Close Textual Analysis: The Awakening
The Awakening
Close Textual Analysis
Semester 2, 2013
Kate Chopin’s The Awakening is the tragic story of Edna Pontellier, a young wife and mother who has realised how confining domestic and married life is, and has begun to seek ways in which to rebel against societal conventions. It is the story of her transformation from being a woman who accepted her role as a housewife without question, to one who discovered the true joy of independent thought and action. The extract selected, chapter 19, represents well the over-arching themes of the novel, as it shows Edna in the height of her rebellion, seeking to oppose the expectations of both her husband and of society.
Chapter 19 is fundamental chapter in the development of the …show more content…
story, as it is the first time Edna voices so clearly her refusal to do as she is expected. Prior to this chapter, Edna was not so blatant in her rebellion, particularly towards her husband, Mr Pontellier. Where previously on
Tuesdays she had “remained in the drawing-room the entire afternoon receiving her visitors”
(Chopin, 1899, p.100), she now “began to do as she liked and to feel as she liked… she completely abandoned her Tuesdays at home, and did not return the visits of those who had called upon her” (Chopin, 1899, p.108). This chapter also provides an insightful look into
Edna’s solitude, which is a result of her display of independence. Though originally Edna explored individuality in such a way that did not actively influence her everyday life, she now, having voiced her opinions and desire for independence, feels the restraints of being individualistic in society, and reverts instead to being alone. When Edna first learns of her strength and ability to swim, she responds emotionally;
She did shout for joy... A feeling of exultation overtook her… she grew daring and reckless, overestimating her strength. She wanted to swim far out, where no woman had swum before. (Chopin, 1899, p.73).
This overcoming of fear, an emotional awakening to her own ability, was significant in Edna’s character development, however though she felt like swimming far out, she did not act on the impulse. As Edna begins to act independently, doing such things as disregarding her
Tuesday routine, she begins to realise that she cannot live in a self-sufficient manner, and still exist as an accepted person of society. The extract shows the beginnings of her solitude when she expresses her emotions, saying that when she felt very happy, she “liked then to wander alone… she found it good to dream and to be alone and unmolested” (Chopin, 1899,
p.109). Further into the novel, when Edna boldly chooses to leave her home and reside on her own elsewhere, it is described that “every step which she took toward relieving herself from the obligations added to her strength and expansion as an individual” (Chopin, 1899,
p.151). This shows that this change in Edna, her discovering of her own self, could not have occurred had it not been for the solitude that she began to turn to in chapter 19;
…she was becoming herself and daily casting aside that fictitious self which we assume like a garment with which to appear before the world…
(Chopin, 1899, p.108).
Chapter 19, ultimately, is the beginning Edna’s crossing the boundaries of societal convention, resolving “never to take another step backward” (Chopin, 1899, p.108). Through all this, the chapter is cleverly crafted as a pivotal passage, both showing the development of the plot, themes and characters, whilst pointing subtly towards the seemingly inevitable resolution of the story.
Life for women in the late 19th Century predominantly consisted of submission, superficiality and social conventions. Chopin uses her novel and the character of Edna as vehicles to portray her concern about the lack of voice women had in society, and their inability to be accepted as individuals. The themes presented in The Awakening, and explored in depth in chapter 19, show Chopin’s belief in the importance of raising these issues. The chapter shows Edna seeking to oppose the expectations of both her husband and of society. This theme of rebellion is shown through the numerous references to Edna’s feelings;
There were days when she was very happy… she liked then to wander alone into strange and unfamiliar places... There were days when she was unhappy… She could not work on such a day… (Chopin, 1899, p.109)
Edna, particularly in this chapter, has resolved to act upon emotion and impulse; painting when she feels like it, and going out or staying at home when it suits her fancy. This insolence and stubborn behaviour coming from a woman was not only uncommon, but also disgraceful in the 19th Century. What a woman thought or felt towards her duties was irrelevant, because, as Mr Pontellier emphasises, no matter what a woman felt, her household was to remain ordered;
‘Then in God’s name paint! but don’t let the family go to the devil. There’s
Madame Ratignolle; because she keeps up her music, she doesn’t let everything else go to chaos’ (Chopin, 1899, p.108).
