Psychological Rebirth Of Edna Pontellier And Kate Chopin's The Awakening

Society, although undoubtedly necessary, perpetuates an unduly restrictive set of expectations that few can live up to. In her novel The Awakening, Kate Chopin explores the psychological rebirth of protagonist Edna Pontellier, who comes to realize her dissatisfaction with her domestic role in nineteenth-century society. She cares for her husband Leonce and their two children, but seeks greater independence, risking Leonce’s disapproval by moving out of the house to pursue painting. In contrast, Edna’s friend Adele Ratignolle thrives as a housewife and mother, finding enjoyment in piano playing to benefit her household. In her attempt to achieve freedom, Edna finds inspiration in the reclusive pianist Mademoiselle Reisz, who advises Edna to rescind her societal ties in favor of becoming a true artist.

Leonce compares Edna unfavorably to Adele, stating that “there's Madame Ratignolle; because she keeps up her music, she doesn't let everything else go to chaos. And she's more of a musician than you are a painter.” (45). As shown, Leonce disapproves of Edna’s painting solely because her newfound artistic autonomy clashes with her domestic responsibilities, while Monsieur Ratignolle encourages Adele’s musical pursuits due to their benefit on his societal reputation. Leonce considers a true musician to be someone that uses art to serve society, while Edna conversely thinks that her painting should benefit herself foremost. Therefore, unlike Adele, the pressures Edna feels from her husband and society by extension differ from her own inner desires. Edna thus struggles to balance her personal ambitions of artistry and the obligatory love she feels toward her children, a conflict that ultimately inhibits her journey toward independence, revealing Chopin’s