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In this final study guide, we'll integrate all the components from our previous guides to demonstrate how to craft a complete, effective prose analysis essay. We'll cover essay structure, time management, and provide a sample essay that demonstrates all three scoring rows.
Before writing, take a few minutes to plan your approach:
Prompt: Read the following excerpt from Charlotte Perkins Gilman's short story "The Yellow Wallpaper" (1892).
In a well-written essay, analyze how Gilman uses literary elements and techniques to reveal the narrator's complex relationship with her surroundings and circumstances.
"It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer.
A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity—but that would be asking too much of fate!
Still I will proudly declare that there is something queer about it.
Else, why should it be let so cheaply? And why have stood so long untenanted?
John laughs at me, of course, but one expects that in marriage.
John is practical in the extreme. He has no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures.
John is a physician, and perhaps—(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)—perhaps that is one reason I do not get well faster.
You see, he does not believe I am sick!
And what can one do?"
Quick Outline:
Each body paragraph should:
In Charlotte Perkins Gilman's "The Yellow Wallpaper," a seemingly simple account of a summer residence becomes a psychological portrait of a woman caught between external expectations and internal perceptions. As the unnamed narrator describes her surroundings and relationship with her physician husband, John, the text reveals her growing sense of alienation and constraint. Through contrasting diction, revealing parenthetical asides, and ironic juxtapositions, Gilman depicts the narrator's increasingly fraught relationship with both her physical surroundings and her marriage, revealing her struggle between outward conformity and inner rebellion.
Gilman's carefully evolving diction reveals the narrator's ambivalent and increasingly dark perception of her physical environment. The passage begins with conventional descriptions of "ancestral halls" and "a colonial mansion," suggesting grandeur and privilege. However, this neutral language quickly shifts as the narrator reframes the house as "a haunted house," introducing a Gothic element that undermines the initial impression of desirability. This transformation continues as she declares "there is something queer about it" and questions why it would be "let so cheaply" and "stood so long untenanted." Through this progression from standard to increasingly suspicious terminology, Gilman reveals the narrator's growing awareness that her supposedly idyllic surroundings may actually be threatening. The shift in descriptive language mirrors the narrator's psychological journey from accepting her circumstances at face value to beginning to question what lies beneath appearances, establishing the central tension between conventional perception and unsettling reality that characterizes her relationship with her environment.
The narrator's use of parenthetical asides creates a secondary narrative that reveals her true thoughts, establishing a division between public conformity and private resistance. When discussing her husband's medical profession, she interrupts herself with the parenthetical confession, "I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind." This structural technique creates two distinct voices: the socially acceptable outer voice and the secretly rebellious inner voice. Gilman's juxtaposition of "living soul" with "dead paper" emphasizes that the narrator can only express her authentic perceptions in private, written form, revealing how her circumstances have forced her communication underground. The characterization of writing as "a great relief" further suggests that her outward circumstances are psychologically constraining, requiring this hidden outlet. Through this structural division of the narrator's voice, Gilman reveals how the narrator's relationship with her circumstances is defined by a growing split between public performance and private truth—a division that shapes her psychological experience of her surroundings.
Gilman employs ironic juxtapositions to illuminate the power dynamics that shape the narrator's relationship with her husband and, by extension, her circumstances. When John laughs at her concerns, the narrator remarks, "of course, but one expects that in marriage," a statement that pairs acceptance with subtle critique. This ironic observation reveals both her surface conformity to marital expectations and her underlying awareness of their imbalanced nature. Similarly, John is described as "practical in the extreme" with "an intense horror of superstition," characteristics presented as virtues but which actually prevent him from understanding his wife's experiences. The most pointed irony appears in the narrator's question, "And what can one do?" which simultaneously suggests resignation and contains the seeds of rebellion through its questioning stance. These ironic juxtapositions create a complex portrait of the narrator's circumstances—one where social expectations and medical authority (represented by John) circumscribe her ability to define her own reality. Through these ironic constructions, Gilman reveals how the narrator exists in a state of tension, caught between accepting her confined circumstances and beginning to question their legitimacy.
Gilman's narrative techniques collectively establish a psychological landscape where appearance and reality are increasingly at odds. The narrator's evolving perception of her surroundings mirrors broader tensions between women's lived experiences and patriarchal frameworks that defined late 19th-century society. By positioning the house as both a literal space and a metaphorical representation of the narrator's confined circumstances, Gilman creates a sophisticated exploration of how physical environments, social expectations, and intimate relationships can simultaneously shelter and imprison. The narrator's question "And what can one do?" resonates beyond her immediate situation to challenge broader assumptions about women's agency within domestic and medical frameworks of the period. Through this brief passage, Gilman thus initiates the themes of perception, confinement, and resistance that will culminate in the narrator's complete psychological break from conventional reality by the story's end.
The prose analysis question is one of three essays on the AP Literature exam, with a suggested time of 40 minutes:
Time | Task |
---|---|
5-7 minutes | Read, annotate, and plan |
25-30 minutes | Write the essay |
3-5 minutes | Review and revise |
If you're running short on time:
Before finishing your essay, verify that you have:
Remember that successful prose analysis demonstrates your ability to:
By integrating the skills from all our study guides—understanding the task, crafting an effective thesis, selecting and analyzing evidence, and demonstrating sophistication—you'll be well-prepared to tackle the prose fiction analysis question on the AP Literature exam. You got this! 🌟