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She records her daily observations, noting the changing patterns in the wallpaper. By day, it was as if she was looking in a mirror, observing a woman similar to herself, “I didn't realize for a long time what the thing was that showed behind, that dim sub-pattern, but l now I am quite sure it is a woman. By daylight she is subdued, quiet. I fancy it is the pattern that keeps her so still. It is so puzzling. It keeps me quiet by the hour” (Gilman). At night, “By moonlight -- the moon shines in all night when there is a moon -- I wouldn't know it was the same paper. At night in any kind of light, in twilight, candle light, lamplight, and worst of all by moonlight, it becomes bars!” (Gilman). The changing patterns are a reflection of the narrator’s emotional circumstance, synonymous with daily life, slightly more free during the day when she is able to write, yet confining “by moonlight” (Gilman) due to her husband’s presence and the constricting obligations of marriage. As the narrator’s isolation continues, so does the the decline of her psychological