Against the backdrop of Ralph Waldo Emerson's Self-Reliance we foreground a contemporary story entitled The Yellow Wallpaper by Charlotte Perkins Gilman, both written in the last half of the nineteenth century : a reactive interpretation. A multi-dimensional allegory, Gilman presents a message, in the sublime, that the peculiarities and attributes of women collectively are subsequently imposed on women individually. Therefore, as an individual, Gilman's character is treated by her doctor-husband as a hysterical personality with no real cause for her illness. “See, he doesn't think I'm sick! And what can be done?” (Gilman, 1771) Perhaps the allegory represents a writing of personal struggle with the constraints of a psychologically abusive husband and her own biological depression. Instead of seeing Gilman as a little crazy, both as a writer and as a character, he becomes truly ingenious. Its genius is expressed in the transfer of its characteristics personifying the wallpaper. As wallpaper usually hides an unsightly wall, the wallpaper in Gilman's story hides and then reveals sordid personal circumstances. Idealistically, Gilman has, it seems, many of the same characteristic literary foundations as Emerson. By way of illustration: “To be great is to be misunderstood.” (Emerson, 616) Gilman's character is deeply misunderstood. Contrary to her husband's assessment of his wife's illness, she was quite good in her dogged approach to reconciling her illness. Gilman writes from a personal experience no doubt originating, or at least possibly relevant, to having been psychologically misunderstood by her relatives and yet noteworthy in the sense of having… half the paper… and character. it is cumulative." (Emerson, 617) Our nameless heroine unwittingly depends on that ideal. Her husband whispers sweet names to her, though never her name, belittling her and reducing her to the status of a child, she is wise to him: “ -and [he] pretended to be very loving and kind. As if I couldn't see through him!” (Gilman, 1780) In The Yellow Wallpaper John, the husband, is insincere. The reader is asked about his faithfulness to his wife, his whereabouts during his frequent absences, and his refusal to let her leave the room at all times masks the abuse under a cloak of apparent protection and sweet words. Already depressed and weakened, she falls prey to the claws of the confusion he creates. The truth is eluded at every turn it is more beautiful than the affection of love.” (Emerson, 614) 5