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Edna’s relationship with Leonce and the children is challenged. According to the book, she is not a motherly figure. She is more of a carefree person and did not feel she had to be with her children all the time “if one of the little Pontellier boys took a tumble whilst at play, he was not apt to rush crying to his mother’s arm for comfort, he would more likely pick himself up” (Chopin 16). This is from her husband, Mr. Pontellier. He believes Edna does not do her job as a mother and she does not feel the need to care after her children. As well as not being a motherly figure, Mr. Pontellier does not even value her as a person which could lead to the beginning of conflict in their relationship “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.” (Chopin 7). Through this quote it is obvious that Leonce sees Edna as a piece of personal property instead of an equal partner. This affects the way he treats her and …show more content…
Her and her husband are both Creoles so they are both open to each other and it is not a surprise that they “understood each other perfectly. If ever the fusion of two human beings into one has been accomplished on this sphere, it was surely in their union” (Chopin 93). The relationship between Mr. and Mrs. Ratignolle is similar to that of a perfect couple. As a Creole woman, she can relate to her husband and obeyed all his orders. Apart from her husband, Adele was dedicated to her children as she advises Edna to act the same way towards hers “Think of the children, Edna. Oh think of the children! Remember them!”(Chopin 182). According to her, her children are her number one priority. Despite her difficult childbirth, she is able to maintain her love and responsibility over her children. She cherishes her children. Adele gladly accepts the role of being a wife and mother and sees motherhood as a noteworthy
Edna seems to disregard the fact that her changes were affecting others around her, but in chapter XIX, the author reveals how Edna’s awakening has been affecting her husband. Leonce, who bared witness to the whole transformation, was able to tolerate some resistance from his wife as long as she remained taking care of her duties as a mother and wife. Leonce realized Edna had changed, but could not see in what way, he could not see the way these changes were better his wife. He saw the change in her only from the outside, he could not see how it affected her heart, and how it turned her into her true self. Edna was selfish for not thinking about her loved ones before changing her life so drastically, but her husband was selfish for not realizing she needed this change to be who she
Edna Pontellier was on her way to an awakening. She realized during the book, she was not happy with her position in life. It is apparent that she had never really been fully unaware However, because her own summary of this was some sort of blissful ignorance. Especially in the years of life before her newly appearing independence, THE READER SEES HOW she has never been content with the way her life had turned out. For example she admits she married Mr. Pontellier out of convenience rather than love. EDNA knew he loved her, but she did not love him. It was not that she did not know what love was, for she had BEEN INFATUATED BEFORE, AND BELIEVED IT WAS love. She consciously chose to marry Mr. Pontellier even though she did not love him. When she falls in love with Robert she regrets her decision TO MARRY Mr. Pontellier. HOWEVER, readers should not sympathize, because she was the one who set her own trap. She did not love her husband when she married him, but SHE never once ADMITS that it was a bad decision. She attributes all the problems of her marriage to the way IN WHICH SOCIETY HAS defined the roles of men and women. She does not ACCEPT ANY OF THE BLAME, AS HER OWN. The only other example of married life, in the book, is Mr. and Mrs. Ratignolle, who portray the traditional role of married men and women of the time. Mr. Pontellier also seems to be a typical man of society. Edna, ON THE OTHER HAND, was not A TYPICAL WOMAN OF SOCIETY. Mr. Pontellier knew this but OBVIOUSLY HAD NOT ALWAYS. This shows IS APPARENT in the complete lack of constructive communication between the two. If she had been able to communicate with her husband they may have been able to work OUT THEIR PROBLEMS, WHICH MIGHT HAVE MADE Edna MORE SATISFIED WITH her life.
