Breaking The Social Construct In Kate Chopin's The Awakening
Breaking the social construct would prove catastrophic to Kate Chopin. Upon the release of The Awakening, the St. Louis Globe Democrat, rightly so, noticed the unmoral actions of Edna Pontellier. Stating “It is not a healthy book” (“The St. Louis”). Literary dwellers fought alongside critics to remove the rubbish from libraries. The author seemingly used a taboo subject with no transparent reason. Indeed, this transgression stemmed from the insufficiency of the moral. No moral presented itself. Only a declaration of war lay wake. Mrs. Edna Pontellier was a happily married wife, married to Leonce Pontellier. Throughout the novel, she strives to fill the void in her heart: pursuing a relationship Robert Lebrun, Alcee Robin, and dabbling in fine
…show more content…
arts. To understand the novel’s abnormal stances, readers must consider her past; several troubling circumstances transpired in Kate Chopin’s life. She resided in an always tumultuous city, when the country was torn in two. Half of the city in St. Louis’s supported the Union while the rest sought to overthrow it. Later in 1882, Kate Chopin’s beloved husband died (Clark 1). Mentally shattered author turned to writing as a coping mechanism. Tragic events fueled her passionate pen. Collinearly, from the time of her birth, women began to fight back social customs. Women took up arms. They showed solidarity by holding frequent conventions in addition to protests (Imbornoni 1). Dominant women rippled across the country. The flow of the progressive feminine mentality infiltrated the theme of The Awakening. Most prominently, her themes focused on women individuality with traces of double standards caged women in the late eighteen-hundreds. Coupled with the author’s backstory, the classification of the novel as “sex fiction” is ill suited. A separating factor that divides the erotic genre and her works come down to the implementation corresponding to a character’s development. A juxtaposition between the two distinguishes her work from any “sex fiction” novel. An obscene work wholly revolves around entertaining fans with eccentric-vulgar imagery. Chopin never mentioned explicit visuals that some critics advocate. Given, Chopin barrowed slight ques from the genre, yet it fails in nearly every respect to succumb to the tainted images that her pen can so articulately deliver. Astonished her fans were, veracity in truth comes as a rarity. Edna Pontellier, as a protagonist, spearheaded feminine injustices as a sovereign woman. Hence, her path begins with Robert, “she began to loosen a little the mantle of reserve that had always enveloped her” (Chopin 18). Robert began as moderately slow paced relationship. Neither character realized their potential feelings for one another till Edna exposed a frangible emotional state. He was the first male character to ever treat her with some degree of understanding. After all, the couple previously underwent a stage of unfathomable emptiness. Their lives devoid of meaning. However, her escapades led to her love for painting and boundless passion she felt towards Alcee Arobin. Consequently, Edna’s exploration into her psyche lifted the shroud of “mist” that guarded her eyes (112). The distorted world around her clearly reflects Edna’s heart until this point. She realized how misguided her feelings were; such feelings transpire as a byproduct of societal constraints. Furthermore, the dire state of the marriage now has a new meaning. Not only does she realize the emotional repressive nature, but it serves to drown her true feelings. The marriage was never mutual. She only served to belong to her husband, “I am no longer one of Mr. Pontellier’s possessions to dispose of” (145). Edna’s reasonable infidelity, though not acceptable, serves to corroborate her emotional status. The love in her marriage faded, remnants of resent remain. Due to this vocal outcry, Edna renounces the shackle tied to her ring finger. Her emotional arc is completed. Likewise, her liberty is almost assured. Edna’s freedom would never be obtained if in racier sex fiction novel. The character’s emotional prowess builds off the forbidden literary subjects. A genuine emotional imperfection adds to the character’s’ relatability. Edna morphed from a caged bird to one that fully adheres to her independence. Additionally, when the veil is lifted from her face, she views her children differently. The gears that once compelled her to marry Mr. Pontellier also sustained the compassion she held for her kids. With several cogs missing, Edna Pontellier struggles to uphold her past emotions. These dynamic emotions create depth to the choices she makes. A toned down sensual frustration also occurs in A Respectable Woman. Mrs. Baroda happily marries Gaston Baroda, towards the end it can be inferred that Mrs. Baroda will pursue her devilish appetite, “I have overcome everything! you will see. This time I shall be very nice to him” (Chopin 198). Without the entire story as context, her sexuality would classify any work to that of a mindless magazine. Throughout the story, the reader follows Mrs. Baroda’s odd feelings towards Gouvernail. Feelings which she might have pursued if, “she had not been a respectable woman” (197). The internal tumult confines her. Her fascination, Mrs. Baroda’s, is rather intrigued by Mr. Gouvernail. She remained faithful. Mrs. Baroda’s greatest test of fidelity came with her one on one interaction, “The stronger the impulse grew… the further, in fact, did she draw away from him” (197). The interaction ended with the magnitude of her wants. A Respectable Woman’s protagonist showed incredible restraint and civility when it came to her own lustful wants. Without this restraint, the short story would indeed fall under some questionable themes with ill motives. Much like The Awakening’s protagonist, both characters deserve a laudatory acknowledgment for fighting their simplistic molds that plaque literature in Chopin’s era, yet expressing their wants and desires in a reasonable way. Though the duo protagonist committed heinous acts, they were plausible given the scenario; their acts did not arise because of their inherent opposition to morality, but do to foul environment. A stylish, yet eloquently accurate, story fundamentally undermined an entire culture that oppressed women for generations. Though the ethically moral may still condemn her and Chopin’s writing, one thing is certain. The Awakening cannot be intellectually inept. The novel’s intellectual use of imagery enhanced the protagonist’s identity.
