Section 8
Section 8 — The Locked Room explained simply
The Yellow Wallpaper by Charlotte Perkins Gilman
Original excerpt
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But I must get to work. I have locked the door and thrown the key down into the front path. I don’t want to go out, and I don’t want to have anybody come in, till John comes. I want to astonish him. I’ve got a rope up here that even Jennie did not find. If that woman does get out, and tries to get away, I can tie her! But I...
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But I must get to work.
I have locked the door and thrown the key down into the front path.
I don’t want to go out, and I don’t want to have anybody come in, till
John comes.
I want to astonish him.
I’ve got a rope up here that even Jennie did not find. If that woman
does get out, and tries to get away, I can tie her!
But I forgot I could not reach far without anything to stand on!
This bed will not move!
I tried to lift and push it until I was lame, and then I got so angry I
bit off a little piece at one corner—but it hurt my teeth.
Then I peeled off all the paper I could reach standing on the floor. It
sticks horribly and the pattern just enjoys it! All those strangled
heads and bulbous eyes and waddling fungus growths just shriek with
derision!
I am getting angry enough to do something desperate. To jump out of the
window would be admirable exercise, but the bars are too strong even to
try.
Besides I wouldn’t do it. Of course not. I know well enough that a step
like that is improper and might be misconstrued.
I don’t like to look out of the windows even—there are so many of those
creeping women, and they creep so fast.
I wonder if they all come out of that wallpaper as I did?
But I am securely fastened now by my well-hidden rope—you don’t get me
out in the road there!
I suppose I shall have to get back behind the pattern when it comes
night, and that is hard!
It is so pleasant to be out in this great room and creep around as I
please!
I don’t want to go outside. I won’t, even if Jennie asks me to.
For outside you have to creep on the ground, and everything is green
instead of yellow.
But here I can creep smoothly on the floor, and my shoulder just fits
in that long smooch around the wall, so I cannot lose my way.
Why, there’s John at the door!
It is no use, young man, you can’t open it!
How he does call and pound!
Now he’s crying for an axe.
It would be a shame to break down that beautiful door!
“John dear!” said I in the gentlest voice, “the key is down by the
front steps, under a plantain leaf!”
That silenced him for a few moments.
Then he said—very quietly indeed, “Open the door, my darling!”
“I can’t,” said I. “The key is down by the front door under a plantain
leaf!”
And then I said it again, several times, very gently and slowly, and
said it so often that he had to go and see, and he got it, of course,
and came in. He stopped short by the door.
“What is the matter?” he cried. “For God’s sake, what are you doing!”
I kept on creeping just the same, but I looked at him over my shoulder.
“I’ve got out at last,” said I, “in spite of you and Jane! And I’ve
pulled off most of the paper, so you can’t put me back!”
Now why should that man have fainted? But he did, and right across my
path by the wall, so that I had to creep over him every time!
Public-domain original text shown for study context.
What happens here
The narrator locks herself in, tears the wallpaper, identifies with the freed woman, and John faints when he sees her.
Why this scene matters
The ending is disturbing because escape and collapse happen together. The narrator defeats control, but at terrible cost.
Characters in this scene
- The narrator: Fully identifying with the escaped woman.
- John: Finally seeing the crisis too late.
- The woman in the wallpaper: Now merged with the narrator’s self-image.
Simple story version
She locks the room and tears the paper down. When John enters, she says she has got out at last, and he faints.