In the 19th century Kate Chopin’s novel The Awakening shocked and outraged much of the Victorian literary public. With “True Woman” being the fashionable and iconic movement of the decade for a novel to backlash at “True Woman” was unspeakable to many readers. The main character Edna Pontellier throws away her social values to do what she wants, including having an illicit love affair. Of all the subtle foreshadowing and symbolism Chopin displays in this classic novel the sea plays a major role in Mrs. Pontellier’s so called “Awakening”. Edna from the very beginning of the novel faces overwhelming oppression from her husband and from her social bindings, and the sea lures her with its soothing voice, “There was no sound abroad except the …show more content…
The “seductive odor”, like pheromones all biological creatures release, is pulling Edna to it once again, just like Edna is pulled to Robert. “Her glance wandered from his face away toward the Gulf, whose sonorous murmur reached her like a loving but imperative entreaty” (Chopin 12), Chopin uses the sea again symbolically to figuratively show readers how it calls to Edna and seduces her senses like Robert …show more content…
If Edna has herself acquired such a voice at last, is not the suggestion even stronger that it was something within her which spoke to her in the first place? As a parrot will only reflect such language as it has been taught, the sea will only tell the listener what he or she wants to hear, and the message is ultimately that from a human being” (n.p.). “The foamy wavelets curled up to her white feet, and coiled like serpents about her ankles” (Chopin 115), just like a snake wraps around its prey, Edna is once again drawn back to Grand Isle. Only this time Chopin is foreshadowing Edna’s watery
In Kate Chopin’s The Awakening, the romantic and lyrical nature of Frederick Chopin’s Impromptu, as well as its originality, are the vehicle by means of which Edna realizes her love for Robert and her desire to be free and self-determined.
Leonce Pontellier, the husband of Edna Pontellier in Kate Chopin's The Awakening, becomes very perturbed when his wife, in the period of a few months, suddenly drops all of her responsibilities. After she admits that she has "let things go," he angrily asks, "on account of what?" Edna is unable to provide a definite answer, and says, "Oh! I don't know. Let me along; you bother me" (108). The uncertainty she expresses springs out of the ambiguous nature of the transformation she has undergone. It is easy to read Edna's transformation in strictly negative terms‹as a move away from the repressive expectations of her husband and society‹or in strictly positive terms‹as a move toward the love and sensuality she finds at the summer beach resort of Grand Isle. While both of these moves exist in Edna's story, to focus on one aspect closes the reader off to the ambiguity that seems at the very center of Edna's awakening. Edna cannot define the nature of her awakening to her husband because it is not a single edged discovery; she comes to understand both what is not in her current situation and what is another situation. Furthermore, the sensuality that she has been awakened to is itself not merely the male or female sexuality she has been accustomed to before, but rather the sensuality that comes in the fusion of male and female. The most prominent symbol of the book‹the ocean that she finally gives herself up to‹embodies not one aspect of her awakening, but rather the multitude of contradictory meanings that she discovers. Only once the ambiguity of this central symbol is understood can we read the ending of the novel as a culmination and extension of the themes in the novel, and the novel regains a...
From a mother, wife, and society woman, Edna progresses to a unique woman of her own, free and independent. By deciding to choose her own paths to take in life, breaking the rules and expectations of the people around her, Edna achieves total control of her destiny. The backdrop of Edna's journey of her awakening is the tantalizing whisper of the ocean. The ocean awakens Edna's senses, teaches her the thrill of taking a risk and offers her inspiration to "dare and defy" (109).
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.”
The presence and embrace of the sea is a constant acquaintance to Edna. In contrast, her husband frequents the club and children who are unattended by her. The continual presence of the sea allows Edna to reflect on her life such as seeing her image on the surface of water.
