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The use of symbolism in the novel
The importance of symbolism
The importance of symbolism
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Love and Infatuation
In The Awakening, Edna is faced with temptations from various different directions. In the late 1800's, women were expected to be a perfect wife and a dedicated mother. Edna on the other hand breaks that tradition as she is confronted with emotions for two other men. The definition of love and infatuation will vary from person to person. One may think that love is a feeling of deep affection while another person may think it means to feel passionate towards another person. Infatuation is often a difficult word to describe. Some people believe that the definition of infatuation is similar to that of love while others will describe it as a short lived passion towards someone. In The Awakening by Kate Chopin, Edna Pontellier is both in love and infatuated with three men: Léonce Pontellier, Robert Lebrun, and Alcée Arobin.
Edna found herself questioning whether or not she ever truly loved her husband. In the 1800's women were expected to be married with a family. This is where infatuation played a role in the relationship between Edna and her husband, Léonce. Some examples of infatuation are when he/she get with someone just to spite a family member or friend, or when the relationship is prolonged, the passion and excitement that was once there is now lacking. In the case of Edna and Léonce, Edna thought that being married would conform her more to her society, and when she received the disapproval of both her sister and father that gave her an even higher inclination to marry Léonce. Love to me is having a family and being supportive of each others decisions. Edna and Léonce have half of that, they together have two children. Back then the women were supposed to be a mother-woman but Edna on the other hand was...
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...ther companion. Edna was missing the attention from both her husband and Robert so when Alcée directed his attention to Edna she instantly fell for his charm and good looks. The largest part of infatuation is being immediately attracted to his/her looks. Alcée was unquestionably a lady's man so when he got the chance to use his charm on Edna he could not resist. Love is when one is able to let his/her heart take control of the situation. When Robert leaned into kiss Edna she did not back away, she simply grasped his head and held her lips to his. Edna said "It was the first time of her life to which her nature had really responded. It was a flaming torch that kindled desire." This shows that she had genuine feelings for him but they were not enough to make her fall in love. Edna did have evident feelings for Alcée but they were nothing more than a simple infatuation.
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.
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.
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...
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.
In The Awakening, Kate Chopin depicts the varying definitions of women and their role through her three major female characters, Edna Pontellier, Madamoiselle Reisz and Madame Ratignolle. In the late 1800s, the role of women was strictly being caretakers for both their children and husbands. Edna Pontellier attempts to fit into society’s expectations by marrying Léonce Pontellier and raising two children, yet she struggles with feelings of oppression as she suffers through her unwanted role. Mademoiselle Reisz, a talented musician, is unmarried and childless, rejecting all of society’s ideals. Edna’s friend, Madame Ratignolle, greatly contrasts the two as she represents the model Louisiana women. However, while Edna, Madamoiselle Reisz and Madame Ratignolle each depict a different idea of woman’s role in society, none of these three women reach their full individual potential.
She begins by becoming “passionately enamored of a dignified and sad-eyed cavalry officer;” then “her affections were deeply engaged by a young gentleman who visited a lady on a neighboring plantation;” and finally, “the face and figure of a great tragedian began to haunt her imagination and stir her senses” (39). All of these figures are unattainable and, therefore, leave her discontented, yet she feels desire for them and so she feels passion, which to her is better than numbness. Chopin indicates that she needs something exciting, something beyond the ordinary routine of life. Edna wants to be “passionately enamored,” and have her affections “deeply engaged.”
She desperately wanted a voice and independence. Edna’s realization of her situation occurred progressively. It was a journey in which she slowly discovered what she was lacking emotionally. Edna’s first major disappointment in the novel was after her husband, Leonce Pontellier, lashed out at her and criticized her as a mother after she insisted her child was not sick. This sparked a realization in Edna that made here realize she was unhappy with her marriage. This was a triggering event in her self discovery. This event sparked a change in her behavior. She began disobeying her husband and she began interacting inappropriately with for a married woman. Edna increasingly flirted with Robert LeBrun and almost instantly became attracted to him. These feelings only grew with each interaction. Moreover, when it was revealed to Edna that Robert would be leaving for Mexico she was deeply hurt not only because he didn’t tell her, but she was also losing his company. Although Edna’s and Robert’s relationship may have only appeared as friendship to others, they both secretly desired a romantic relationship. Edna was not sure why she was feeling the way she was “She could only realize that she herself-her present self-was in some way different from the other self. That she was seeing with different eyes and making the acquaintance of new conditions in herself that colored
In Kate Chopin’s, The Awakening, the reader immediately notices the sexual undertones of Mrs. Mallard and Robert’s relationship and the strained relationship between Mr. and Mrs. Mallard. There are always going to be women who do not want the routine “married with children” lifestyle, unfortunately in Edna’s time period that was the primary role of women. Had she been living in today perhaps she would have been without a husband and children, possibly totally devoted to a career in the arts and totally single. Back to her reality though: I believe she is unsure if she wants that one true love (supposedly Robert) or if she just wants anyone who will pay her a little attention and is fun (supposedly Alcee Arobin). Edna wants to be Wild and Free, not saying that there is anything wrong with that, but she needs to recognize it for what it is because she is really fooling herself.
