the father's “symbolic/real world” which completes him
(Sullivan,1982).

Lacan’s concept is criticized by the feminist writer Irigway for it hides a phallocentric notion
(Sullivan, 1982). This notion is one of the pillars of patriarchy (Sullivan, 1982).

Another dualist juxtaposition between real and imagination along with the same pattern
between passivity and activity is when she perceives the panoptic“ two bulbous eyes” that
“stares at [her]” and“ go up and down the line” , “rings on the wall”, “barred windows for little
children”, “gates that lock downstairs” and imprisonment of the dull schoolboyish yellow
wallpaper with “circular shapes plung themselves off in unheard contradictions”(Gilman qtd in
Salas, 2012) and outrageously “overelaborated ”and “gross patterns” is glimpsed “lost in a dirty
yellow fog” .(Lynn and Ackerman qtd in Wolter,2009;Jordan,1996;Salas,2012; Romlah et
al,2009).

In these imagistic scenes, the writer draws a similarity connection between eighteenth century
Jeremy Bentham’s Panopticon and nineteenth century Silas Weir Mitchell's the Rest Cure that
figure in symbolic and imagistic dimensions (Wolter, 2009; Jordan, 1996; Salas, 2017).

Panopticon architectural design depends on “The visibility is a trap ” theme and is described by
Foucault as a central tower circled by peripheral buildings with two wide light- absorbing
windows for each cell so that the wardens’ eyes in the tower can watch the prisoners including
schoolboys, criminals, paupers and “mad” people. (Foucault ctd in Salas, 2012). The voyeur or
the watcher prevents the freedom of the object to be scrutinized in both which cause
psychological problems mentioned in Foucault’s critical studies: the scrutinized become
obsessed with and afraid of being watched every time they act and decide ,therefore they
watch themselves (Sapouna 2017; Salas, 2012; Pinsent, Changing Janes). To Foucault, neither
the Rest Cure is formed by medical development, nor the Panopticon is developed by justice;
both are established for political and imperialist intentions (Sapouna, 2012; Salas, 2012).

Succumbed to John's “reason” and “the façade of patriarchy”( Jordan ,1996;Gilbert and Guber
qtd in Wolter,2009), she repetitively insert the helpless refrain: “what is one to do?” (Pinsent,
Changing Janes). To remove herself away from the pronoun “I” , she embraced the collective

8
pronoun “one” due to her loss of confidence , identity and indecisiveness(Pinsent, Changing
Janes).

Not only she lost her confidence, identity and indecisiveness due to entrapment of the
patriarchy to her, but also she lost her activeness. The narrator ,in the beginning, was
“differential”, “sedate” ,“reserved” and “passive” to John's infantilizing speech: “my little
goose” ,“little girl”(Gilman ctd and qtd in Pinsent, Changing Janes).

She represents John as the voice of reason and rationality and agrees with him, so “ [she] took
phosphates” which its overdose “causes terror” as Gilman wrote in her dairy linking between
the physical and psychological malfunctions (Gilman qtd in Wolter,2009). Moreover, she
surrendered to John’s prescription that necessitates “ not to work till [she is] well again”
(Gilman qtd in Salas,2012).

C. Disrupting Patriarchal Order of the Scientific Metaphors and Unleashing Repressed

Feminist Metaphors: Symbols, Oppositions, expressions, Differences, Similarities
and Images

Then, she opposes unexpectedly these prescriptions asserting that the “work” (writing and
painting) will“do [her] good”. (Gilman qtd in Salas,2012 and in Wolter,2009). As a result, she
becomes more hopeful and confident Pinsent, Changing Janes).

Shifting to a hopeful and enthusiastic stance substituting the collective pronoun“ one” with
nominative-case pronoun “I” as Golden pointed out ,the narrator claimed her volition to
discover her actual case and free herself from imposed control over her :“I am determined that
no one shall find it out but myself ” leading her to become “confident”,“ more quiet than [she]
was ”,“social and buoyant” attributing her recovery to the yellow wallpaper (Gilman ctd and qtd
in Pinsent, Changing Janes).

She was suspected when she occupies the voyeur position using the discourse of look after her
discovery in these scenes: “John seems very queer”…“he pretends to be loving and kind as if I
do not see through him”…“Jeannie's look is inexplicable” …“I watched John when he do not
know I am looking at him” rather than burdened with misplaced guilt “dear John he loves me so
much and he hates to see me sick”. He is no longer mentioned as “dear John” in these

9
quotations; she coldly mentions only his name “John”. (Gilman qtd and ctd in Pinsent, Changing
Janes; Racha, 2017).

The narrator starts to investigate “the panoptic effect” of the yellow wallpaper which she used
to “know little about”(Salas, 2012) and figures in a woman particularly herself behind the
yellow wallpaper shaking its bars and creeping (two metaphors indicate physical actions
standing for resistance against the imprisonment) (Salas,2012).

After her“ discovery of radiation”, the narrator pulls the bars helping the woman who is
“push[ing]” and “shak[ing] [the bars] hard” to help the woman free herself from“ the façade of
patriarchal text” which the yellow wallpaper symbolically stands for (Gilman qtd and ctd in
Salas,2012; Gilbert and Guber qtd in Wolter, 2009).

