Charlotte Perkins Gilman, "Why I Wrote The Yellow Wallpaper" (1913)
This article originally appeared in the October 1913 issue of The Forerunner.
Many and many a reader has asked that. When the story first came out, in the New England Magazine about 1891, a Boston physician made protest in The Transcript. Such a story ought not to be written, he said; it was enough to drive anyone mad to read it.
Another physician, in Kansas I think, wrote to say that it was the best description of incipient insanity he had ever seen, and--begging my pardon--had I been there?
Now the story of the story is this:
For many years I suffered from a severe and continuous nervous breakdown tending to melancholia--and beyond. During about the third year of this trouble I went, in devout faith and some faint stir of hope, to a noted specialist in nervous diseases, the best known in the country. This wise man put me to bed and applied the rest cure, to which a still-good physique responded so promptly that he concluded there was nothing much the matter with me, and sent me home with solemn advice to "live as domestic a life as far as possible," to "have but two hours' intellectual life a day," and "never to touch pen, brush, or pencil again" as long as I lived. This was in 1887.
I went home and obeyed those directions for some three months, and came so near the borderline of utter mental ruin that I could see over.
Then, using the remnants of intelligence that remained, and helped by a wise friend, I cast the noted specialist's advice to the winds and went to work again--work, the normal life of every human being; work, in which is joy and growth and service, without which one is a pauper and a parasite--ultimately recovering some measure of power.
Being naturally moved to rejoicing by this narrow escape, I wrote The Yellow Wallpaper, with its embellishments and additions, to carry out the ideal (I never had hallucinations or objections to my mural decorations) and sent a copy to the physician who so nearly drove me mad. He never acknowledged it.
The little book is valued by alienists and as a good specimen of one kind of literature. It has, to my knowledge, saved one woman from a similar fate--so terrifying her family that they let her out into normal activity and she recovered.
But the best result is this. Many years later I was told that the great specialist had admitted to friends of his that he had altered his treatment of neurasthenia since reading The Yellow Wallpaper.
It was not intended to drive people crazy, but to save people from being driven crazy, and it worked.
Answer:
Increase is a VERB. the syllable that the accent is placed on is IN.
Explanation:
Increase is the VERB
the accent is placed on IN.
Answer:
c. The mist rolled over the trees in the mountains.
Explanation:
A figures of speech is also referred to as figurative language and it can be defined as a deliberate and specific construction or use of language by writers, authors or speakers to create a special effect in their speech or literary work (write-ups).
In English literature, the main purpose of the figures of speech (figurative language) is to convey more information and enable the readers or listeners have a deeper understanding of a literary work. Some examples of the figures of speech (figurative language) used in literature are simile, paradox, metaphor, apostrophe, hyperbole, personification, etc.
Personification involves intentionally attributing life, human characteristics (qualities) or feelings and emotions to inanimate objects i.e non-living things.
<em>An example of personification is saying, the mist rolled over the trees in the mountains. Thus, the object or thing which was personified is "mist" because it is an inanimate object (a non-living thing) but was being described as rolling over the trees.</em>
<em>In reality, inanimate objects (non-living things) such as mist, balloons, tables, pencils, chair, wrist-watch, etc., do not possess the ability to roll.</em>
Answer: I would say the lord is angry, but I don't know the story so i'm not so sure
Ms. Morengo tells Stanley not to open the suitcase and that he can leave freely. Stanley refuses to leave without Hector. Ms. Morengo demands to see Hector's records but because Mr. Pendanski has erased m any of them, they cannot be found. Ms. Morengo takes Hector and Stanley but before they leave Squid gives Stanley his mother's phone number and asks Stanley to call her and say that Alan (Squid) is sorry.
//sparknotes