Edna, at this point of the novel, evidently has no desire to conduct her household in an acceptable way, and instead lends “herself to any passing caprice” (Chopin, 1899, p.107).
Through this Chopin expresses the frustration women in the 19th Century were feeling, having
very limited options in life and no opportunities to say or do as they felt. The context of this novel, set in the 19th Century, is vital when it comes to understanding this theme, not only because it was the time when women did struggle with issues such as these, but also because the way society worked when it came to the confinement of women meant that the end to
Chopin’s story was inevitable. The tragic end to the novel suggests that one cannot live in such a way that contradicts society to the same extent as Edna had, and expect to be accepted and happy.
The theme of fulfilment, and the desire to be fulfilled, is also explored throughout The
Awakening. Edna is unfulfilled in her role as a wife and mother, and begins seeking fulfilment elsewhere in life. She searches for this and learns to express herself, allowing her emotions to show rather than to be supressed. Through this, Edna seems to claim for herself a freedom and liberation from the domestic life;
In short, Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her…That summer at Grand Isle she began to loosen a little the mantle of reserve that had always enveloped her (Chopin, 1899, p.57).
Furthermore, Edna’s desire for fulfilment and her willingness to obey the impulses she felt led her to Robert Lebrun, with whom she had an affair. She describes the fulfilment she found in him when she tells him “‘…it was you who awoke me last summer out of a life-long, stupid dream...” (Chopin, 1899, p.168). This ‘life-long, stupid dream’ to which she is referring is her previous belief that she enjoyed merely being a conventional domestic housewife. Her affair with Robert, she enunciates, brought to light her true feelings, not only towards Mr
Pontellier, but also towards her position in life. In chapter 19, this theme of fulfilment is explored in Edna’s painting. This, however, like her affair with Robert, did not provide lasting fulfilment or satisfaction; “She was working with great energy and interest, without accomplishing anything… which satisfied her even in the smallest degree” (Chopin, 1899,
p.108). Similarly at the conclusion of the story she begins to realise that, despite the fulfilment she had thought she found in her affair with Robert, she would never be truly happy; Despondency had come upon her… There was no one thing in the world that she desired. There was no human being whom she wanted near her except Robert; and she even realized that the day would come when he,
too, and the thought of him would melt out of her existence, leaving her alone (Chopin, 1899, p.175).
Fulfilment, or the lack thereof, is an important subject of Chopin’s novel, as the conclusion presents the idea that fulfilment is something that perhaps can never be achieved. In the extract, fulfilment is clearly something that Edna is searching for; she has officially given up her role as simply a mother and wife, and is now turning to painting and sensuous forms of art in a desperate attempt to discover who she is once her ‘fictitious self’ has been cast off.
The use of style is important in The Awakening, particularly the use of symbolism to build on the themes. Painting and art are symbols in the story that are used, not as a catalyst in the development of Edna’s character, but as a physical representation of her development as a person. In chapter 19, Edna’s painting is a prominent symbol; her husband accuses her of letting her household go to chaos because of it, and she replies “it isn’t on account of painting that I let things go” (Chopin, 1899, p.108), showing that painting is not the reason for her rebellion, but rather since she has chosen solitude over her obligations, she has more time to paint. In this chapter Edna is said to have “had the whole house enrolled in
the service of art” (Chopin, 1899, p.108). She begins with painting the children, and continues with the house-maid;
…the house-maid, too, served her term as model… her hair, loosened from its confining cap, became an inspiration… (Chopin, 1899, p.109)
Edna’s choice to have the housemaid “loosen her hair from [her] protective cap… [was] a vote for impractical sensuality over domestic practicality” (Cliffnotes, 2013). This physical representation of Edna’s inward decision to act impulsively is also explored when the painting moved her to thinking about water. Water, and, more specifically, the sea, is a big symbol throughout The Awakening, and one that Chopin uses to foreshadow Edna’s tragic end. The sea is described several times in a very sensuous way;
The voice of the sea is seductive… inviting the soul to wander for a spell in the abysses of solitude; to lose itself in mazes of inward contemplation…
The tough of the sea is sensuous, enfolding the body in its soft, close embrace… (Chopin, 1899, p.57).
