Charlotte Chopin Syntax

Syntax
Chopin uses varying sentence lengths to put emphasis on certain parts of the story. She calls attention to certain parts by creating lengthy sentences that go into specific detail. These types of sentences are often used for description, whether it be the person, place, or even atmosphere of a situation. On the other hand, Chopin can be concise when it comes to long complicated events, by summing them up in quick, simple statements, such as this paragraph from Chapter 8:

“The lovers were just entering the grounds of the pension. They were leaning toward each other as the wateroaks bent from the sea. There was not a particle of earth beneath their feet. Their heads might have been turned upside-down, so absolutely did

they tread upon blue ether. The lady in black, creeping behind them, looked a trifle paler and more jaded than usual. There was no sign of Mrs. Pontellier and the children. Robert scanned the distance for any such apparition. They would doubtless remain away till the dinner hour. The young man ascended to his mother's room. It was situated at the top of the house, made up of odd angles and a queer, sloping ceiling. Two broad dormer windows looked out toward the Gulf, and as far across it as a man's eye might reach. The furnishings of the room were light, cool, and practical.”

Notice how the shorter sentences are about actions taking place, while the longer sentences focus on the imagery of the setting.

Chopin’s use of dialogue develops the personality and feelings of her characters. Take, for example, this excerpt from Chapter 36 in which Edna and Robert converse at the outdoor cafe:

"Why have you kept away from me, Robert?" she asked, closing the book that lay open upon the table.
"Why are you so personal, Mrs. Pontellier? Why do you force me to idiotic subterfuges?" he exclaimed with sudden warmth. "I suppose there's no use telling you I've been very busy, or that I've been sick, or that I've been to see you and not found you at home. Please let me off with any one of these excuses."
"You are the embodiment of selfishness," she said. "You save yourself something -- I don't know what -- but there is some selfish motive, and in sparing yourself you never consider for a moment what I think, or how I feel your neglect and indifference. I suppose this is what you would call unwomanly; but I have got into a habit of expressing myself. It doesn't matter to me, and you may think me unwomanly if you like."
"No; I only think you cruel, as I said the other day. Maybe not intentionally cruel; but you seem to be forcing me into disclosures which can result in nothing; as if you would have me bare a wound for the pleasure of looking at it, without the intention or power of healing it."
"I'm spoiling your dinner, Robert; never mind what I say. You haven't eaten a morsel."
"I only came in for a cup of coffee." His sensitive face was all disfigured with excitement.
"Isn't this a delightful place?" she remarked. "I am so glad it has never actually been discovered. It is so quiet, so sweet, here. Do you notice there is scarcely a sound to be heard? It's so out of the way; and a good walk from the car. However, I don't mind walking. I always feel so sorry for women who don't like to walk; they miss so much -- so many rare little glimpses of life; and we women learn so little of life on the whole.
"Catiche's coffee is always hot. I don't know how she manages it, here in the open air. Celestine's coffee gets cold bringing it from the kitchen to the dining-room. Three lumps! How can you drink it so sweet? Take some of the cress with your chop; it's so biting and crisp. Then there's the advantage of being able to smoke with your coffee out here. Now, in the city -- aren't you going to smoke?"
"After a while," he said, laying a cigar on the table.
"Who gave it to you?" she laughed.
"I bought it. I suppose I'm getting reckless; I bought a whole box." She was determined not to be personal again and make him uncomfortable.

This small part of the conversation reveals Edna and Robert’s feelings for each other without explicitly telling the reader. Through Edna’s abrupt personal attack and Robert’s quick defense of his behavior, the long-standing tension between the two is evident. Edna’s attempt to dial back the conversation shows how much she cares about Robert’s feelings and opinion of her. However, this reads as sudden, forced, and thus awkward. Also, readers can notice how Chopin refrains from describing how Edna speaks and moves during her long, awkward monologue. She lets the reader imagine how the conversation is actually playing out based on her choice in dialogue.

Diction
Chopin’s word choice tends to read as formal and complex.

Chopin prefers to write in this style, highlighting the higher social class of her characters. Her style also includes introducing an idea or person with simple words and then expanding on that idea or person. For example, consider this sentence in Chapter 28: “[Mr. Ratignolle] and his wife spoke English with an accent which was only discernible through its un-English emphasis and a certain carefulness and deliberation.” The sentence's first part describes the Ratignolles’ language simply, saying they “[speak] English with an accent.” However, Chopin then continues to characterize the couple’s accent with diction such as “discernible” and “deliberation.” Instead of choosing to plainly write “[Mr. Ratignolle] spoke English with an accent which could be discerned by their unfamiliarity with the language,” Chopin uses formal diction to reflect the overall dignified atmosphere of her

novella.
With The Awakening taking place in New Orleans, the heart of immigrated French culture, Chopin chooses certain French words and phrases in substitution of English. Chopin occasionally writes in the French language, showing how the novella’s setting affected her diction. The following are some of Chopin’s most used or significant French phrases and words:

Soirées musicales
English translation: “music evenings”
Significance to novella: Musical entertainment parties hosted by the Ratignolles, enjoyed by Edna and avoided by Léonce
Ah! si tu savais / Ce que yeux me disent
English translation: “Ah! If you knew what your eyes tell me”
Significance to novella: Robert initially sings this song to Edna, which Victor, Robert’s brother, sings in a later chapter and Edna becomes overwhelmed with memories of Robert.
Allez vous-en!

Allez vous-en! Sapristi!
English translation: “Go away! Go away! For God’s sake!”
Significance to novella: Chopin’s strange way of opening her novel, already showing readers the story’s distinct aloofness.

Figurative Language
Similes
Chopin’s usage of similes, comparing two unlike things with the words “like” or “as,” typically adheres to the style of other authors. Her similes tend to include a reference to nature-themed subjects. Readers should note that Chopin wants to establish nature as a prominent feature of The Awakening. Edna must experience many aspects of the natural world to experience her awakening, such as embracing water or discovering sexual needs. Choosing to focus many similes from Edna’s perspective, Chopin establishes Edna’s state of imagination. The similes listed below best showcase Chopin’s simile style:
“‘You are burnt beyond recognition,’ he added, looking at his wife as one looks at a valuable piece of personal property which has suffered some damage.” Chapter 1
Edna compared to damaged property
“...the blue eyes that were like nothing but sapphires” Chapter 4
Adele’s eyes compared to sapphires
“‘Par exemple! I never had to ask. You were always there under my feet, like a troublesome cat.’” Chapter

5
Robert compared to a clingy cat