The climactic scene is centered entirely on the woman in the wallpaper, who is seemingly interchangeable with the narrator at this point. The narrator plans on tying up the woman and shortly after, she herself is “securely fastened” (489), showing her reluctance to defy her husbands wishes and leave, while still tearing the wallpaper as an escape. Even when the paper is down, and the shadow woman takes control of the narrative she feels bound by the social constructs to “get back behind the pattern”(489). Now free, she still “fits in that long smooch around the wall”(489) and walking around the room, she stays in it. Like “so many of those creeping women” (489) she has failed to overcome the oppression of the male dominated world. In a futile attempt to escape the patriarchal standards, she destroys the wallpaper just as her mind, provoked by inflicted boredom and illness, destroys
The climactic scene is centered entirely on the woman in the wallpaper, who is seemingly interchangeable with the narrator at this point. The narrator plans on tying up the woman and shortly after, she herself is “securely fastened” (489), showing her reluctance to defy her husbands wishes and leave, while still tearing the wallpaper as an escape. Even when the paper is down, and the shadow woman takes control of the narrative she feels bound by the social constructs to “get back behind the pattern”(489). Now free, she still “fits in that long smooch around the wall”(489) and walking around the room, she stays in it. Like “so many of those creeping women” (489) she has failed to overcome the oppression of the male dominated world. In a futile attempt to escape the patriarchal standards, she destroys the wallpaper just as her mind, provoked by inflicted boredom and illness, destroys