Again, this is a clear picture of the fact that Edna has apparently claimed for herself, in the process of exploring her individuality, erotic freedom, as well as her choice to dwell in
solitude, as a consequence of her rebellion. Chopin uses this symbolism to further build on the themes and comments she is attempting to portray through her novel.
Chopin’s writing style, particularly considering that she was a female author at the end of the
19th Century, was exceptionally concise, and seemed to break several of the social and sexual taboos of the day. She wrote emotionally, sometimes in great detail and with great expression to describe a feeling, for example in her description of the sea, or when she described Edna and Robert’s kiss as “a soft, cool, delicate kiss, whose voluptuous sting penetrated his whole being” (Chopin, 1899, p.166). In chapter 19 Chopin takes time to describe the detail of emotions that Edna was feeling. The dialogue spoken, on the other hand, is direct, sharp and quick; there is no build up to the argument between Mr Pontellier and Edna. It is described that;
Chopin alternates between being very specific and somewhat vague in her narration; for instance, she may use several paragraphs to describe one object or one specific moment, or she may use one short sentence to sum up a lengthy, complicated event (Shmoop, 2013).
Detailed sections of the novel may help draw the reader’s attention to the underlying meaning of an object or event. Vague accounts of a larger period of time passing or an insignificant object help the reader focus more closely on the significant details as opposed to the insignificant ones. Chopin’s somewhat unorthodox style of writing can be effective in emphasising the events, objects or emotions that have a large effect on the plotline or development of the story.
Throughout The Awakening, as Edna’s character develops, the relationships she has with others change. Her relationship with her husband, for instance, changes quite drastically, reaching its climax in chapter 19. Mr Pontellier, it is said, was a courteous husband so long as his wife remained submissive, however “her [Edna’s] new and unexpected line of conduct completely bewildered him… Then her absolute disregard for her duties as a wife angered him” (Chopin, 1899, p.108). Edna, having recently found the joy of independence and acting on selfish impulse, no longer desires to live for the convenience of Mr Pontellier. Later it is said that “he could not see that she was becoming herself… daily casting aside that fictitious self…” (Chopin, 1899, p.108). Edna’s superficiality, which her husband evidently was unable
to recognise, was what she was casting aside in her rebellion. Instead of seeing this genuine transformation in his wife, Mr Pontellier beings to question his wife’s sanity;
It sometimes entered Mr. Pontellier’s mind to wonder if his wife were not growing a little unbalanced mentally (Chopin, 1899, p.108).
The assumption that a woman was mad was not uncommon in the 19th Century, as there were three known definite categories into which women fell; the perfect domestic housewife, the whore-figure, or the madwoman. A short time later, Edna moves out of her home and takes up residence alone, causing Mr Pontellier’s concern for her mental health to increase to the extent that he visits a doctor, and explains;
‘Her whole attitude – toward me and everybody and everything – has changed…She’s got some sort of notion in her head concerning the eternal rights of women… She has abandoned her Tuesdays at home, has thrown over all her acquaintances, and goes tramping about by herself…’ (Chopin,
1899, p.118).