Compared to Chopin’s other works, The Awakening perplexed many of her previous readers.
A third of Chopin’s overall library comprised solely of children’s story’s. These short stories contained positive moral lessons; without children stories, Chopin would have never risen as a local role model. So why would she betray her fans? A local news journal stated, “It is hardly the kind of a book some people would look for from her” (“The St. Louis”). When the novel released, many fans were shocked. In addition, readers expected her latest novel to persecute Edna’s foul deeds, yet they found no punishment. Leaving readers with a character that threatened the cultural beliefs of the time, and believed Chopin fully supported her actions. Often, readers make the mistake of associating a speaker’s action or goals to that of the author; Speakers/protagonists function more in the realm of fictional hypothetical characters. Further cementing the notion, a lack of punishment by the author toward Edna does not inherently confirm an author’s bias. Removing characters from the juxtaposition with Chopin allows the readers to interpret a story for its characters and the world they inhabit. Chopin’s stories are fiction. She entertains the idea of woman finding her way out of the cage that she inherited. Many of the characters, whom chiefly paralleled confused fans, also struggled to comprehend such a character as Edna Pontellier. A prime example can be seen in the interactions between the minor characters. Dialog between the physician and Mr. Pontellier, both males, believe that Edna is an enigma, stating “She’s odd” (Chopin 87). The exchange emphasizes the gradual changes in her character, as well as reflected the unprogressive ideologies that dominated the landscape around the time of the novel’s release. The oppressed protagonist struggles through the expanse of the novel; she endures with emotional lapses throughout the novel. She swings between a state of love and indifference
towards her children, “she would sometimes gather them passionately to her heart; she would sometimes forget them” (24). There is a hole in her heart. Thus, causing her to explore through creative mediums such as painting. Alcee Arobin’s intimate interaction and the relocation of her residence to her new house derived from this notion as well. Before this scandalous affair, Edna could not of know the extents of her veracious appetite not only for the flesh, but symbolically it represented the emotional connection that faintly presented its self during her marriage. Edna “would give up the unessential… I would give my life for my children, but I wouldn't give myself” (63). The rarity of meaningful connection to her identity cannot be understated. The sexual nature of Edna Pontellier edified the means in the struggle for her identity. One top of that, Desiree’s Baby dramatically realizes a mixture between racial hatred, as well as masculine dominance over a woman psyche. The story follows a young couple, Armand falls in love with Desiree at first glance (Chopin 180). They eventually produce a child. Both events make up the positive emotional bonds that prolong the marriage. The shallow bond strains under the fickle resolution of Mr. Armand, as Armand learns of Desiree’s slavery ancestry. He casts away all his love; indignation harbored in the bowels of his heart. As quickly as he was ensnared by her lovely gaze, it vanished to utter disgust. Such a contrast highlights the importance of the male figure. Nearing the finale of the story she hesitantly asks, “shall I go, Armand?”, to which he replied, “yes, go” (184). Armand’s superficial love pales to the undying love of his spouse. The husbands in both instances mimic each other; their actions more closely resembles characters in possession of an object. In both cases, they lack the capacity to recognize them as intellectual equals worth consideration. It comes to no one’s surprise that his affection disappeared as tersely as it arrived, independently of any consequences the befell Desiree. In contrast, Desiree’s love was never at surface level. She experience a profound emotional connection to her husband. This connection spawned a loyalty so dedicated that its virtue alone can stand as the stories theme. Proving detrimental to her health, she “disappeared among the reeds and the willows that grew thick along the banks of the deep, sluggish bayou” (185). Desiree never returned. She disappeared along with her baby. Betrayed, Desiree’s one true love has abandoned her. Death is the only release from the agonizing pain that her husband inflicted upon her. Across the ladder, both stories share a common threat towards feminine individualism; they maltreat women in a state of borrowed power. Chopin used a stylistic, yet controversial technique, to portray the importance of a feminine selfhood through her protagonists. Fans expected a cheerful depiction of society in the form of a children’s book or perhaps a visually stunning novel. Instead, a striking novel released about the complex inner workings of Edna Pontellier, with a splash of sexual exploration.