It was a flaming torch that kindled desire." She finally experiences a passionate sexual encounter, something she has been missing up to this point in her life. She feels pleasure due to the sensual kiss. This kiss represents a connection to the passion of lovers throughout history. She finally experiences a true physical connection with someone. Her passionate affections have always been for men that were forbidden to her. This carnal kiss strongly contrasts her attraction to Léonce. The attraction to the man she married was based more on "his absolute devotion" to her. She did find this flattering but it wasn’t enough to keep her loyalty. This attraction did not evoke love or lust within her. Only now, with Arobin's kiss, does she experience the surge of powerful sexual chemistry that "appeal[ed] to the animalism that stirred impatiently within her" (Chapter 26). However, the experience of the kiss was solely carnal. It’s appeal is thus limited because it was not augmented by any feelings of love or romance. There are no emotional connections. Edna regrets that it was lust and "not love which
Her transformation and journey to self-discovery truly begins on the family’s annual summer stay at Grand Isle. “At a very early period she had apprehended instinctively the dual life- that outward existence which conforms, the inward life which questions. That summer at Grand Isle she began to loosen a little of the mantle of reserve that had always enveloped her” (Chopin 26). From that point onward, Edna gains a deeper sense of desire for self-awareness and the benefits that come from such an odyssey. She suddenly feels trapped in her marriage, without being in a passionately romantic relationship, but rather a contractual marriage. Edna questions her ongoing relationship with Leonce; she ponders what the underlying cause of her marriage was to begin with; a forbidden romance, an act of rebellion against her father, or a genuine attraction of love and not lust? While Edna internally questions, she begins to entertain thoughts of other men in her life, eventually leading to sensuous feelings and thoughts related to sexual fantasy imagined through a relationship with Robert Lebrun. Concurrently, Edna wavers the ideas so clearly expected by the society- she analyzes and examines; why must women assimilate to rigid societal standards while men have no such
Women were considered to be purer than men, therefore it was more holy for females to partake in coitus than it was for man. This also caused for the social idea that women were not sexual beings and that only men could, have sexual desires. Being left alone in solitude to examine herself, Edna has become confused, warring with herself about love, and her own sexual desires that she keeps hidden from the world. Since her husband left, Edna has been spending time at the race tracks where she meets Arobin, an attractive married man. Arobin has become fond of Edna’s beauty, and constantly abandons his wife to have dinner and watch races with Edna. One night after a dinner Edna brings Arobin back into her home where he leans in and kisses her, “she clasped his head, holding his lips to hers… It was a flaming torch that kindled desire.” (61). The word choice that is used describe this scene can easily be interpreted as being more than a kiss. Elaine Showalter, writer of the essay Tradition and the Female Talent: The Awakening as a Solitary Book, describes how, “[Edna’s] affair with Arobin shocks her into awareness of her own sexual passions, it leaves her illusions about love intact.” (184). Edna’s “illusions about love” are those feelings that she has for Robert that she cannot let go of. Edna cries the night after her affair with Arobin because she is upset and confused about how she let someone whom she does not love inflame her sexually, and it does not end that night it continues on throughout the rest of the story. Her lustful desires tend to confuse Edna eventually leading to her committing
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.
Society of the 19th century gave a heightened meaning to what it meant to be a women. According to the commonly known “code of true womanhood” women are supposed to be docile, domestic creations whose main concerns in life were to be raising children and submissiveness to their husbands. In the book The Awakening written by Kate Chopin; introduces the protagonist, Edna Pontellier a rebellious twenty-eight year old woman who is dissatisfied with the role of being a wife and mother, a woman who desires independence and sexual freedom. She soon discovers she doesn’t quite fit into the role that has been given to her. Through the use of symbolism, imagery, and irony. Chopin exposes expectations for women in order to be accepted during the Victorian
...ple that have experienced the kind of love Edna is missing out on. She was infatuated, plain and simple, thus proving the long standing debate of what the difference between love and infatuation is.
Love: it begins at birth and lasts even after death. Right at birth, contact with the mother (whether it be through hugging or breastfeeding) develops a maternal bond through the release of chemicals, specifically oxytocin and vasopressin (Wu). The same can be said, although to a lesser degree (or greater degree depending on circumstances, like if the mother passed away during childbirth) for the father. Throughout life, most people experience what they think is love, but this is not true. This phenomenon, called infatuation, while having similarities to love, is not identical to love.