Madness, the failure to uphold expected duties and the notion concerning the rights of women are things that Mr Pontellier irrevocably links in his spiel, displaying the attitude of men and, subsequently, of society towards the feminist movement in the 19th Century. More than this, however, the conclusions he draws about his wife prove that their marriage, by lack of communication and understanding, is slowly decaying. The dysfunction in her marriage relationship and her newly-found independence later makes it possible for Edna to have an affair with Robert Lebrun in an attempt to find fulfilment outside of her domestic life.
In chapter 19 a woman by the name of Adèle Ratignolle is also mentioned. Adèle has an interesting relationship with Edna because, though she is the 19th Century picture of a perfect housewife, she is a catalyst for Edna’s character development. The society of the Creoles proves to be an interesting one, as they are much more open about sexuality and romance in their conversations. These women, including Adèle Ratignolle, help Edna learn to express, rather than suppress, emotion;
That summer… she began to loosen a little the mantle of reserve … there must have been influences, both subtle and apparent, working in their several ways to induce her to do this; but the most obvious was the influence of Adèle Ratignolle… (Chopin, 1899, p.57)
In chapter 19, Mr Pontellier refers to Adèle by comparing her to Edna; Adèle plays music just as Edna works on her art, yet, Mr Pontellier remarks, “she [Adèle] doesn’t let everything else
[her household] go to chaos” (Chopin, 1899, p.108). Adèle, throughout the novel, is a character who is static; does not change or develop. Though she and Edna get along, Adèle cannot understand why one would not give herself for her children, as Edna discloses;
She was fond of her children in an uneven, impulsive way. She would sometimes gather them passionately to her heart; she would sometimes forget them (Chopin, 1899, p. 63).
Although Edna and Adèle get along as friends, they cannot fully understand each other, as
Adèle thrives in her position as a domestic housewife, where Edna suffers and is seeking an escape. As The Awakening follows the story of Edna Pontellier’s transformation, the reader likewise follows the protagonist throughout majority the novel. Chopin, as a concise, emotive writer, draws the reader in to feel sympathy for Edna and the position that society has placed her in.
The reader is often given insight into Edna’s thoughts and feelings, although the perspective is in third person. Aside from this, there are also times when the third person narration also becomes omniscient. At this times, the narration switches from Edna’s story into the lives of those close to her; for example to Mr Pontellier when he approaches the doctor to discuss
Edna in chapter 22, or to Adele Ratignolle and Robert Lebrun in chapter 8. In these sections the reader gets a bigger picture of Edna’s identity according to those around her; Mr
Pontellier, for instance, views her as a possession; “[He looked] at his wife as one looks at a valuable piece of personal property which has suffered some damage” (Chopin, 1899, p.44).
As well as providing a different view of Edna, Chopin uses these sections of her novel to show in more depth other characters, so that the reader is forced to form an opinion of them.
Having Mr Pontellier view his wife as a possession, presume his wife is mad and disrespect her opinions and feelings causes the reader to be decidedly against him. This, too, helps build the sympathy of the reader towards Edna throughout the novel. Chapter 19 contains no such omniscient parts, but merely recounts dialogue as a third-person narrator, then explores how
Edna has been feeling yet again. Edna’s moodiness towards the end of the chapter also causes the reader to relate to her character, which is also an effective method of gaining sympathy for the protagonist and, more particularly, for woman in such a situation as hers.
The Awakening is a brilliantly crafted novel that captures a very true representation of what life was like for women in the 19th Century. Chapter 19 of this novel is a pivotal point in the novel, but is also a good representation of the themes, character development and styles used throughout the entire novel.