arts. To understand the novel’s abnormal stances, readers must consider her past; several troubling circumstances transpired in Kate Chopin’s life. She resided in an always tumultuous city, when the country was torn in two. Half of the city in St. Louis’s supported the Union while the rest sought to overthrow it. Later in 1882, Kate Chopin’s beloved husband died (Clark 1). Mentally shattered author turned to writing as a coping mechanism. Tragic events fueled her passionate pen. Collinearly, from the time of her birth, women began to fight back social customs. Women took up arms. They showed solidarity by holding frequent conventions in addition to protests (Imbornoni 1). Dominant women rippled across the country. The flow of the progressive feminine mentality infiltrated the theme of The Awakening. Most prominently, her themes focused on women individuality with traces of double standards caged women in the late eighteen-hundreds. Coupled with the author’s backstory, the classification of the novel as “sex fiction” is ill suited. A separating factor that divides the erotic genre and her works come down to the implementation corresponding to a character’s development. A juxtaposition between the two distinguishes her work from any “sex fiction” novel. An obscene work wholly revolves around entertaining fans with eccentric-vulgar imagery. Chopin never mentioned explicit visuals that some critics advocate. Given, Chopin barrowed slight ques from the genre, yet it fails in nearly every respect to succumb to the tainted images that her pen can so articulately deliver. Astonished her fans were, veracity in truth comes as a rarity. Edna Pontellier, as a protagonist, spearheaded feminine injustices as a sovereign woman. Hence, her path begins with Robert, “she began to loosen a little the mantle of reserve that had always enveloped her” (Chopin 18). Robert began as moderately slow paced relationship. Neither character realized their potential feelings for one another till Edna exposed a frangible emotional state. He was the first male character to ever treat her with some degree of understanding. After all, the couple previously underwent a stage of unfathomable emptiness. Their lives devoid of meaning. However, her escapades led to her love for painting and boundless passion she felt towards Alcee Arobin. Consequently, Edna’s exploration into her psyche lifted the shroud of “mist” that guarded her eyes (112). The distorted world around her clearly reflects Edna’s heart until this point. She realized how misguided her feelings were; such feelings transpire as a byproduct of societal constraints. Furthermore, the dire state of the marriage now has a new meaning. Not only does she realize the emotional repressive nature, but it serves to drown her true feelings. The marriage was never mutual. She only served to belong to her husband, “I am no longer one of Mr. Pontellier’s possessions to dispose of” (145). Edna’s reasonable infidelity, though not acceptable, serves to corroborate her emotional status. The love in her marriage faded, remnants of resent remain. Due to this vocal outcry, Edna renounces the shackle tied to her ring finger. Her emotional arc is completed. Likewise, her liberty is almost assured. Edna’s freedom would never be obtained if in racier sex fiction novel. The character’s emotional prowess builds off the forbidden literary subjects. A genuine emotional imperfection adds to the character’s’ relatability. Edna morphed from a caged bird to one that fully adheres to her independence. Additionally, when the veil is lifted from her face, she views her children differently. The gears that once compelled her to marry Mr. Pontellier also sustained the compassion she held for her kids. With several cogs missing, Edna Pontellier struggles to uphold her past emotions. These dynamic emotions create depth to the choices she makes. A toned down sensual frustration also occurs in A Respectable Woman. Mrs. Baroda happily marries Gaston Baroda, towards the end it can be inferred that Mrs. Baroda will pursue her devilish appetite, “I have overcome everything! you will see. This time I shall be very nice to him” (Chopin 198). Without the entire story as context, her sexuality would classify any work to that of a mindless magazine. Throughout the story, the reader follows Mrs. Baroda’s odd feelings towards Gouvernail. Feelings which she might have pursued if, “she had not been a respectable woman” (197). The internal tumult confines her. Her fascination, Mrs. Baroda’s, is rather intrigued by Mr. Gouvernail. She remained faithful. Mrs. Baroda’s greatest test of fidelity came with her one on one interaction, “The stronger the impulse grew… the further, in fact, did she draw away from him” (197). The interaction ended with the magnitude of her wants. A Respectable Woman’s protagonist showed incredible restraint and civility when it came to her own lustful wants. Without this restraint, the short story would indeed fall under some questionable themes with ill motives. Much like The Awakening’s protagonist, both characters deserve a laudatory acknowledgment for fighting their simplistic molds that plaque literature in Chopin’s era, yet expressing their wants and desires in a reasonable way. Though the duo protagonist committed heinous acts, they were plausible given the scenario; their acts did not arise because of their inherent opposition to morality, but do to foul environment. A stylish, yet eloquently accurate, story fundamentally undermined an entire culture that oppressed women for generations. Though the ethically moral may still condemn her and Chopin’s writing, one thing is certain. The Awakening cannot be intellectually inept. The novel’s intellectual use of imagery enhanced the protagonist’s identity.
