In the mid-19th century, a formal ideology known as the Cult of True Womanhood emerged, which asserted that women's roles were limited to the domestic sphere. This ideology emphasized four pillars of conduct—purity, piety, submission, and domesticity. The Coquette by Hannah Webster Foster, published in 1799, and The Awakening by Kate Chopin, published a century later, in 1899, both engage with and challenge this ideology, albeit in contrasting ways. By closely analyzing both Eliza and Edna’s relationships to their respective environments, we see that while The Coquette upholds what is to become the purity and domesticity pillars of the Cult of True Womanhood, warning women of the dangers of exercising their independence and sexual will, The Awakening directly opposes these foundations, encouraging women to exist for themselves and …show more content…
At the beginning of The Coquette, Eliza vehemently resists the notion of succumbing to the demands of domesticity, expressing a fervent desire to maintain her independence and autonomy: “I recoil at the thought of immediately forming a connection, which must confine me to the duties of domestic life, and make me dependent for happiness. upon a class of people, who will claim the right to scrutinize every part of my conduct” (783). Here, she directly opposes the expectations held by her friends and family, prioritizing her own autonomy. She “recoils” at the prospect of immediate marital attachment, fearing the loss of freedom and the imposition of societal expectations that would bind her to the perceived prison of domestic life. Her apprehension is palpable as she contemplates the prospect of being scrutinized and controlled by others, relinquishing her agency and potentially her happiness in the process. Conversely, in The Awakening, Edna initially mirrors Eliza's sentiment, harboring reservations about the constraints of marriage to a man whom she does not
From the beginning of The Coquette Eliza Wharton is a headstrong, freedom-seeking woman. Having escaped her impending marriage with the death of her fiancé, Eliza is determined to enjoy herself, regardless of the consequences. Eliza disregards the warnings she receives from those around her, she disregards Major Sanford’s past, and she disregards the societal impact her actions will undoubtedly have. Eliza is reckless with her reputation and virtue and she pays the price.
Welter, Barbara. “The Cult of True Womanhood: 1820-1860.” Nineteenth Century Literature March 1966: 102-106. Jstor. On-line. 10 Nov. 2002.
Novels that are written by pronounced authors in distinct periods can possess many parallels and differences. In fact, if we were to delve further into Zora Neale Hurstons, Their Eyes Were Watching God, and Kate Chopin’s novel, The Awakening, we can draw upon many similarities. Now of course there are the obvious comparisons, such as Janie is African American and poor, unlike Edna who is white and wealthy, but there is much more than just ethnicity and materialistic wealth that binds these two characters together. Both novels portray a society in which the rights of women and their few opportunities in life are strictly governed, usually breaking the mold that has been made for them to follow The Cult of True Womanhood. These novels further explore these women’s relationships and emotions, proving that throughout the ages of history women have wanted quite similar things out life. Similarly they interconnect in the fact that the end of the stories are left for interpretation from the reader. Both these women in these novels are being woken up to the world around themselves. They are not only waking up to their own understanding of themselves as women and individuals that are not happy in the domestic world of their peers, but they are also awakening themselves as sexual beings.
In the last half of the nineteenth century, Victorian ideals still held sway in American society, at least among members of the middle and upper classes. Thus the cult of True Womanhood was still promoted which preached four cardinal virtues for women: piety, purity, submissiveness, and domesticity. Women were considered far more religious than men and, therefore, they had to be pure in heart, mind, and, of course, body, not engaging in sex until marriage, and even then not finding any pleasure in it. They were also supposed to be passive responders to men's decisions, actions, and needs. The true woman's place was her home; "females were uniquely suited to raise children, care for the needs of their menfolk, and devote their lives to creating a nurturing home environment." (Norton, 108). However, the tensions between old and new, traditional and untraditional, were great during the last years of nineteenth century and there was a debate among male and female writers and social thinkers as to what the role of women should be. Among the female writers who devoted their work to defying their views about the woman's place in society were Charlotte Perkins Gilman and Kate Chopin.
Eliza Wharton has sinned. She has also seduced, deceived, loved, and been had. With The Coquette Hannah Webster Foster uses Eliza as an allegory, the archetype of a woman gone wrong. To a twentieth century reader Eliza's fate seems over-dramatized, pathetic, perhaps even silly. She loved a man but circumstance dissuaded their marriage and forced them to establish a guilt-laden, whirlwind of a tryst that destroyed both of their lives. A twentieth century reader may have championed Sanford's divorce, she may have championed the affair, she may have championed Eliza's acceptance of Boyer's proposal. She may have thrown the book angrily at the floor, disgraced by the picture of ineffectual, trapped, female characters.
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
Edna Pontellier, the protagonist of Kate Chopin’s The Awakening (1899) who would not allow anyone to possess her, is an example of how the cult of domesticity, prevalent in the nineteenth century, oppressed women as passionless mothers who worship their husbands. While Edna isolates herself from her husband, Leonce, she also isolates herself from her children and, thus, from motherhood. However, Chopin utilizes the motherhood metaphor to illustrate Edna’s own rebirth as she awakens throughout the novel. Exploring Chopin’s tale through feminist literary theory and the cult of domesticity, the metaphor of motherhood through Edna’s own maternity as well as her metaphorical rebirth becomes apparent.
The 19th and 20th centuries were a time period of change. The world saw many changes from gender roles to racial treatment. Many books written during these time periods reflect these changes. Some caused mass outrage while others helped to bring about change. In the book The Awakening by Kate Chopin, gender roles can be seen throughout the novel. Some of the characters follow society’s “rules” on what a gender is suppose to do while others challenge it. Feminist Lens can be used to help infer and interpret the gender roles that the characters follow or rebel against. Madame Ratignolle and Leonce Pontellier follow eaches respective gender, while Alcee Arobin follows and rebels the male gender expectations during the time period.
