Kate Chopin's Awakening
Kate Chopin's depiction of “The Awakening” is realistic as she develops Edna Pontellier’s character from a socially and morally respectable individual to an individual that turns her back on everything closest to her as she births her new self-being. Edna Pontellier struggles between her subconscious and conscious thoughts as unusual feelings stir unfounded emotions and senses. Some of Chopin’s characters lend themselves in Edna’s “awakening”. Through examination of Leonce Pontellier, Robert Lebrun, Madame Moiselle Reisz, Adele Ratignolle, and Alcee Arobin the life of Edna Pontellier turns into her ultimate death. The relationship she has with each one of these characters influences and initiates a lost feeling that has never risen to its complete capacity. As Edna awakens to this new self she becomes self absorbs and chooses herself-satisfaction over her family.
Edna and Leonce’s marriage didn’t start as two star crosses lovers, but more of convenience. Leonce pursued Edna and “fell in love” with her (Kate Chopin 32). Edna wasn’t in love with Leonce, but rather embraced the idea of defying her family. Kate Chopin states, “And to this violent opposition of her father and sister Margaret to her marriage with a Catholic, there is no need to search for the motive which led her to accept Leonce as her husband” (32). Leonce’s commitment to Edna satisfied her mind set. When Leonce “goes to join the calvary officer…” (33). Edna finds herself in the depths of the realization that she is left alone. This is the first of many times that Leonce leaves her. Although Leonce takes good care of his family financially, there is the definite absence of intimacy between he and Edna. It seems Edna has never had an intimate relationship, but has had intimate feelings of fascination. Chopin reveals, “she remembered feeling enarmored with a Kentuckian Calvary officer who came to visit her father, after he faded from her existence her mind turned to a gentleman who called upon a neighbor. He too vanished from her dreams” (31-32). Emerging from adolescence into puberty can stir a child’s emotions. They can become infatuated with virtually any attractable figure.
At this point in a child’s life he needs parental guidance. Since Edna’s mother is dead she was probably somewhat rebellious and though Leonce made her happy in the beginning their relation...
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...’t realize that there is anything wrong with her life until she meets those around her that are free from conformity. In Mme. Reisz, Edna admires and desires what she has which is independency. She doesn’t rely on anyone for anything. In Adele she sees the mother that she would like to be, but doesn’t want to bother. She cares more about her own satisfaction, independent of her family. Robert Lebrun stirred something up in Edna that she could not let alone. She felt aware of herself for the first time and she would seek it out until she was satisfied with herself. Edna’s awakening was apparently more than she could deal with, though we don’t really know if she intentionally swam out into the ocean to drown herself or if she just swam too far and was unable to swim back. Regardless of that thought Chopin must have intended for the possibility of either happening or she would have made a clear and precise account for Edna’s purpose. Chopin clearly defined each character in Edna’s life and how each one affected her during her awakening. Each one had a role in Edna’s life and played an important part in her awakening.
Works Cited
Kate Chopin. The Awakening. Oxford World Classics
The problem of free will and determinism is a mystery about what human beings are able to do. The best way to describe it is to think of the alternatives taken into consideration when someone is deciding what to do, as being parts of various “alternative features” (Van-Inwagen). Robert Kane argues for a new version of libertarianism with an indeterminist element. He believes that deeper freedom is not an illusion. Derk Pereboom takes an agnostic approach about causal determinism and sees himself as a hard incompatibilist. I will argue against Kane and for Pereboom, because I believe that Kane struggles to present an argument that is compatible with the latest scientific views of the world.
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...