By peeling the yellow wallpaper off, the narrator wanted to expose the “cracks in the house”
that reflect the cracked familial relation between her and John (Wolter,2009).The yellow
wallpaper acts as a symbol of patriarchal tool used for decorating women's domestic prison
hiding “the faulty construction” of the family which is based on the existential presence of “the
one” at the expense of “the other” and preventing women from development of the self-
identity as Delashmit pointed to (Wolter,2009;Simone de Beauvoire, Introduction of Woman as
an other, 2009).
Claiming that “it is hard for [her] to think straight”, she used the yellow wallpaper’s
“alive paper” to write her own cyclical, repetitive text and embrace her stream of consciousness
unlike the straight-structured and didactic patriarchal text (Salas,2012; Wolter,2009;
Sandróttir,2015).

Despite of the narrator’s psychological projection of her own feelings and suicidal thoughts
onto the yellow wallpaper in the imaginary world by describing the circular patterns as figures
committing suicide, she managed to reveal the truth and facts about her suffering and the
futility of the rest cure through her world erasing the boundaries between the science, reality
and rationality next to art, imagination and irrationality. Her deconstructive techniques indicate
how John’s attempts to draw the boundaries and hide their eraseability are vain. Because his
brain did not endure the narrator's claim: “I got out at last inspite of you and Jane”, he fainted
at the notion referring to herself by the name and her peeling of the wallpaper creating the
ambiguity whether he took the sentence literally or as a symbolic declaration indicating that
she freed herself from the old submissive self. (Jordan, 1996; Green, 0:01-13:35; Wolter, 2009;
Romlah et al, 2009; Pinsent, Changing Janes).

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Consequently, the fake Lacan’s superior-inferior opposition between the (m)other’s imaginary
world and the father's world is sheered out behind the wallpaper to reveal inequality of
pedestling the male doctor at the expense of the female patient (Jordan,1996; Sullivan,1982;
Romlah et al ,2009). Possessing the key room to lock the door and hiding the rope to tie her
obstacles which obstruct her way as a plan besides her deconstruction of the wallpaper for her
sake, she possessed the room which John used to control for imprisoning her (Wolter, 2009;
Salas, 2012; Jordan 1996).

Rationality and irrationality boundaries are erased so the latter take over when John didn't
endure her resistance and fainted due to helplessness especially when his wife claimed that
she “got out at last ” and started creeping.(Wolter,2009;Salas,2012;Jordan 1996;Romlah et
al,2009).

Similar to Lacan’s concept, Straus’ superior-inferior dualist order between nature and culture as
representation to irrational force and rational force is deconstructed when nature cannot be
controlled by culture -the opposite of Straus’ thoughts (Szopotowicz, 2015; Jordan,1996;
Romlah,2009).John wanted to curb the narrator's repulsion and desires to write and paint but
he failed (Wolter, 2009).

Ambiguities are created whether she used rational or irrational discourse (Wolter, 2009; Salas,
2012) .The narrator depicts herself as a stranger to scientific rational discourse: “I took
phosphates and phosphites whichever it is”, yet she created her plan which achieved and it
appears the opposite (Wolter, 2009; Salas, 2012).

Even between the decadence of nineteenth-century patriarchy and feminist liberation, the
borders faded when they were clamped together to represent symbolically and
deconstructively the yellow wallpaper (Wolter, 2009; Jordan, 1996; Romlah et al, 2009).

Another deconstructive technique shape in the adaptation of some feminist writers including
Gilman when embracing the notion of madness as empowerment, resistance and liberation
clashing with previously prejudiced schemas to retrieve the suppressed meanings (Jordan,
1996; Short, 2013, 227; Wolter, 2009; Romlah et al, 2009).
As a result, the binary oppositions created by society between the feminity and masculinity,
rationality and irrationality, imaginary and real are reversed when the boundaries are erased .

11
She reversed the inferior-superior oppositions through projecting images of the shadows of
women resisting the domestic imprisonment on the wallpaper, in contrast to the suicidal circles
represented, and her continuous linguistic resistance I instead of He to convey her thoughts in
contrast to the repetitive use of he to convey submissiveness and carry the heavy and
misplaced guilt: “Dear John, he loves me very much” and “ He hates to see me sick” …
(Jordan ,1996; Short, 2013, 227; Wolter, 2009;Romlah et al, 2009).

Deconstructive techniques does not tend to destroy but recreate new pluralist meanings
especially the neglected (Jordan 1996; Assad, 2010, definitions of deconstruction).

III.Conclusion
A. Brief Critical Reviews: King, Morris, and Blackie
Another critic view, King and Morris sees this representation does not depict liberation at all
since the bedstead -a signifier to John's authority and control of his wife’s sexuality is still intact
and erect after she changed the whole decoration and writing her own text's on the dead paper
of the journal and the alive paper of the wallpaper.(Wolter, 2009).

Blackie argues that John's treatments to his wife are not the rest cure treatments since Mitchell
encouraged women's writing unlike what Bak wrote shedding light on Mitchell's dogmatic view
in women's emancipation and the sources that give account about the ill-treatment of the rest-
cure (Wolter, 2009).

B. Mitchell’s Response to Gilman’s Yellow Wallpaper Short Story and Her Message
Despite of these two points, the Yellow Wallpaper is sent by Gilman to the doctor Mitchell ,who
adjusted the dehumanizing treatment respondingly, to show how much the rest cure affected her
negatively (Rochat,2017) and how the house the domestic prison turns through deconstruction
into a “ chamber of her own”(Wolter,2009).
To draw a connection between Poe’s The Oval Portrait and Gilman’s Yellow Wallpaper, the
binary opposition between art and life is presented in both

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