The 1890’s were an era of rapid social change in regards to women’s rights. In 1893, Colorado was the first state granting women the right to vote with Utah and Idaho following soon after in 1896. This soon set momentum towards of ratification of the 19th Amendment in 1920. It was in 1899 the Kate Chopin published The Awakening, a novel telling the tale of a suppressed mother, Edna Pontellier, and her desire for something more in her life. Literary scholars consider Chopin’s The Awakening as a subtle yet effective portrayal of women of the late 19th century and consider it as an important piece of the feminism movement. Throughout the late 1800’s and early 1900’s, women had felt controlled by men and the demands society put upon them. Men had held a discriminatory view of women throughout this era, for they merely saw women as property. Women were expected to bear a man’s child, care for the child, and watch over the household while the man was away. The Awakening was an eye-opening novel in that it challenged the social structure of the time in which men dominated society. This novel showed the discriminatory view of women and treatment of women. The novel also does a great job in showing the dissatisfaction in the women’s lives, particularily through the actions of Edna Pontellier. Due to society’s expectations, women were not allowed to pursue their psychological or sexual drives, for it was scorned by society. Edna pursues these drives as she eventually cannot tolerate her way of living. In The Awakening, Chopin’s use of three characters, Edna Pontellier, Adele Ratignolle, and Mademoiselle Reisz, exemplifies the accepted roles of women in the late 19th century.
In “Tradition and the Female Talent: The Awakening as a Solitary Book,” Elaine Showalter makes a compelling argument that “Edna Pontellier’s ‘unfocused yearning’ for an autonomous life is akin to Kate Chopin’s yearning to write works that go beyond female plots and feminine endings” (204). Urging her reader to read The Awakening “in the context of literary tradition,” Showalter demonstrates the ways in which Chopin’s novel both builds upon and departs from the tradition of American women’s writing up to that point. Showalter begins with the antebellum novelists’ themes of women’s roles as mothers—especially the importance of the mother-daughter relationship—and women’s attachments with one another and then moves to the local colorists of the post-Civil War who claimed male and female models but who wrote that motherhood was not a suitable partner for the true artist. According to these women writers, a woman had to choose to be either an artist or a wife and mother; one negatively affected the other. The literary history then delves...
The late nineteenth century was a critical time in reshaping the rights of women. Commonly this era is considered to be the beginning of what is know to western feminists as “first-wave feminism.” First-wave feminism predominately fought for legal rights such as suffrage, and property rights. A major hallmark of first-wave feminism is the concept of the “New Woman.” The phrase New Woman described educated, independent, career oriented women who stood in response to the idea of the “Cult of Domesticity,” that is the idea that women are meant to be domestic and submissive (Stevens 27).
Throughout history society has been controlled by men, and because of this women were exposed to some very demanding expectations. A woman was expected to be a wife, a mother, a cook, a maid, and sexually obedient to men. As a form of patriarchal silencing any woman who deviated from these expectations was often a victim of physical, emotional, and social beatings. Creativity and individuality were dirty, sinful and very inappropriate for a respectful woman. By taking away women’s voices, men were able to remove any power that they might have had. In both Alice Walker’s “The Color Purple” and Kate Chopin’s “The Awakening”, we see that there are two types of women who arise from the demands of these expectations. The first is the obedient women, the one who has buckled and succumbed to become an empty emotionless shell. In men’s eyes this type of woman was a sort of “angel” perfect in that she did and acted exactly as what was expected of her. The second type of woman is the “rebel”, the woman who is willing to fight in order to keep her creativity and passion. Patriarchal silencing inspires a bond between those women who are forced into submission and/or those who are too submissive to maintain their individuality, and those women who are able and willing to fight for the ability to be unique.
In Kate Chopin’s The Awakening and Charlotte Brontë’s Jane Eyre, one of the most prevalent and recurring themes and ideas relates to human freedom. The main characters in the two novels, Edna Pontellier and Jane Eyre, both long for social, religious, and sexual emancipation among other things – freedom from the constraints of Victorian society, which have rendered them dependent and inferior to men. While it is true that both protagonists of their respective novels wanted emancipation, their living conditions and qualities of life varied widely. Even though both women, Edna and Jane, wanted “emancipation” from their respective societies, the conditions that each woman was subject to were quite dissimilar. Jane had a very malnourished upbringing and was an orphan, surround by treacherous and tormenting families. Edna, on the other hand, grew up in an affluent and aristocratic home, with little financial troubles. Edna is of a more “modern” generation than Jane, which must be taken into account when comparing the two, however. Jane Eyre was written in 1847 while The Awakening was written in 1899. Even so, both of these women, as was the case with women almost everywhere, had to succumb to what society deemed socially acceptable – very little. Women were generally no more than mere faces whose responsibilities fell into the categories of household affairs, and entertaining. Edna has money, a husband who loves her, children, friends, a large house, and everything else that comes from being wealthy at the time - but it’s not enough for her. She wants to be able to get what she wants when she wants. In this sense, Edna is slightly more “radical” than Jane because of her at times, open disregard for societal customs and traditions. Ult...
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.
During the American Industrial Revolution, women began to work in factories, leading to conflicts in 19th century society that would eventually result in the Cult of Domesticity—the belief that women’s only responsibilities existed at home. This aimed to establish the subservient woman and the husband as the master of the house as the social norm. Kate Chopin's bleak but realistic depiction in her work, The Awakening, reveals her reasonable attitude during the Second Great Awakening in American history. Men coveted control and achieved it by undermining women and being their superior. Society followed a mob mentality and accepted gender inequality as a social norm. Subjugation of women lead to panic and mania in men and the oppression made