Sacrifices can define one’s character; it can either be the highest dignity or the lowest degradation of the value of one’s life. In The Awakening, Kate Chopin implicitly conveys the sacrifice Edna Pontellier makes in the life which provides insight of her character and attributions to her “awakening.” She sacrificed her past of a lively and youthful life and compressed it to a domestic and reserved lifestyle of housewife picturesque. However, she meets multiple acquaintances who help her express her dreams and true identity. Mrs. Pontellier’s sacrifice established her awakening to be defiant and drift away from the societal role of an obedient mother, as well as, highlighting the difference between society’s expectations of women and women’s
Critics of Kate Chopin's The Awakening tend to read the novel as the dramatization of a woman's struggle to achieve selfhood--a struggle doomed failure either because the patriarchal conventions of her society restrict freedom, or because the ideal of selfhood that she pursue is a masculine defined one that allows for none of the physical and undeniable claims which maternity makes upon women. Ultimately. in both views, Edna Pontellier ends her life because she cannot have it both ways: given her time, place, and notion of self, she cannot be a mother and have a self. (Simons)
Regarding the notion of the ‘free will,’ it is clear that the issue of determinism and freedom based on a moral obligation seems probable in life. Precisely, this is because both the first part and second parts are compatible in nature. All the two constituents of the Compatibilism entail liberty and necessity the way David Hume supposed his clear claims, and therefore determinism is considered a true element. However, another philosopher may argue that freedom may exists regardless of the fact that determinism may be not true and still implies a necessity; a moral responsibility. In this regard, I strongly support Hume’s notion of Compatibilism as a plausible concept of the ‘free will,’ and further reasons that the best objection to it is
Edna Pontellier’s character in The Awakening has been the source of the novel’s controversial assessment by critics since it’s publication in 1899. The author, Kate Chopin, officially began writing in 1885 and composed novels that challenged the many conflicting social standards in that time period. The late 1800s, predominantly known for the Industrial Revolution, served as a beacon of opportunity for women during this era. Chopin wrote The Awakening to be used as an instrument to eradicate the accepted impression of gender roles in society: women are more than submissive tools to their oppressive counterparts in this masculine dominated world. Chopin’s ideology originated from the lessons and wisdom of her great-grandmother who encouraged her to read unconventional concepts: women were capable of obtaining and maintaining a successful career as well as a thriving family and social life. Although The Awakening was widely banned and condemned in national presses, critics cannot deny the underlying theme of sexism and its effect on gender roles. Some critics even suggest there is a distinct correlation between Edna’s character and Chopin herself. According to critics, Kate Chopin encumbers The Awakening with incidents of a single woman's hunger for personal and sexual identity as a mechanism to display Edna Pontellier’s deviations from societal standards.
In Kate Chopin’s The Awakening, Edna Pontellier’s suicide is an assertion of her independence and contributes to Chopin’s message that to be independent one must choose between personal desires and societal expectations. Chopin conveys this message through Edna’s reasons for committing suicide and how doing so leads her to total independence.
In America, the 1890s were a decade of tension and social change. A central theme in Kate Chopin’s fiction was the independence of women. In Louisiana, most women were their husband’s property. The codes of Napoleon were still governing the matrimonial contract. Since Louisiana was a Catholic state, divorce was rare and scandalous. In any case, Edna Pontellier of Chopin had no legal rights for divorce, even though Léonce undoubtedly did. When Chopin gave life to a hero that tested freedom’s limits, she touched a nerve of the politic body. However, not Edna’s love, nor her artistic inner world, sex, or friendship can reconcile her personal growth, her creativity, her own sense of self and her expectations. It is a very particular academic fashion that has had Edna transformed into some sort of a feminist heroine. If she could have seen that her awakening in fact was a passion for Edna herself, then perhaps her suicide would have been avoided. Everyone was forced to observe, including the cynics that only because a young
Could the actions of Edna Pontellier in Kate Chopin's novella The Awakening ever be justified? This question could be argued from two different perspectives. The social view of The Awakening would accuse Edna Pontellier of being selfish and unjustified in her actions. Yet, in terms of the story's romanticism, Edna was in many ways an admirable character. She liberated herself from her restraints and achieved nearly all that she desired. Chopin could have written this novel to glorify a woman in revolt against conventions of the period. Yet, since the social standpoint is more factual and straightforward, it is the basis of this paper. Therefore, no, her affairs, treatment of her family and lovers, and suicide were completely unwarranted. She was not denied love or support by any of those close to her. Ultimately Edna Pontellier was simply selfish.
