Originally Edna admires Adele for being the ideal woman; however, as Edna realizes who she actually wants to be, she rejects Adele’s lifestyle.
The other women at Grand Isle fill their “role” as a woman very well; however, Edna idolizes Adele as the most perfect version of all the women. In her first description of Adele, she distinguishes Adele’s perfection at being a mother and a woman:
Many of them were delicious in the rôle; one of them was the embodiment of every womanly grace and charm. If her husband did not adore her, he was a brute, deserving of death by slow torture. Her name was Adéle Ratignolle. (11)
The word “role” illustrates that the women are acting a specific part as if their lives were a play, and they were trying to fill
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The most perfect woman in Edna’s eyes is Adele Ratignolle. Edna calls her “the embodiment of every womanly grace and charm” because she flawlessly fits the description of a mother-wife. Edna decides her goal is to become as most like Adele as possible while in Grand Isle. A perfect woman, such as Adele, is defined with “womanly grace and charm”. These two qualities describe an inspirational mother-wife, such as Adele; however, not every woman has mastered these qualities. Edna is one of the women who venerate Adele for her natural abilities to be a flawless mother-wife. Chopin chose “grace and charm” as the ideals of women to illustrate that a woman must be very elegant but also have charisma and warmth. A woman must be the perfect balance of a wife and a mother. As the perfect woman, it is preposterous to Edna that Adele would not be “adore[d]” by everyone, especially her husband. Edna directly connects the adoration of her husband with her ability to fill the role of a perfect woman. Since Adele fits this role perfectly, Edna assumes if her husband does not love her, then there must be something wrong with him. Her husband would be “a brute, deserving of death by slow torture” …show more content…
As Edna begins to realize her distaste towards being a wife, she visits Adele's house to ensure that even when it is perfect, she does not enjoy being a
...o different female roles. Adéle serves as the perfect "mother-woman" being both married and pregnant. To Edna, Adéle appears to be unable to perceive herself as an individual, she does not have an identity apart from her roles of mother and wife, therefore Adéle exists only in relation to her family. The role of mother-woman does not provide the independence that Edna desires. Mademoiselle Reisz, on the other hand, gives Edna an alternative to the role of "mother-woman". She offers an abundance autonomy and independence however her life lacks love. Although she has a secure sense of her own individuality and independence, her life lacks love, friendship and warmth. Edna chooses for her identity a combination of Adéle Ratignolle and Mademoiselle Reisz. She is more honest in self-identity than Adéle and more dependent on human relationships than Mademoiselle Reisz.
Edna’s recognition of herself as an individual as opposed to a submissive housewife is controversial because it’s unorthodox. When she commits suicide, it’s because she cannot satisfy her desire to be an individual while society scorns her for not following the traditional expectations of women. Edna commits suicide because she has no other option. She wouldn’t be fulfilled by continuing to be a wife and a mother and returning to the lifestyle that she led before her self-discovery.
In The Awakening, Edna Pontellier is a selfish character. She wishes to live her life the way she wants without anyone interfering. She did not start selfish, but grew selfish as her hidden desires were awakened. Her selfishness comes from her complete disregard for anyone’s happiness besides her own. Edna refuses to attend her sister’s wedding, describing the event as lamentable. Even if Edna did not want to attend, a wedding is for the bride and groom’s happiness. She is unable to compromise any of her own desires for the happiness of others. Edna’s own marriage was an act of rebellion for marrying outside of what was expected, and came with the titles of wife and mother. Edna abandoned her relationship without trying to resolve any difficulties with her husband before satisfying her needs. She does not discuss with him her unhappiness or seek his approval before moving to the pigeon house. She develops her relationship with Arobin only to fulfill her own physical needs.
Adele Rataignolle serves as not only the epitome of the nineteenth-century woman but as Chopin's model of the perfect Creole "mother-woman". Adele's gold spun hair, sapphire blue eyes, and crimson lips made her strikingly beautiful even though she was beginning to grow a bit stout. A devoted wife and mother Adele idolizes her children and worships her husband. Her days are spent caring for her children, performing household duties, and ensuring the happiness of her husband. Even while vacationing at Grand Isle over the summer she thinks about her children and begins work on creation their winter garments. As a matter of fact sin...
Essentially, Edna is not able to fulfill any of the roles that are presented by Chopin in the novel: mother, sister, daughter, wife, friend, artist, lover to either man, and finally the traditional role of a woman in society. She does not quite fit into any niche, and thus her suicide at the end of the novel is the only way for Edna’s story to end. Chopin must have Edna die, as she cannot survive in this restrained society in which she does not belong to. The idea of giving yourself completely to serve another, Edna declares “that she would never sacrifice herself for her children, or for any one” (47). However, her awakening is also a realization of her underprivileged position in a male dominated society. The first sign that Edna is becoming comfortable with herself, and beginning to loosen the constrictions of not being an individual is when she asks Robert, her husband, to retrieve her shawl: "When he returned with the shawl she took it and kept it in her hand. She did not put it around her" (30). Edna is trying to establish herself as an artist in a society where there is no tradition of women as creative beings. For any woman to suggest a desire for a role outside the domestic sphere, as more than a mother or housewife, was perceived as
Edna’s move into the Pigeon House is symbolic as well as physical because it “added to her to her strength and expansion as an individual”. This implies that Edna is striving towards her independence away from Mr. Pontiellier and her kids, and a deep sought into her life. This represents in the development of her self-awareness that Edna is no longer concerned of about the content of “feed upon opinion when her own soul had invited her.” In hence, Edna is no longer in care of others’ lives and what they think of Edna, that she only wants to focus on her own.
