The awakening kate chopin analysis

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The awakening kate chopin analysis

In order to continue enjoying our site, we ask that you confirm your identity as a human. Thank you very much for your cooperation. The story begins at Grand Isle, a ritzy vacation spot near New Orleans, where Edna Pontellier is summering with her husband and two children. Her husband L¨¦once is often away on

business, so she spends most of her time with a beautiful, shallow friend named Ad¨¨le Ratignolle and a charming young man named Robert Lebrun. From the beginning, the reader perceives that all is not harmonious in the Pontellier family: Edna seems bored by her children and frustrated with L¨¦once, who is silly, illtempered, and inattentive (his lavish gifts notwithstanding). Her friendship with Robert, though, has been blossoming. They spend almost every day in each other¡¯s company, strolling on the beach and exchanging quiet jokes and observations. The third-person narrator, whose voice blends somewhat with Edna¡¯s inner

voice, begins to remark on the artificiality of the other women and to question Edna¡¯s habitual obedience to her foolish husband. One night, Edna is moved to tears at a party by the music of Mademoiselle Reisz, a sharp-voiced unmarried woman who most people dislike. Later that same night, Edna conquers her fear of

the sea and swims far into the ocean. That night is the culmination of her awakening, her critical, thoughtful examination of the social world and of her inner life. Her friendship with Robert becomes romantically charged. Soon, Robert leaves Grand Isle for Mexico, where he hopes to forget the illicit romance. Edna spends

the rest of the summer longing for his company. In September the Pontelliers return to New Orleans. Edna begins to neglect her household and her children so that she can devote her days to painting, reading, and seeing friends. Her friendship with Madame Ratignolle disintegrates somewhat, but she goes often to see

Mademoiselle Reisz, who gives Edna good advice, shows her Robert¡¯s letters (which mention his love for her), and plays beautiful pieces on the piano. Edna¡¯s concerned husband consults with Doctor Mandelet, a wise family friend, who advises him to wait it out. Edna also becomes romantically involved with Arobin, a

fashionable young man with a bad reputation. She doesn¡¯t love him, but she is strongly physically attracted to him. Their relationship is a source of confusion and anxiety to her. Edna¡¯s husband leaves for a long business trip and her children go to stay with their grandmother. She loves her new freedom and decides to

move to a smaller house, moving out of her current home and leaving her husband. By selling her paintings, she can become financially independent. She throws a beautiful going-away party, but is troubled throughout by feelings of blankness and despair. One day, Edna learns from Mademoiselle Reisz that Robert is

due back in New Orleans. She runs into him at the pianist¡¯s apartment a few days later. He is distant and formal at first, but she convinces him to have dinner at her new house, and soon enough they begin to talk frankly and affectionately. He stays away from her for some time, in a last effort to avoid the affair, but when

they run into each other again they return to Edna¡¯s house and confess their feelings openly. They¡¯re interrupted, however, by an urgent summons from Madame Ratignolle, who is about to give birth. Edna watches the difficult procedure in horror. On her way home, she talks haltingly with Doctor Mandelet about her

confused desire for freedom and her aversion to marriage. When she comes home, Robert is gone. He has left a note explaining that he can¡¯t be with her. Not long after, Edna returns to Grand Isle. She says hello to Victor, Robert¡¯s brother who lives on the island year-round, and walks to the beach. She thinks with

despair about her indifference to the world and longs for complete freedom. As she begins to swim, bright and lovely memories from her childhood flicker across her consciousness. In the book¡¯s final, confused moments, as she feels completely free, she drowns. Teachers, check out our ideas for how you can creatively

incorporate SparkNotes materials into your classroom instruction. Kate Chopin¡¯s The Awakening was a bold piece of fiction in its time, and protagonist Edna Pontellier was a controversial character. She upset many nineteenth century expectations for women and their supposed roles. One of her most shocking actions

was her denial of her role as a mother and wife. Kate Chopin displays this rejection gradually, but the concept of motherhood is major theme throughout the novel. Edna is fighting against the societal and natural structures of motherhood that force her to be defined by her title as wife of Leonce Pontellier and mother of