The distinction between second order desires and second order volitions can be difficult to grasp, but I shall present my best interpretations of Frankfurt’s readings. Second order volitions are judgements that we make about our desires. One last time, suppose person A is on a diet so he admits a firm resolution about his diet. So he thinks (I should want X) or (I should want to not X). Person A thinks he should want to not eat dessert in his new diet resolution. In saying this, person A is placing a valued judgement about his desires. He is someone who is not just letting his desires pull him one way or another. He is placing a valued and examined judgement about which one of his desires is the desire he wants to constitute his will. In saying “I should want to not eat dessert”, he is saying that there is an important sense in which wanting to not eat dessert more accurately characterizes who he stands for and what his values
Kate Chopin’s The Awakening should be seen as depicting the discontentment that comes from self-gratification rather than the glorification of delighting in one’s fantasies. Chopin describes the central idea of one who is seeking to please her personal needs and desires and, in the process, neglects to notice how her actions affect others. The protagonist, Edna, is not able to find peace or happiness in the accepted daily life that a woman of her era and social status should have. The fulfilling of her desires could essentially cause social ostracism for her, her husband, and her children, yet she is unable to find repose in living the typical social Victorian life. The final resolve of her “awakening” to her desires, her ultimate suicide, is not an honorable position that women should strive toward as a romantic ideal because her desires were hopeless in her situation. Through Edna’s striving for personal satisfaction, she loses the joys that daily life has to offer.
The main argument of this novel has been diluted though a too widened scope of Edna’s life. Throughout the novel Edna mentions countless flat characters that do not bring much to the Awakening that she is encountering. The wide variety of characters makes the novel very frustrating level of work. The audience can become confused with the different characters and the meaning Chopin holds behind each character. The Audience will them spend infinite time trying to incorporate meaning of the characters that they lose the overall journey that Edna is challenged with. While repeatedly reading this novel it became apparent to me that many of the characters could have been excluded from the novel to make the journey more objectified. The audience could still understand the object of this novel without Alcée Arobin, Madame Lebrun, Victor Lebrun, Mariequita, Dr. Mandelet, Mrs. James Highcamp and many others. All of these characters have little to no meaning that enhances the novel. For example, Alcée Arobin played a minor role as the second affair Edna was engaged in during her awakening. Without mentioning the affair between the two, there would still be circumstantial evidence that Edna is breaking free from society. She was already moved out of her husband’s home, abandoned all duties as a
All in all, each view about the philosophy of free will and determinism has many propositions, objects and counter-objections. In this essay, I have shown the best propositions for Libertarianism, as well as one opposition for it which I gave a counter-objection. Additionally, I have explained the Compatabalistic and Hard Deterministic views to which I gave objections. In the end, whether it is determinism or indeterminism, both are loaded with difficulties; however, I have provided the best explanation to free will and determinism and to an agent being morally responsible.
Frankfurtean compatibilism provides a more refined model than Humean compatibilism. Humean compatibilism has denied the deterministic notion of freedom-the ability to have chosen otherwise. Hume then provides a new definition of freedom, as “a power of acting or not acting, according to the determinations of the will” (“Of Liberty and Necessity”, 23). In Hume’s view, as long as we act according to our desires and belief, we are exercising freedom of will and freedom of action. Frankfurt adds a further distinction within our desires, and concludes that our will is free if and only if we act on a first-order desire determined by our second-order desire. An agent’s will, defined by Frankfurt, is “the notion of an effective desire-one that moves (or will or would move) a ...
In The Awakening Chopin seems to tell her story through the main character Edna Pontellier. Her breaking away from the conventions of literary domesticity is shown through Edna breaking away from the conventional feminine roles of wife and mother (Showalter 170). Kate Chopin shows boldness by taking the main characters and having them completely change their views on life. Edna is a young woman who discovers that her pampered married life is not what she wants. ...