Compared to Chopin’s other works, The Awakening perplexed many of her previous readers.
A third of Chopin’s overall library comprised solely of children’s story’s. These short stories contained positive moral lessons; without children stories, Chopin would have never risen as a local role model. So why would she betray her fans? A local news journal stated, “It is hardly the kind of a book some people would look for from her” (“The St. Louis”). When the novel released, many fans were shocked. In addition, readers expected her latest novel to persecute Edna’s foul deeds, yet they found no punishment. Leaving readers with a character that threatened the cultural beliefs of the time, and believed Chopin fully supported her actions. Often, readers make the mistake of associating a speaker’s action or goals to that of the author; Speakers/protagonists function more in the realm of fictional hypothetical characters. Further cementing the notion, a lack of punishment by the author toward Edna does not inherently confirm an author’s bias. Removing characters from the juxtaposition with Chopin allows the readers to interpret a story for its characters and the world they inhabit. Chopin’s stories are fiction. She entertains the idea of woman finding her way out of the cage that she inherited. Many of the characters, whom chiefly paralleled confused fans, also struggled to comprehend such a character as Edna Pontellier. A prime example can be seen in the interactions between the minor characters. Dialog between the physician and Mr. Pontellier, both males, believe that Edna is an enigma, stating “She’s odd” (Chopin 87). The exchange emphasizes the gradual changes in her character, as well as reflected the unprogressive ideologies that dominated the landscape around the time of the novel’s release. The oppressed protagonist struggles through the expanse of the novel; she endures with emotional lapses throughout the novel. She swings between a state of love and indifference
towards her children, “she would sometimes gather them passionately to her heart; she would sometimes forget them” (24). There is a hole in her heart. Thus, causing her to explore through creative mediums such as painting. Alcee Arobin’s intimate interaction and the relocation of her residence to her new house derived from this notion as well. Before this scandalous affair, Edna could not of know the extents of her veracious appetite not only for the flesh, but symbolically it represented the emotional connection that faintly presented its self during her marriage. Edna “would give up the unessential… I would give my life for my children, but I wouldn't give myself” (63). The rarity of meaningful connection to her identity cannot be understated. The sexual nature of Edna Pontellier edified the means in the struggle for her identity. One top of that, Desiree’s Baby dramatically realizes a mixture between racial hatred, as well as masculine dominance over a woman psyche. The story follows a young couple, Armand falls in love with Desiree at first glance (Chopin 180). They eventually produce a child. Both events make up the positive emotional bonds that prolong the marriage. The shallow bond strains under the fickle resolution of Mr. Armand, as Armand learns of Desiree’s slavery ancestry. He casts away all his love; indignation harbored in the bowels of his heart. As quickly as he was ensnared by her lovely gaze, it vanished to utter disgust. Such a contrast highlights the importance of the male figure. Nearing the finale of the story she hesitantly asks, “shall I go, Armand?”, to which he replied, “yes, go” (184). Armand’s superficial love pales to the undying love of his spouse. The husbands in both instances mimic each other; their actions more closely resembles characters in possession of an object. In both cases, they lack the capacity to recognize them as intellectual equals worth consideration. It comes to no one’s surprise that his affection disappeared as tersely as it arrived, independently of any consequences the befell Desiree. In contrast, Desiree’s love was never at surface level. She experience a profound emotional connection to her husband. This connection spawned a loyalty so dedicated that its virtue alone can stand as the stories theme. Proving detrimental to her health, she “disappeared among the reeds and the willows that grew thick along the banks of the deep, sluggish bayou” (185). Desiree never returned. She disappeared along with her baby. Betrayed, Desiree’s one true love has abandoned her. Death is the only release from the agonizing pain that her husband inflicted upon her. Across the ladder, both stories share a common threat towards feminine individualism; they maltreat women in a state of borrowed power. Chopin used a stylistic, yet controversial technique, to portray the importance of a feminine selfhood through her protagonists. Fans expected a cheerful depiction of society in the form of a children’s book or perhaps a visually stunning novel. Instead, a striking novel released about the complex inner workings of Edna Pontellier, with a splash of sexual exploration.