Bibliography
Chopin, Kate (1899), The Awakening, Penguin Group, New York, USA
Cliffnotes (2013), The Awakening Critical Essays: Art in Edna Pontellier’s Life, accessed
29/10/13
Mibba Creative Writing (2009), Kate Chopin: Writing Style, accessed 29/10/13
Shmoop (2013), The Awakening: Writing Style, accessed 29/10/13
Sparknotes (2013), The Awakening: Themes, Motifs and Symbols, accessed 28/10/13
Close Textual Analysis
Semester 2, 2013
Kate Chopin’s The Awakening is the tragic story of Edna Pontellier, a young wife and mother who has realised how confining domestic and married life is, and has begun to seek ways in which to rebel against societal conventions. It is the story of her transformation from being a woman who accepted her role as a housewife without question, to one who discovered the true joy of independent thought and action. The extract selected, chapter 19, represents well the over-arching themes of the novel, as it shows Edna in the height of her rebellion, seeking to oppose the expectations of both her husband and of society.
Chapter 19 is fundamental chapter in the development of the …show more content…
story, as it is the first time Edna voices so clearly her refusal to do as she is expected. Prior to this chapter, Edna was not so blatant in her rebellion, particularly towards her husband, Mr Pontellier. Where previously on
Tuesdays she had “remained in the drawing-room the entire afternoon receiving her visitors”
(Chopin, 1899, p.100), she now “began to do as she liked and to feel as she liked… she completely abandoned her Tuesdays at home, and did not return the visits of those who had called upon her” (Chopin, 1899, p.108). This chapter also provides an insightful look into
Edna’s solitude, which is a result of her display of independence. Though originally Edna explored individuality in such a way that did not actively influence her everyday life, she now, having voiced her opinions and desire for independence, feels the restraints of being individualistic in society, and reverts instead to being alone. When Edna first learns of her strength and ability to swim, she responds emotionally;
She did shout for joy... A feeling of exultation overtook her… she grew daring and reckless, overestimating her strength. She wanted to swim far out, where no woman had swum before. (Chopin, 1899, p.73).
This overcoming of fear, an emotional awakening to her own ability, was significant in Edna’s character development, however though she felt like swimming far out, she did not act on the impulse. As Edna begins to act independently, doing such things as disregarding her
Tuesday routine, she begins to realise that she cannot live in a self-sufficient manner, and still exist as an accepted person of society. The extract shows the beginnings of her solitude when she expresses her emotions, saying that when she felt very happy, she “liked then to wander alone… she found it good to dream and to be alone and unmolested” (Chopin, 1899,
p.109). Further into the novel, when Edna boldly chooses to leave her home and reside on her own elsewhere, it is described that “every step which she took toward relieving herself from the obligations added to her strength and expansion as an individual” (Chopin, 1899,
p.151). This shows that this change in Edna, her discovering of her own self, could not have occurred had it not been for the solitude that she began to turn to in chapter 19;
…she was becoming herself and daily casting aside that fictitious self which we assume like a garment with which to appear before the world…
(Chopin, 1899, p.108).
Chapter 19, ultimately, is the beginning Edna’s crossing the boundaries of societal convention, resolving “never to take another step backward” (Chopin, 1899, p.108). Through all this, the chapter is cleverly crafted as a pivotal passage, both showing the development of the plot, themes and characters, whilst pointing subtly towards the seemingly inevitable resolution of the story.
Life for women in the late 19th Century predominantly consisted of submission, superficiality and social conventions. Chopin uses her novel and the character of Edna as vehicles to portray her concern about the lack of voice women had in society, and their inability to be accepted as individuals. The themes presented in The Awakening, and explored in depth in chapter 19, show Chopin’s belief in the importance of raising these issues. The chapter shows Edna seeking to oppose the expectations of both her husband and of society. This theme of rebellion is shown through the numerous references to Edna’s feelings;
There were days when she was very happy… she liked then to wander alone into strange and unfamiliar places... There were days when she was unhappy… She could not work on such a day… (Chopin, 1899, p.109)
Edna, particularly in this chapter, has resolved to act upon emotion and impulse; painting when she feels like it, and going out or staying at home when it suits her fancy. This insolence and stubborn behaviour coming from a woman was not only uncommon, but also disgraceful in the 19th Century. What a woman thought or felt towards her duties was irrelevant, because, as Mr Pontellier emphasises, no matter what a woman felt, her household was to remain ordered;
‘Then in God’s name paint! but don’t let the family go to the devil. There’s
Madame Ratignolle; because she keeps up her music, she doesn’t let everything else go to chaos’ (Chopin, 1899, p.108).
