growaw Kate Chopin's The Awakening - Edna Pontellier’s Awakening

growaw Kate Chopin's The Awakening - Edna Pontellier’s Awakening

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Edna's Awakening in Kate Chopin's The Awakening

    The society of Grand Isle places many expectations on its women to belong to

men and be subordinate to their children. Edna Pontellier's society, therefore,

abounds with "mother-women," who "idolized their children, worshipped their

husbands, and esteemed it to a holy privilege to efface themselves as

individuals".  The characters of Adele Ratignolle and Mademoiselle Reisz

represent what society views as the suitable and unsuitable woman figures.

Mademoiselle Ratignolle as the ideal Grand Isle woman, a home-loving mother and

a good wife, and Mademoiselle Reisz as the old, unmarried, childless, musician

who devoted her life to music, rather than a man.  Edna oscillates between the

two identities until she awakens to the fact that she needs to be an individual,

but encounters the resistance of society's standards to her desire.


    Kate Chopin carefully, though subtly, establishes that Edna does not neglect

her children, but only her mother-woman image.  Chopin portrays this idea by

telling the reader "...Mrs. Pontellier was not a mother-woman.  The mother-woman

seemed to prevail that summer at Grand Isle".  Edna tries on one occasion 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."  This

specifically contrasts the mother-woman idea of self-sacrificing for your

husband and children.  Also, the "something . . . which is revealing itself"

does not become completely clear to Edna herself until just before the end, when

she does indeed give her life, but not her self for her children's sake.

Although Edna loves her children she does not confuse her own life with theirs.


    Similarly to Edna's relationship with her children is that with her husband,

Leonce.  The Grand Isle society defines the role of  wife as full devotion

towards their husband and to self-sacrafice for your husband. Edna never adhered

to the societies definition, even at the beginning of the novel.  For example,

the other ladies at Grand Isle "all declared that Mr.

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Pontellier was the best

husband in the world."  And "Mrs. Pontellier was forced to admit she knew of

none better".  By using words like "forced" and "admit" Chopin illustrates

Edna's true feelings towards Leonce.  That she married him not because there are

none better, but because there are also none worse.  Edna's leaving Leonce's

mansion is another important detail when considering her rebellion against the

mother-woman idea.  By moving to her own residence, Edna takes a colossal step

towards autonomy, a direct violation of the mother-woman image. Throughout The

Awakening, Edna increasingly distances herself from the image of the mother-

woman, until her suicide, which serves as the total opposite of the mother-woman



    Adele Ratignolle and Mademoiselle Reisz, the two important female subsidary

characters, provide the two different identities Edna associates with.  Adele

serves as the perfect "mother-woman" in The Awakening, being both married and

pregnant, but Edna does not follow Adele's footsteps.  For Edna, Adele appears

unable to perceive herself as an individual human being.  She possesses no sense

of herself beyond her role as wife and mother, and therefore Adele exists only

in relation to her family, not in relation to herself or the world.  Edna

desires individuality, and the identity of a mother-woman does not provide that.

In contrast to Adele Ratignolle, Mademoiselle Reisz offers Edna an alternative

to the role of being yet another mother-woman.  Mademoislle Reisz has in

abundance the autonomy that Adele completely lacks.  But Reisz's life lacks love,

while Adele abounds in it.  Mademoiselle Reisz's loneliness makes clear that an

adequate life cannot build altogether upon autonomy. Although she has a secure

sense of her own individuality and autonomy, her life lacks love, friendship, or



    What Edna chooses for her identity is a combination of Adele Ratignolle and

Mademoiselle Reisz.  More honest in self-awareness than Adele, more dependent on

human relationships than Reisz.


    In The Awakening the woman's existance intertwines with her maternal nature.

Edna's sense of herself as a complete person makes impossible her role of wife

and mother as defined by her society; yet she discovers that her role of mother

also makes impossible her continuing development as an autonomous individual.

So her thoughts as she walks into the sea comment profoundly on the identity

problems that women face:  "She thought of Leonce and the children.  They were a

part of her life. But they need not have thought that they could possess her,

body and soul".  Unable to have a full human existence, Edna chooses to have

none at all.


Works Cited

Allen, Priscilla. "Old Critics and New: The Treatment of Chopin's The Awakening." In The Authority of Experience: Essays in Feminist Criticism, ed. Arlyn Diamond and Lee  R. Edwards. Amherst: University of Massachusetts Press, 1977, 224-238.

Chopin, Kate.  The Awakening.  A Norton Critical Edition:  Kate Chopin:  The  Awakening.  Ed. Margo Culley.  2nd ed.  New York:  W.W. Norton, 1994.   3-109.

Seyersted, Per, and Emily Toth, eds.  A Kate Chopin Miscellany.  Natchitoches:   Northwestern State University Press, 1979.

Sullivan, Barbara. "Introduction to The Awakening." In The Awakening, ed. Barbara Sullivan. New York: Signet, 1976.

Toth, Emily. "Kate Chopin's The Awakening as Feminist Criticism." Louisiana Studies, 15 (1976), 241-251.
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