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Bak goes on to suggest that the nursery room, with its barred windows and rings in the wall, was designed for the restraint of mental patients, but other critics assert that these were in fact common safety precautions used in Victorian nurseries and that such interpretations are extreme. The gradually consumes the narrators being.
This may be an identification with animal behavior or a way to explain that both characters have lost touch with civilization or the patriarchy. However, as king and Morris add, it may simply be an expression of the narrators self-suppression, a suppression carried to the point of regression: the narrator ends the story sleeping most.
Another feature of the prison/nursery in which the narrator observes her is the heavy bedstead, which is nailed to the floor. The interpretations of this feature are variations on a theme, ranging from an of the narrators static sexuality (Scharnhorst 19) to a sexual crucifixion (Johnson 526). These statements ring true regarding Victorian.
Her environment is almost prison-like; when Jane wishes for the walls to be repapered, her husband refuses, stating that after the wall-paper was changed it would be the heavy bedstead, and then the barred windows, and then that gate at the head of the stairs, and so on (3). Though Jane may feel repressed by.
Johnson goes on to suggest that the narrators madness may in fact be temporary, as the authors own breakdown was in real life. The narrator is presented as an artist (at least in a small way) and a writer and it is through her writing, Johnson says, that her suppressed rage becomes apparent (522). There.