Choosing between Family and Individuality in Kate Chopin's The Awakening
Kate Chopin's The Awakening focuses on a woman's struggle to become an individual while still being a mother and wife. In the process of this journey, the female heroine discovers that establishing her own identity means losing a mother's identity. Edna looks to be the "brave soul," a "soul that dares and defies" (Chopin 61). Edna's society looked down upon females who seek anything other than attending to their children and husband's needs. Therefore, she is seen as an outcast and must turn inward as well as outward towards nature for satisfaction and approval.
At the beginning of The Awakening, Mr. Pontellier poses the question, "If it was not a mother's place to look after children, whose on earth was it?" (Chopin 7). He reflects the general belief of his time that women should be mothers who give up themselves for the more important needs of their children. He believes that women should be self-sacrificing beings who never take and always give. He thinks, just as other men believed during this time period, that she should be the "angel of the house," catering to his every need. Mr. Pontellier wants her to be one of the "ministering angels" (Chopin 9) who "idolized their children" (Chopin 9) and "worshipped their husbands" (Chopin 9). Mrs. Pontellier shows little interest in taking care of her husband and children, hinting that she seeks more than a life lived for others. She begins to "recognize her relations as an individual to the world within and about her" (Chopin 14) which inevitably becomes a curse in disguise. It creates a complicated inner conflict. Mrs. Pontellier ponders whether she should be defined as a mother and ...
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...nature for acceptance and to her soothing childhood memories for forgotten innocence.
Works Cited and Consulted
Chopin, Kate. "The Awakening." 1899. The Complete Works of Kate Chopin. Ed. Per Seyersted. Baton Rouge: Louisiana State UP, 1989.
Culley, Margo, ed. A Norton Critical Edition: Kate Chopin: The Awakening. New York: W.W. Norton, 1994.
Edwards, Lee. "Sexuality, Maternity, and Selfhood." A Norton Critical Edition: Kate Chopin: The Awakening. Ed. Margo Culley. New York: W.W. Norton, 1994. 282-285.
Walker, Nancy. "Feminist or Naturalist." A Norton Critical Edition: Kate Chopin: The Awakening. Ed. Margo Culley. New York: W.W. Norton, 1994. 252-257.
Wolff, Cynthia. "Thanatos and Eros." A Norton Critical Edition: Kate Chopin: The Awakening. Ed. Margo Culley. New York: W.W. Norton, 1994. 231-241.
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...
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.
Chopin, Kate. The Awakening. Anthology of American Literature. Volume II: Realism to the Present. Ed. George McMichael. New Jersey: Prentice Hall, 2000. 697-771.
Chopin, Kate. The Awakening. 1899. 1865-1914. Ed. Nina Baym and Robert S. Levine. 8th ed. New York: W. W. Norton, 2012. 561-652. Print. Vol. C of The Norton Anthology of American Literature.
Petry, Alice Hall. “Critical Essays on KATE CHOPIN”. G. K. Hall & Co., New York, 1996.
"Pesticides." Issues & Controversies On File: n. pag. Issues & Controversies. Facts On File News Services, 18 July 2005. Web. 20 May 2011. .
...ortation of plants, fruits, vegetables, and animals. Indiscriminate pesticide use kills the good with the bad. Long term and wide spread pesticide use poisons underground water sources, which, in turn, poison plants, animals, and humans. And, finally, by our uninformed actions, new super races of pests continue to evolve and create even greater dangers than the original.
Harris, Sharon M. "Kate Chopin." Magill’S Survey Of American Literature, Revised Edition (2006): 1-5. Literary Reference Center Plus. Web. 19 Apr. 2014.
Chopin, Kate. The Awakening. The Norton Anthology of American Literature. Ed. Nina Baym. New York: W.W. Norton, 2007. 535-625. Print.
Seyersted, Per. "Kate Chopin." Twentieth Century Literary Criticism. Eds. James E. Person, Jr. and Dennis Poupard. Vol. 14. Detroit: Gale Research Company, 1984. 60 vols.
To begin with, pesticides prove harmful to people through their ability to grow within the produce being protected by it from insects. Pesticides are found not only
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