Adéle Ratignolle: she is Edna’s close friend. She represents just the opposite of what Edna does, she is the ideal wife. She centers her life on taking care of her children and doing the housework. She is submissive to her family and tries to make Edna do the same with her own family. In relation to her, there is a quote in the novel that describes her:"The women were both of goodly height, Madame Ratignolle possessing the more feminine and matronly figure"
Adele Rataignolle serves as not only the epitome of the nineteenth-century woman but as Chopin's model of the perfect Creole "mother-woman". Adele's gold spun hair, sapphire blue eyes, and crimson lips made her strikingly beautiful even though she was beginning to grow a bit stout. A devoted wife and mother Adele idolizes her children and worships her husband. Her days are spent caring for her children, performing household duties, and ensuring the happiness of her husband. Even while vacationing at Grand Isle over the summer she thinks about her children and begins work on creation their winter garments. As a matter of fact sin...
In The Awakening, Chopin sets up two characters main characters and a subsidiary female character to serve as foils to Edna. The main characters are Adele Ratignolle, "the bygone heroine of romance" (888), and Mademoiselle Reisz, the musician who devoted her life to music, rather than a man. Edna falls somewhere in between the two, but distinctly recoils with disgust from the type of life her friend Adele leads: "In short, Mrs. Pontellier was not a mother-woman." Adele Ratignolle and Mademoiselle Reisz, the two important female principle 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. Mademoiselle Reisz has in abundance the autonomy that Adele completely lacks. However, 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 warmth. Later in the novel we are introduced to another character, her name is Mariequita. Mariequita is described as an exotic black-eyed Spanish girl, whom Edna looks upon with affectionate curiosity. Unlike the finely polished heroine, Mariequita walks on "broad and coarse" bare feet, which she does not "strive to hide". This strikes Edna with a refreshing sense of admiration. To her, the girl's soiled feet symbolize naked freedom, unconstrained by the apparel of civilization. Thus, Edna finds her rather beautiful. Mariequita is more like an unrefined version of Edna, that is, her instinctual self. At times, Mariequita ventures to express the thoughts that are secretly buried in Edna's unconscious.
A typically assumed reason for having an affair is that the person's spouse is, in some way, unsatisfactory. Perhaps by their affair, they are searching for a better source of love. This, however, was not a justifiable cause for Edna's adultery. Mr. Pontellier was a loving husband who tried to show his love for Edna in all of the ways he was able. Léonce showered his wife with valuable gifts. His life revolved around money, and he knew no other way to show his wife how much he loved her. He attempted to compensate Mrs. Pontellier materialistically for the lack of emotional support. While this may not be an ideal solution to the problem, it cannot be denied that Mr. Pontellier was trying to diminish the problems between them. Yet, even though it is understandable that she is upset that her husband lacks family skills, getting married was solely Edna's fault. The history of their relationship is far from perfect. Chopin states "her marriage to Léonce Pontellier was purely an accident... He fell in love...and pressed his suit with an earnestness and an ardor which left nothing to be desired. He pleased her; his absolute devotion flattered her" (18). Edna was not fair to him when she married him without loving him. She "grew fond of her husband" (18), but fondness is not a good reason for marriage.
Being a woman, she is completely at the mercy of her husband. He provides for her a lifestyle she could not obtain on her own and fixes her place in society. This vulnerability stops Edna from being truly empowered. To gain independence as a woman, and as a person, Edna must relinquish the stability and comfort she finds in the relationship with her husband. Mr. and Mrs. Pontellier's marriage comprises a series of power plays and responds well to Marxist and Feminist Theory. Leonce Pontellier looks "…at his wife as one who looks at a valuable piece of property…". He views her as an accessory that completes the ideal life for him. Edna, however, begins to desire autonomy and independence from Leonce, so true to the feminist point of view.
Edna’s husband is looking for the all devoted wife and mother and Edna is looking for anything that’s not conforming. Due to that it really strikes me as being ironic that she and Mrs. Ratignolle would be such good friends. I can’t tell if that is because secretly maybe Edna wish she could be happy with the life she is leading (like Mrs. Ratignolle) or does she want to have her around as a reminder of all she never wants to be.