Edna, at this point of the novel, evidently has no desire to conduct her household in an acceptable way, and instead lends “herself to any passing caprice” (Chopin, 1899, p.107).
Through this Chopin expresses the frustration women in the 19th Century were feeling, having
very limited options in life and no opportunities to say or do as they felt. The context of this novel, set in the 19th Century, is vital when it comes to understanding this theme, not only because it was the time when women did struggle with issues such as these, but also because the way society worked when it came to the confinement of women meant that the end to
Chopin’s story was inevitable. The tragic end to the novel suggests that one cannot live in such a way that contradicts society to the same extent as Edna had, and expect to be accepted and happy.
The theme of fulfilment, and the desire to be fulfilled, is also explored throughout The
Awakening. Edna is unfulfilled in her role as a wife and mother, and begins seeking fulfilment elsewhere in life. She searches for this and learns to express herself, allowing her emotions to show rather than to be supressed. Through this, Edna seems to claim for herself a freedom and liberation from the domestic life;
In short, Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her…That summer at Grand Isle she began to loosen a little the mantle of reserve that had always enveloped her (Chopin, 1899, p.57).
Furthermore, Edna’s desire for fulfilment and her willingness to obey the impulses she felt led her to Robert Lebrun, with whom she had an affair. She describes the fulfilment she found in him when she tells him “‘…it was you who awoke me last summer out of a life-long, stupid dream...” (Chopin, 1899, p.168). This ‘life-long, stupid dream’ to which she is referring is her previous belief that she enjoyed merely being a conventional domestic housewife. Her affair with Robert, she enunciates, brought to light her true feelings, not only towards Mr
Pontellier, but also towards her position in life. In chapter 19, this theme of fulfilment is explored in Edna’s painting. This, however, like her affair with Robert, did not provide lasting fulfilment or satisfaction; “She was working with great energy and interest, without accomplishing anything… which satisfied her even in the smallest degree” (Chopin, 1899,
p.108). Similarly at the conclusion of the story she begins to realise that, despite the fulfilment she had thought she found in her affair with Robert, she would never be truly happy; Despondency had come upon her… There was no one thing in the world that she desired. There was no human being whom she wanted near her except Robert; and she even realized that the day would come when he,
too, and the thought of him would melt out of her existence, leaving her alone (Chopin, 1899, p.175).
Fulfilment, or the lack thereof, is an important subject of Chopin’s novel, as the conclusion presents the idea that fulfilment is something that perhaps can never be achieved. In the extract, fulfilment is clearly something that Edna is searching for; she has officially given up her role as simply a mother and wife, and is now turning to painting and sensuous forms of art in a desperate attempt to discover who she is once her ‘fictitious self’ has been cast off.
The use of style is important in The Awakening, particularly the use of symbolism to build on the themes. Painting and art are symbols in the story that are used, not as a catalyst in the development of Edna’s character, but as a physical representation of her development as a person. In chapter 19, Edna’s painting is a prominent symbol; her husband accuses her of letting her household go to chaos because of it, and she replies “it isn’t on account of painting that I let things go” (Chopin, 1899, p.108), showing that painting is not the reason for her rebellion, but rather since she has chosen solitude over her obligations, she has more time to paint. In this chapter Edna is said to have “had the whole house enrolled in
the service of art” (Chopin, 1899, p.108). She begins with painting the children, and continues with the house-maid;
…the house-maid, too, served her term as model… her hair, loosened from its confining cap, became an inspiration… (Chopin, 1899, p.109)
Edna’s choice to have the housemaid “loosen her hair from [her] protective cap… [was] a vote for impractical sensuality over domestic practicality” (Cliffnotes, 2013). This physical representation of Edna’s inward decision to act impulsively is also explored when the painting moved her to thinking about water. Water, and, more specifically, the sea, is a big symbol throughout The Awakening, and one that Chopin uses to foreshadow Edna’s tragic end. The sea is described several times in a very sensuous way;
The voice of the sea is seductive… inviting the soul to wander for a spell in the abysses of solitude; to lose itself in mazes of inward contemplation…
The tough of the sea is sensuous, enfolding the body in its soft, close embrace… (Chopin, 1899, p.57).