Raoul and Etienne Pontellier, instead of being her own, self-defined individual. Through Chopin¡¯s focus on two other female characters, Adele Ratignolle and Mademoiselle Reisz, Edna¡¯s options of life paths are exhibited. These women are the examples that the men around Edna contrast her with and from whom they

obtain their expectations for her. Edna, however, finds both role models lacking and begins to see that the life of freedom and individuality that she wants goes against both society and nature. The inevitability of her fate as a male-defined creature brings her to a state of despair, and she frees herself the only way she

can, through suicide. In the world of Edna Pontellier one can either be defined by men or live a life separate from the rest of society. ¡°Women [can] either become wives and mothers . . . or exiles¡± (Papke 39). Adele Ratignolle is the epitome of the male-defined wife and mother. She is a ¡°mother-woman.¡± ¡°[The motherwomen] were women who idolized their children, worshipped their husbands and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels¡± (Chopin 10). Adele is described as being a fairly talented pianist, yet even the very personal act of creating music is performed for the

sake of her children. ¡°She was keeping up her music on account of the children, she said; because she and her husband both considered it a means of brightening the home and making it attractive¡± (Chopin 27). Adele also brings constant attention to her pregnancy in ways Edna finds to be somewhat inappropriate.

Adele is very proud of her title of mother, and one might say motherhood is what she was fated for. Edna finds that the life of the mother-woman fails to satisfy her desire for an existence free from definition. She pities Adele and finds herself unsuited for the lifestyle of the mother-woman. ¡°It was not a condition of life

which fitted her, and she could see in it but an appalling and hopeless ennui. She was moved by a kind of commiseration for Madame Ratignolle¡± (Chopin 63). Adele represents all four attributes of True Womanhood as defined by the Cult of Domesticity. The ¡°four cardinal virtues [were] piety, purity, submissiveness, and

domesticity. Put them together and they spelled mother, daughter, sister, wife¡ªwoman¡± (Welter qtd. Papke 11). This definition of self in connection with others is what prevents Edna from allowing herself to follow Adele¡¯s example. She tries to explain these reservations about loss of identity to Adele. ¡°I would give my

money, I would give my life for my children, but I wouldn¡¯t give myself¡± (Chopin 53). Adele fails to understand Edna¡¯s search for individuality, and Edna must look elsewhere for empathy. Mademoiselle Reisz is the exile. In her first introduction, she is displayed ¡°dragging a chair in and out of her room, and at intervals

objecting to the crying of a baby, which a nurse in the adjoining cottage was endeavoring to put to sleep¡± (Chopin 28). Mademoiselle Reisz is a woman devoid of motherly tendencies and sexuality. She is physically unappealing and seems to have no romantic past, present, or future. Her primary trait is her extraordinary

musical talent, which she, in contrast to Adele, cultivates only for herself. Edna confides in her a desire to become a painter, and Mademoiselle Reisz cautions her about the nature of the artistic lifestyle. ¡°The artist must possess the courageous soul,¡± she says, ¡°the soul that dares and defies¡± (Chopin 71). Mademoiselle

Reisz believes that only through a life of solitude and a disregard for society can an artist define herself and create real art. Edna enjoys a rewarding friendship with Mademoiselle Reisz, however, she finds the lonely artistic lifestyle to be imperfect due to its lack of sexuality. Because Mademoiselle Reisz is the only artistwoman Edna is familiar with, Edna sees her lifestyle as representative of all artist-women. Mademoiselle Reisz¡¯s life is deprived of sexuality, and due to her relationship with Adele, Edna has experienced a sexual awakening. ¡°There may have been . . . influences, both subtle and apparent, working in their several ways to

induce [Edna] to [loosen a little her mantle of reserve]; but the most obvious was the influence of Adele Ratignolle¡± (Chopin 16). Through Adele¡¯s intimate touch, a level of affection that Edna is unfamiliar with, Edna is able to open herself to the possibilities of sexual arousal. After this potential has been brought to her

attention, Edna cannot imagine herself living the asexual, artistic lifestyle of Mademoiselle Reisz, even if it might be a way to find the individuality that she is searching for. ¡°While Mademoiselle Reisz might escape the conflicts within her own sex by absconding to an area of sexlessness . . . Edna [is] unprepared to do this

