Section 4
Section 4 — The Pattern Starts to Move explained simply
The Yellow Wallpaper by Charlotte Perkins Gilman
Original excerpt
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The whole thing goes horizontally, too, at least it seems so, and I exhaust myself in trying to distinguish the order of its going in that direction. They have used a horizontal breadth for a frieze, and that adds wonderfully to the confusion. There is one end of the room where it is almost intact, and there, when the...
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The whole thing goes horizontally, too, at least it seems so, and I
exhaust myself in trying to distinguish the order of its going in that
direction.
They have used a horizontal breadth for a frieze, and that adds
wonderfully to the confusion.
There is one end of the room where it is almost intact, and there, when
the cross-lights fade and the low sun shines directly upon it, I can
almost fancy radiation after all,—the interminable grotesques seem to
form around a common centre and rush off in headlong plunges of equal
distraction.
It makes me tired to follow it. I will take a nap, I guess.
I don’t know why I should write this.
I don’t want to.
I don’t feel able.
And I know John would think it absurd. But I must say what I feel and
think in some way—it is such a relief!
But the effort is getting to be greater than the relief.
Half the time now I am awfully lazy, and lie down ever so much.
John says I mustn’t lose my strength, and has me take cod-liver oil and
lots of tonics and things, to say nothing of ale and wine and rare
meat.
Dear John! He loves me very dearly, and hates to have me sick. I tried
to have a real earnest reasonable talk with him the other day, and tell
him how I wish he would let me go and make a visit to Cousin Henry and
Julia.
But he said I wasn’t able to go, nor able to stand it after I got
there; and I did not make out a very good case for myself, for I was
crying before I had finished.
It is getting to be a great effort for me to think straight. Just this
nervous weakness, I suppose.
And dear John gathered me up in his arms, and just carried me upstairs
and laid me on the bed, and 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.
He says no one but myself can help me out of it, that I must use my
will and self-control and not let any silly fancies run away with me.
There’s one comfort, the baby is well and happy, and does not have to
occupy this nursery with the horrid wallpaper.
If we had not used it that blessed child would have! What a fortunate
escape! Why, I wouldn’t have a child of mine, an impressionable little
thing, live in such a room for worlds.
I never thought of it before, but it is lucky that John kept me here
after all. I can stand it so much easier than a baby, you see.
Of course I never mention it to them any more,—I am too wise,—but I
keep watch of it all the same.
There are things in that paper that nobody knows but me, or ever will.
Behind that outside pattern the dim shapes get clearer every day.
It is always the same shape, only very numerous.
And it is like a woman stooping down and creeping about behind that
pattern. I don’t like it a bit. I wonder—I begin to think—I wish John
would take me away from here!
It is so hard to talk with John about my case, because he is so wise,
and because he loves me so.
But I tried it last night.
It was moonlight. The moon shines in all around, just as the sun does.
I hate to see it sometimes, it creeps so slowly, and always comes in by
one window or another.
John was asleep and I hated to waken him, so I kept still and watched
the moonlight on that undulating wallpaper till I felt creepy.
The faint figure behind seemed to shake the pattern, just as if she
wanted to get out.
I got up softly and went to feel and see if the paper did move, and
when I came back John was awake.
“What is it, little girl?” he said. “Don’t go walking about like
that—you’ll get cold.”
I thought it was a good time to talk, so I told him that I really was
not gaining here, and that I wished he would take me away.
Public-domain original text shown for study context.
What happens here
The narrator sees shapes and movement in the wallpaper and begins believing there is something hidden behind the pattern.
Why this scene matters
The wallpaper externalizes her trapped condition. Her mind turns confinement into a visible image.
Characters in this scene
- The narrator: Becoming obsessed with the pattern.
- John: Still interpreting her condition from outside.
- The woman in the wallpaper: The figure the narrator begins to imagine behind the pattern.
Simple story version
The wallpaper seems to have a pattern behind the pattern. She starts to think a woman is trapped inside it.