“A feeling of exultation overtook her, as if some power of significant import had been given her to control the working of her body and her soul” implies the tremendous joy that encourages her to shout, as well as underscores the significance of the experience in terms of the greater awakening, for the experience actually does provide Edna with the ability to control her own body and soul for the first time. Her “daring and reckless” behavior, her overestimation of strength, and the desire to “swim far out, where no woman had swum before” all suggest the tragic conclusion that awaits Edna. Whether her awakening leads her to want too much, or her desires are not fully compatible with the society in which she lives, she goes too far in her awakening. Amazed at the ease of her new power, she specifically does not join the other groups of people in the water, but rather goes off to swim alone. Indeed, her own awakening ultimately ends up being solitary, particularly in her refusals to join in social expectations. Here, the water presents her with space and solitude, with the “unlimited in which to lose herself.
When Kate Chopin's "The Awakening" was published at the end of the 19th Century, many reviewers took issue with what they perceived to be the author's defiance of Victorian proprieties, but it is this very defiance with which has been responsible for the revival in the interest of the novel today. This factor is borne out by Chopin's own words throughout her Preface -- where she indicates that women were not recipients of equal treatment. (Chopin, Preface ) Edna takes her own life at the book's end, not because of remorse over having committed adultery but because she can no longer struggle against the social conventions which deny her fulfillment as a person and as a woman. Like Kate Chopin herself, Edna is an artist and a woman of sensitivity who believes that her identity as a woman involves more than being a wife and mother. It is this very type of independent thinking which was viewed as heretical in a society which sought to deny women any meaningful participation.
Another aspects of the story is that once Edna’s awakening begins to take place, she is on a roller coaster of emotions, from the manic exuberance of listening to music and the sounds of the water, her connection to robert--it’s as though all her senses are opened up. Between times, however, she is really depressed, as though all the color that Chopin imparts so beautifully in the descriptions of the other scenes, has become dull and uninteresting. Then, she is flung into an emotional upheaval when she reads Robert’s letter to Mlle Reisz, as the latter plays Wagner. Clearly, these kinds of emotions cannot be borne by a woman whose cultural structure does not admit the building of her own that it might sustain the weight and number. She is overwhelmed. She must escape, and she does, for her situation now is powerfully reminiscent of the “joy that kills” in “Hour.”
	At the end of this story, Edna kills herself by swimming out into the ocean. The movie shows just that, omitting two very significant symbols which are present in the novella. The first of these two symbols is the injured bird that’s "beating the air above, reeling, fluttering, circling disabled down, down to the water." (Chopin, 124) This bird symbolizes Edna’s struggle to become the master her own life as well as her failure to achieve this goal. The other symbol is "the old terror [that] flamed up for an instant, then sank again." (Chopin 124) This is the same terror she feels when she swims out for the first t...
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.
Mademoiselle Reisz, Madame Ratignolle, and Kristine Linde all act as role models for the protagonists. Edna deeply admires Mademoiselle Reisz's piano playing. When Edna hears Mademoiselle Reisz's playing, "the very passions themselves were aroused within her soul, swaying it, lashing it, as the waves daily beat upon her splendid body" (Chopin 35). Mademoiselle Reisz makes Edna see the strong emotions inside herself. Edna admires Madame Ratignolle's "comforting and outgoing nature" (Solomon 118). At the beginning of the novel, Edna wishes she could have Madame Ratignolle's easygoing nature.
The book begins and ends with Edna and her attraction to the water. Throughout the story, water plays a symbolic part in the unfolding of Edna and her relationship to Robert and also her awakening to a new outlook on life along with an independence that takes her away from her family and the socially constraining life in which she no longer can see herself a part of. Edna and Robert are at the beach enjoying each others company. They quickly return to the cottage where Leonce is, and he talks to them. They have had a good time down by the water and Leonce, being the proper business man that he is, does not understand why Robert would rather spend his time chatting with his wife than attending to other things.
Throughout the story the ocean represented Edna's constant struggle for self-realization and independence. From her first flow of emotion on the beach to her last breath of life in the sea, the ocean beckons her. The voice of the sea lures her onward in her journey toward liberation and empowerment.
In the end, the sea symbolizes freedom for Edna. It will never treat her as a possession like her husband has for so many years. It will not demand all of her time and attention as her children do. It will never abandon her as Robert does. It will enfold her "in its soft, close embrace" (Chopin 176) and allow her to experience the vast array of feelings that her life has forbidden her to do. The sea will allow her to be free.