¡ªbecause she simply enjoys sex too much¡± (Killeen 423). Edna sees that ¡°to be a mother woman is to abjure self for the sake of others; to be an artist woman is to live celibate, to give all one¡¯s love to expression¡± (Papke 82). Edna yearns for a more physical relationship, where she can be touched and pleasured, so she

rejects Mademoiselle Reisz as a role model. Edna attempts to find self-definition by creating a third lifestyle option and beginning to act like a man. She sees that men are allowed to live lives of sexual fulfillment, while not being expected to bear or care for their children, and develop a personality and individual self

through participation in the business world. Edna first finds a sense of masculine freedom when Leonce goes to New York and Raoul and Etienne go to Iberville to stay with their grandmother. ¡°A radiant peace settled upon her when she at last found herself alone. Even the children were gone¡± (Chopin 80). Edna explores

her newfound lifestyle by taking up gambling at the racetrack and beginning to sell her paintings. Entering the world of capitalism is a big step in her search for independence because until that point she had been, like most nineteenth century women, ¡°the sympathetic and supportive bridge between the private realm of

the home and the almost exclusively male world of the public marketplace¡± (Papke 10). By infiltrating this masculine world, Edna is able to generate an income all her own and use the money she makes to rent a house. The pigeon house, as she calls it, is a place far away from any reminders of her family life. Her final

attempt to acquire the unfettered life of a man comes in the form of her affair with Alcee Arobin. In this relationship, Edna samples masculine sexual freedoms; however, something in Edna¡¯s nature makes it impossible for her to be fully satisfied with the masculine lifestyle.Page 2 Nature reminds Edna of her position as a

mother by making her crave her children¡¯s presence periodically. The first night that she is alone after Leonce¡¯s departure to New York and the children¡¯s to Iberville, ¡°she talked intimately to [the doggie] about Etienne and Raoul¡± (Chopin 81). Even in her excitement about her freedom, she can¡¯t help but think about her

absent children. Then, after confessing her love for Robert out loud for the first time, she is inspired to go to the confectioners and purchase bonbons to send to the children, accompanied by ¡°an abundance of kisses¡± (Chopin 91). Here, while allowing herself to consider love outside of the confines of her marriage, Edna

still thinks of the children and desires to spoil them with treats, reminding them of their mother¡¯s love. Finally, after moving into the pigeon house, Edna feels the desire for her children so strongly that she journeys to Iberville to see them. This much anticipated visit still fails to hold her attention on the boys for long. ¡°All

along the journey homeward, their presence lingered with her like the memory of a delicious song. But by the time she had regained the city the song no longer echoed in her soul¡± (Chopin 105). The constant reminder of her children¡¯s presence in her life brings Edna¡¯s awareness to the natural pull of motherhood on

women. The actual process of childbirth is what brings Edna¡¯s realization about motherhood to its full development. Adele summons Edna to keep her company during her accouchement. When Edna arrives at the Ratignolle¡¯s, she finds Adele in the salon, ¡°all her beautiful hair . . . drawn back and plaited. It lay in a long

braid on the sofa pillow coiled like a golden serpent¡± (Chopin 121). This reference to the serpent can allude to two different things. It can be ¡°an image vibrant with suggestions of the natural world¡ªand [Edna¡¯s] sudden aversion to it¡± (Lattin 43). The other possibility is that the serpent references The Bible, since the

serpent was the creature that convinced Eve to commit the original sin. Because of the serpent¡¯s influence, God punishes Eve by vowing, ¡°I will greatly multiply your pain in childbearing; in pain you shall bring forth children, yet your desire shall be for your husband, and he shall rule over you¡± (Genesis 3:16). Both

interpretations make it clear that Edna is beginning to see her role as wife and mother as eternal and inescapable, much like the Kentucky field she describes to Adele. ¡°I could only see the stretch of grass before me, and I feel as if I must walk on forever, without coming to the end of it¡± (Chopin 19). Nature, in all the

forms that Edna encounters it, is powerful, and at the birth of Adele¡¯s child, she begins to find it quite frightening. Adele¡¯s childbirth makes Edna think back on the impact that the births of Raoul and Etienne have had on her life and body. ¡°She recalled faintly an ecstasy of pain, the heavy odor of chloroform, a stupor which

had deadened sensation, and awakened to find a little new life to which she had given being, added to the great unnumbered multitude of souls that come and go¡± (Chopin 122). Because she was drugged during the delivery of both her sons, Edna never truly experienced childbirth. She didn¡¯t realize the overwhelming

