How Does ‘the Yellow Wallpaper’ Challenge the Cult of True Womanhood?

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How does ‘The Yellow Wallpaper’ challenge the cult of true womanhood? The cult of true womanhood was the notion that “true women” were to possess four key attributes: piety, purity, domesticity and submissiveness. This prevailed system was considered most important during the 19th century, among the middle and upper classes of the United States and Great Britain. The Yellow Wallpaper is a short story, published in 1892. The writer, Charlotte Gilman, presents the negative effects of unequal treatment of the sexes and the cult of true womanhood through fictional narrative – for this reason, The Yellow Wallpaper is regarded as a significant early work of feminist literature. The short story is a series of diary entries from an isolated, and mentally unstable woman who has been enclosed in an upstairs bedroom by her husband, John. Her husband’s motives are to cure her from what he calls a “temporary nervous depression – a slight hysterical tendency”.1 This cure was known as The Rest Cure, which was first introduced by Dr Weir Mitchell, who believed that a female suffering from depression was “physically unfit for her duties as a woman”.2 Gilman herself had suffered from depression, in 1886, and was referred to Mitchell where she was forced inactivity. In her autobiography she explains that her condition only improved after abandoning The Rest Cure, and that “the real purpose of the story [The Yellow Wallpaper] was to reach Dr. S. Weir Mitchell, and convince him of the error of his ways.”4 Due to Gilman’s personal experiences, The Yellow Wallpaper can be seen as a semi-autobiography. Though Gilman was able to free herself from Mitchell’s cure, the narrator of her novella was not. The narrator becomes obsessed with the room’s wallpaper as an effect of confinement, “It is the strangest yellow, that wall-paper! It makes me think of all the yellow things I ever saw –
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