Her environment seems very much like a prison where her husband simply pushes aside his feelings of disgust, believing that giving up and listening to her desires will only make the condition worse. When the narrator wishes for the walls to be repaired, her husband refuses, stating that “there was nothing worse for a nervous patient than to give in to such fantasies. After the wallpaper was changed, it would be the heavy bed, and then the barred windows, and then that gate at the top of the stairs, and so on” (Gilman 3). The narrator feels trapped by the bars and gates of the house, but her husband takes no notice of her feelings and refuses to change her environment, thus keeping her imprisoned in the house, in the gilded cage and in her mind. Although the house greatly illustrates feminist views, the best setting to emphasize them is the wallpaper in the bedroom; “At night, in any kind of light, at dusk, candlelight, lamplight and, even worse, moonlight, it becomes a bar!” (Gilmann 7). The drawing and the paper itself hold her back, even if not physically like the bars on the windows or the gates on the doors, the wallpaper represents a psychological containment, a mental prison. All his thoughts are entirely devoted to paper; she is obsessed with it, incapable