natural force of bringing a child into the world. When she witnesses the birth of Adele¡¯s child, it is brought to her attention that the female body is designed for childbirth, and she has already committed herself to this purpose by becoming a mother. ¡°Edna is confronted with the painful facts of her gender¡ªbecause while

she may play the man, she is always the woman¡± (Killeen 423). Her mindset is all wrong for a mother, she sees children as just one more life to populate the world, yet nature has decided that this is her purpose in the world. Edna¡¯s realization about her natural position of woman and mother in combination with the

societal position she¡¯s expected to fill drives her to suicide. Adele¡¯s final words to Edna before she departs the Ratignolle¡¯s the night of the birth are, ¡°Think of the children, Edna. Oh, think of the children! Remember them!¡± (Chopin 122). Adele¡¯s plea invades Edna¡¯s consciousness and becomes the final factor in her

decision to leave her current life behind. She has come to realize that ¡°the biological process has created a unity of mother and child, in which the bodily substance of one flows into the other, and thus one larger unit is formed out of two units¡± (Killeen 429). The concept of sharing her body with another being, becoming

truly a part of something other than her individual self, is the opposite of everything that Edna has been looking for. She thinks of how Raoul and Etienne will be a constant presence in her life and how her natural position as a mother prevents her from being able to live a life without them. After all, a woman¡¯s primary job

is to bring her offspring to adulthood, and they in turn bring significance to a woman¡¯s life. Edna is unwilling to go about the rest of her life as ¡°Raoul and Etienne¡¯s mother¡± and ¡°Leonce¡¯s wife.¡± She knows that to do so would be to give up herself, something she swore she would never do. ¡°The children appeared before

her like antagonists who had overcome her; who had overpowered and sought to drag her into the soul¡¯s slavery for the rest of her days¡± (Chopin 127). Edna will not allow her self to be chained to its natural and societal titles, and she commits suicide to free it from these definitions. In a final statement as to the

universality of motherhood, Edna¡¯s acceptance of death is also a rebirth. Nine months have passed since Edna¡¯s enlightening summer in Grand Isle, and her fetus-self is ready to be delivered. ¡°For the first time in her life she stood naked in the open air, at the mercy of the sun, the breeze that beat upon her, and the

waves that invited her. She felt like some newborn creature, opening its eyes in a familiar world that it has never known¡± (Chopin 127). Edna embraces her rebirth to escape the demands of being an adult woman. Children are ignorant of the burdens of procreation and their predetermined societal roles, and Edna longs

for this naivety. As she steps into the water, she sheds her obligations, ¡°Like Venus returning to her originary scene, [Edna] descends into the sea, reexperiencing for the last time, her childhood motherlessness, adolescent infatuation, the terrors and exhaustion of womanhood¡± (Papke 87). Edna lets go of the concerns

that nature and society place on a woman by allowing herself to forget her past and immerse herself in death. Nature and society were the two strongest forces attempting to mold Edna Pontellier into the woman that they wanted her to be, but through her suicide, Edna is finally able escape their grasp. Leonce and

society owned her soul, telling her to be subservient, to tend house, adore her children and keep up appearances, but it was Raoul and Etienne who imprisoned her body, reminding her constantly of the torture of childbirth that nature requires of her. Nature kept Edna loving her children and declaring that she would give

up almost everything for them, but it was her desire for individuality and self-definition that led her to her deathly rebirth. References Chopin, Kate. The Awakening and Other Stories. New York: Oxford University Press, Oxford World¡¯s Classics, 2008. Killeen, Jarlath. ¡°Mother and Child: Realism, Maternity, and

Catholicism in Kate Chopin¡¯s The Awakening.¡± Religion and the Arts. Boston: Brill Academic Publishers, Inc., 2003. 413-438. Lattin, Patricia Hopkins. ¡°Childbirth and Motherhood in The Awakening and in ¡°Athenaise.¡± Approaches to Teaching Chopin¡¯s The Awakening. Ed. Bernard Koloski. New York: Modern Language

Association of America, 1988. 40-46. Papke, Mary E. Verging On The Abyss: The Social Fiction of Kate Chopin and Edith Wharton. New York: Greenwood Press, 1990. The English Standard Version Bible: Containing the Old and New Testaments with Apocrypha. Oxford: Oxford UP, 2009.

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