Her transformation and journey to self-discovery truly begins on the family’s annual summer stay at Grand Isle. “At a very early period she had apprehended instinctively the dual life- that outward existence which conforms, the inward life which questions. That summer at Grand Isle she began to loosen a little of the mantle of reserve that had always enveloped her” (Chopin 26). From that point onward, Edna gains a deeper sense of desire for self-awareness and the benefits that come from such an odyssey. She suddenly feels trapped in her marriage, without being in a passionately romantic relationship, but rather a contractual marriage. Edna questions her ongoing relationship with Leonce; she ponders what the underlying cause of her marriage was to begin with; a forbidden romance, an act of rebellion against her father, or a genuine attraction of love and not lust? While Edna internally questions, she begins to entertain thoughts of other men in her life, eventually leading to sensuous feelings and thoughts related to sexual fantasy imagined through a relationship with Robert Lebrun. Concurrently, Edna wavers the ideas so clearly expected by the society- she analyzes and examines; why must women assimilate to rigid societal standards while men have no such
She begins by becoming “passionately enamored of a dignified and sad-eyed cavalry officer;” then “her affections were deeply engaged by a young gentleman who visited a lady on a neighboring plantation;” and finally, “the face and figure of a great tragedian began to haunt her imagination and stir her senses” (39). All of these figures are unattainable and, therefore, leave her discontented, yet she feels desire for them and so she feels passion, which to her is better than numbness. Chopin indicates that she needs something exciting, something beyond the ordinary routine of life. Edna wants to be “passionately enamored,” and have her affections “deeply engaged.”
On the Grand Isle, the constant presence of the ocean begins a metamorphosis within Edna that alters her perspective of herself in relation to others. She begins to fulfill her desires and abandon her responsibilities as a wife and mother to her family, in order to pursue a life of independence. Allowing her to fulfill her desires to be a painter and be with Robert. Critical moments of self-reflection for Edna occur in the presence of the ocean. It is at the ocean where she first realizes her desire to be independent.
...t Lant’s, “The Siren of the Grand Isle: Adele’s Role in The Awakening” explains that, “… she has learned to swim, and master the waves and moves away from the shore to freedom.” Edna’s death was a way for her to become free. She no longer needed to face the harsh reality that women faced daily, and was in charge of her own self. Also, for the first time Edna was able to make a decision for herself.
When her husband and children are gone, she moves out of the house and purses her own ambitions. She starts painting and feeling happier. “There were days when she was very happy without knowing why. She was happy to be alive and breathing when her whole being seemed to be one with the sunlight, the color, the odors, the luxuriant warmth of some perfect Southern day” (Chopin 69). Her sacrifice greatly contributed to her disobedient actions. Since she wanted to be free from a societal rule of a mother-woman that she never wanted to be in, she emphasizes her need for expression of her own passions. Her needs reflect the meaning of the work and other women too. The character of Edna conveys that women are also people who have dreams and desires they want to accomplish and not be pinned down by a stereotype.
Chopin carefully establishes that Edna does not neglect her children, but only her mother-woman image. Chopin illustrates the idea by telling the reader, "...Mrs. Pontellier was not a mother-woman" (689). Edna tries to explain to Adele how she feels about her children and how she feels about herself, which greatly differs from the mother-woman image. She says, "I would give up the unessential; I would give my money; I would give my life for my children; but I wouldn't give myself. I can't make it more clear; it's only something I am beginning to comprehend, which is revealing itself to me" (720).
In the first passage, Edna is clearly set apart from what appears to be the status quo of female behavior in her society. She is not a mother-woman. The term, mother-woman is a reductive one which implies a singular purpose or value. The mother-woman is a mother; being one defines and regulates every aspect of her life. They “…esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels.” Chopin’s use of religious words and imagery is interesting; it certainly alludes to Victorian ideals of womanhood in which the woman is a vessel of purity and piousness. Viewing women as angels or pure, infallible beings elevates them, but also robs them somewhat of their humanity. In addition to this, it places restraining and unnecessary imperatives on their behavior, and encourages them to strive for the unattainable-a pursuit that will probably leave them feeling inadequate. The mother-women are described generally, however, in this passage, and seem entirely one-dimensional. Also, they possess an almost absurd and quality, “fluttering” about after their children, perceiving “imaginary” dangers everywhere. Chopin deals with the mother-women more complexly later through the character of Madame Ratignolle.
Edna needed to be in control of her life. As long as she was married and a mother she would never have total control.
She cleans, entertains, and takes care of the children. Her diversion from her usual routine as a mother woman is started by her own inward questioning when she goes down to the beach with Adele Ratignolle and she asks her what she is thinking. Edna expresses a want to know herself, even though Adele and many others tell her that it is a useless wish. Edna has no one who truly understands her; she is isolated from society by a barrier of self knowledge that they deem madness. The only person who might understand is Robert, who she loves. But even he turns pale when Edna speaks derisively of his want for her husband to give her to him, saying that she can give herself to whomever she chooses. There is no one in the novel who has the same mindset as Edna. The isolation and pressure from society and her husband adds to her madness, cumulating in an eventual breakdown where she smashes a vase and throws off her wedding ring. The casting away of her ring symbolizes Edna throwing off the shackles of society and a loveless marriage to be her own person. She stamps on the ring, showing her distaste for her path in life and her choices in the past. Edna’s madness, and break down, show her deteriorating patience with her life and the mothering façade she wears day to day. Society views her as mad when she moves out of her husband’s house to live on her own. She breaks away from her life to set herself