Again, this is a clear picture of the fact that Edna has apparently claimed for herself, in the process of exploring her individuality, erotic freedom, as well as her choice to dwell in
solitude, as a consequence of her rebellion. Chopin uses this symbolism to further build on the themes and comments she is attempting to portray through her novel.
Chopin’s writing style, particularly considering that she was a female author at the end of the
19th Century, was exceptionally concise, and seemed to break several of the social and sexual taboos of the day. She wrote emotionally, sometimes in great detail and with great expression to describe a feeling, for example in her description of the sea, or when she described Edna and Robert’s kiss as “a soft, cool, delicate kiss, whose voluptuous sting penetrated his whole being” (Chopin, 1899, p.166). In chapter 19 Chopin takes time to describe the detail of emotions that Edna was feeling. The dialogue spoken, on the other hand, is direct, sharp and quick; there is no build up to the argument between Mr Pontellier and Edna. It is described that;
Chopin alternates between being very specific and somewhat vague in her narration; for instance, she may use several paragraphs to describe one object or one specific moment, or she may use one short sentence to sum up a lengthy, complicated event (Shmoop, 2013).
Detailed sections of the novel may help draw the reader’s attention to the underlying meaning of an object or event. Vague accounts of a larger period of time passing or an insignificant object help the reader focus more closely on the significant details as opposed to the insignificant ones. Chopin’s somewhat unorthodox style of writing can be effective in emphasising the events, objects or emotions that have a large effect on the plotline or development of the story.
Throughout The Awakening, as Edna’s character develops, the relationships she has with others change. Her relationship with her husband, for instance, changes quite drastically, reaching its climax in chapter 19. Mr Pontellier, it is said, was a courteous husband so long as his wife remained submissive, however “her [Edna’s] new and unexpected line of conduct completely bewildered him… Then her absolute disregard for her duties as a wife angered him” (Chopin, 1899, p.108). Edna, having recently found the joy of independence and acting on selfish impulse, no longer desires to live for the convenience of Mr Pontellier. Later it is said that “he could not see that she was becoming herself… daily casting aside that fictitious self…” (Chopin, 1899, p.108). Edna’s superficiality, which her husband evidently was unable
to recognise, was what she was casting aside in her rebellion. Instead of seeing this genuine transformation in his wife, Mr Pontellier beings to question his wife’s sanity;
It sometimes entered Mr. Pontellier’s mind to wonder if his wife were not growing a little unbalanced mentally (Chopin, 1899, p.108).
The assumption that a woman was mad was not uncommon in the 19th Century, as there were three known definite categories into which women fell; the perfect domestic housewife, the whore-figure, or the madwoman. A short time later, Edna moves out of her home and takes up residence alone, causing Mr Pontellier’s concern for her mental health to increase to the extent that he visits a doctor, and explains;
‘Her whole attitude – toward me and everybody and everything – has changed…She’s got some sort of notion in her head concerning the eternal rights of women… She has abandoned her Tuesdays at home, has thrown over all her acquaintances, and goes tramping about by herself…’ (Chopin,
1899, p.118).