Edna Pontellier is not a Creole, so her relationship with her husband is difficult. In her husband's eyes she has failed in her duties as a wife and as a mother to her own children. What Enda's husband expects from her is never what she does. Leonce comes home in the middle of the night and talks to Edna while she is sleeping. Then he tells her that Raoul one of their sons is sick and tells her to get up and check on him. Edna had never really had the desire to have children but she did anyway. She was not a "mother-woman" because she would rather be alone sometimes; she did not feel she had to be with her children twenty-four hours a day. If one Edna's boys "....took a tumble whilst at play, he would not apt rush crying to his mother's arms for comfort; he would more likely pick himself up"(16). Enda never felt that she fit in with Creole society because she "...most forcibly was their entire absence of prudery"(19). The Creoles' would talk about things such as childbirth and would flirt with others and not mean anything. Yet Edna would never dream of talking about her childbirth's with anyone or flirting unless she meant it. Creole women devoted their whole lives to their husbands where Enda was carefree and did as she pleased. She was carefree because she would go out onto the beach with only a sundress and a little hat on when she was suppose to be all covered up so she would not become sun burnt.
Adèle Ratignolle uses art to beautify her home. Madame Ratignolle represents the ideal mother-woman (Bloom 119). Her chief concerns and interests are for her husband and children. She was society’s model of a woman’s role. Madame Ratignolle’s purpose for playing the pia...
Her mood is vitally important in evaluating her death. We are told that during her thoughtful night, she came to realize that there was, “no one thing in the world that she desired,” (p 108) and that eventually she would be alone. She then remembers her children, but not fondly. They are “antagonists who overcome her; who had overpowered and sought to drag her into the soul’s slavery for the rest of her days.” (Chopin 108) Her children are a burden, not a joy, for they anchor her to “soul’s slavery.” “But she knew of a way to elude them.” (Chopin 108) She knew of a way to elude her children? Certainly there are other possibilities than suicide, but coupled with the oth...
Chopin carefully establishes that Edna does not neglect her children, but only her mother-woman image. Chopin illustrates the idea by telling the reader, "...Mrs. Pontellier was not a mother-woman" (689). Edna tries 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" (720).
Pontellier does not doubt nor desire for something beyond society’s standard for women. Leonce Pontellier, Edna’s husband, is about fifteen years older than Edna; this age divide causes a drift in what principles Leonce feels that Edna must adhere to. He maintains his belief that Edna should follow a pattern of behavior that is in conformity with what society expects of a mother-woman. A mother-woman, was defined to be one “who idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals…” (Chopin 16). This principle definition of a ‘mother-woman’ was expected to be followed by the women of the late 18th century; and was viewed as an ‘unwritten law’, or simply a regulation known to obey but not question. At first, Edna does not object to this expected behavior as Leonce’s wife. She fulfills her domestic duties without complaining and she stays loyal to her husband. Mrs. Pontellier never protests or confronts any inward doubt or apprehensions she may have imagined. Instead, Edna conforms by being quiet, reserved and calm; she suppresses her own feelings to try and please society and its strict standards. Yet, all this external conformity and compliance forces Edna to question her role in the society. Is this all she can expect in
In The Awakening, by Kate Chopin, Edna Pontellier is a married woman with children. However many of her actions seem like those of a child. In fact, Edna Pontelliers’ life is an irony, in that her immaturity allows her to mature. Throughout this novel, there are many examples of this because Edna is continuously searching for herself in the novel.
who Edna typically confides in. Adele Ratignolle contrasts Edna because she "dutifully plays the social role of'mother-woman'". The reader learns how Edna contrasts and transcends throughout the entire novel. From her refusal to sacrifice herself for her children in the beginning of the novel to her moving into her own house towards the end of the novel, the reader is effectively aware of the realities that face the women of the early twentieth century. individually and as a society. & nbsp; Chopin's style in "The Awakening" is intended to help the audience. understand the character of Edna and the dilemmas that she faces as a married woman and individual in the nineteen hundreds. For instance, the beginning of The novel reveals to the audience a scene showing what type of person Mr. Pontlierre is while showing what type of society everyone is living in at the time. At an exclusive resort outside New Orleans, Edna arrives back from the beach meeting her husband. "You are burnt beyond all recognition," he added. looking at his wife as one looks at a valuable piece of personal property which has suffered some damage."