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Raffield 2only satisfaction the narrator gets while being confined is her enjoyment in writing; although it isprohibited, she does it anyways in secret. Writing takes her away from her life at the time; it also benefits her imagination to remain active. However, due to the narrator’s “imaginative power andhabit of story-making”, her husband tells her, “a nervous weakness like mine is sure to lead to allmanner of excited fancies, and that I ought to use my will and good sense to check the tendency, so I try,” (par. 61).Forbidden to have an imagination leaves the narrator emotionally distressed and irritated with feelings of oppression, but she ignores her husband’s ideas and occupies her imagination with the yellow wallpaper that surrounds the room. Developing some sort of relationship with it allows her to confess her suppressed feelings. As the protagonist suffers from her “nervous condition”, the isolated environment causes her to only get worse. Being trapped in the bedroom with yellow wallpaper contributes her emotional distress to become overpowering. The inability to verbally express her feelings of loneliness causes her to write in a more creative way about herrelationships with objects in the room, specifically the yellow wallpaper. She begins to write about the yellow wallpaper’s significance. In the beginning of the narrator’s isolation, her attention is focused on the details of the yellow wallpaper’s pattern that are “dull enough to confuse the eye in following, pronounced enough constantly to irritate and provoke study” (par. 35). The wallpaper’s characteristics become hard to ignore, providing the narrator with something to keep her busy, which turns into an obsession.The more she speculates the paper, the more she loses stability, she perceives a sense of communication with the paper to express her feelings. The main character describes the yellow