Madness, the failure to uphold expected duties and the notion concerning the rights of women are things that Mr Pontellier irrevocably links in his spiel, displaying the attitude of men and, subsequently, of society towards the feminist movement in the 19th Century. More than this, however, the conclusions he draws about his wife prove that their marriage, by lack of communication and understanding, is slowly decaying. The dysfunction in her marriage relationship and her newly-found independence later makes it possible for Edna to have an affair with Robert Lebrun in an attempt to find fulfilment outside of her domestic life.
In chapter 19 a woman by the name of Adèle Ratignolle is also mentioned. Adèle has an interesting relationship with Edna because, though she is the 19th Century picture of a perfect housewife, she is a catalyst for Edna’s character development. The society of the Creoles proves to be an interesting one, as they are much more open about sexuality and romance in their conversations. These women, including Adèle Ratignolle, help Edna learn to express, rather than suppress, emotion;
That summer… she began to loosen a little the mantle of reserve … there must have been influences, both subtle and apparent, working in their several ways to induce her to do this; but the most obvious was the influence of Adèle Ratignolle… (Chopin, 1899, p.57)
In chapter 19, Mr Pontellier refers to Adèle by comparing her to Edna; Adèle plays music just as Edna works on her art, yet, Mr Pontellier remarks, “she [Adèle] doesn’t let everything else
[her household] go to chaos” (Chopin, 1899, p.108). Adèle, throughout the novel, is a character who is static; does not change or develop. Though she and Edna get along, Adèle cannot understand why one would not give herself for her children, as Edna discloses;
She was fond of her children in an uneven, impulsive way. She would sometimes gather them passionately to her heart; she would sometimes forget them (Chopin, 1899, p. 63).
Although Edna and Adèle get along as friends, they cannot fully understand each other, as
Adèle thrives in her position as a domestic housewife, where Edna suffers and is seeking an escape. As The Awakening follows the story of Edna Pontellier’s transformation, the reader likewise follows the protagonist throughout majority the novel. Chopin, as a concise, emotive writer, draws the reader in to feel sympathy for Edna and the position that society has placed her in.
The reader is often given insight into Edna’s thoughts and feelings, although the perspective is in third person. Aside from this, there are also times when the third person narration also becomes omniscient. At this times, the narration switches from Edna’s story into the lives of those close to her; for example to Mr Pontellier when he approaches the doctor to discuss
Edna in chapter 22, or to Adele Ratignolle and Robert Lebrun in chapter 8. In these sections the reader gets a bigger picture of Edna’s identity according to those around her; Mr
Pontellier, for instance, views her as a possession; “[He looked] at his wife as one looks at a valuable piece of personal property which has suffered some damage” (Chopin, 1899, p.44).
As well as providing a different view of Edna, Chopin uses these sections of her novel to show in more depth other characters, so that the reader is forced to form an opinion of them.
Having Mr Pontellier view his wife as a possession, presume his wife is mad and disrespect her opinions and feelings causes the reader to be decidedly against him. This, too, helps build the sympathy of the reader towards Edna throughout the novel. Chapter 19 contains no such omniscient parts, but merely recounts dialogue as a third-person narrator, then explores how
Edna has been feeling yet again. Edna’s moodiness towards the end of the chapter also causes the reader to relate to her character, which is also an effective method of gaining sympathy for the protagonist and, more particularly, for woman in such a situation as hers.
The Awakening is a brilliantly crafted novel that captures a very true representation of what life was like for women in the 19th Century. Chapter 19 of this novel is a pivotal point in the novel, but is also a good representation of the themes, character development and styles used throughout the entire novel.
Bibliography
Chopin, Kate (1899), The Awakening, Penguin Group, New York, USA
Cliffnotes (2013), The Awakening Critical Essays: Art in Edna Pontellier’s Life, accessed
29/10/13
Mibba Creative Writing (2009), Kate Chopin: Writing Style, accessed 29/10/13
Shmoop (2013), The Awakening: Writing Style, accessed 29/10/13
Sparknotes (2013), The Awakening: Themes, Motifs and Symbols, accessed 28/10/13