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University of Groningen the Mirror Image Muda, G.E University of Groningen The mirror image Muda, G.E. IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2011 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Muda, G. E. (2011). The mirror image: The representation of social roles for women in novels by Charlotte Brontë, Kate Chopin, Edith Wharton and Jean Rhys. s.n. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 26-09-2021 Chapter 4 The Awakening : Portrait of the Artist as a Young Woman “Ah, but what is ‘herself’? I mean what is a woman?” Virginia Woolf 1 4.0: INTRODUCTION The second novel that will be examined is by the American writer Kate Chopin (1851- 1904). Her novel, The Awakening , was published in 1899. 2 Kate Chopin was the daughter of a distinguished St. Louis family. Born in 1851, Kate Chopin received a strict Catholic education at the St. Louis Academy of the Sacred Heart. She learned early to speak French fluently, played the piano, read voraciously both the French and British classics, and supported the Confederacy during the Civil War (1861-65). In 1868, after graduating from the academy, she ‘came out’ in society. In 1870 she married Oscar Chopin, with whom she moved first to New Orleans and then, in 1879, when Chopin’s business failed, to a plantation near Cloutierville. Kate Chopin had six children; she was quite fond of her husband and led a happy and industrious life. When her husband died of swamp fever in 1883, she returned to St. Louis with her children. She began to write short stories, partly to supplement her income and partly to distract herself from her grief. Her third novel, The Awakening , appeared in 1899, but was not as enthusiastically received as her stories. 3 From the first both her short stories and her novel(s) were studies of ‘emancipation’ and often specifically of female emancipation. 4 The two female characters who are mirrored in The Awakening are Edna Pontellier and Adèle Ratignolle. The most important character in this novel is Edna Pontellier, a twenty-eight year old wife and mother. During a summer vacation at Kate Chopin (Missouri Historical Society) Grand Isle, she falls in love with ‘another’ man, Robert Lebrun. Robert is equally intrigued by 1 Virginia Woolf, Women and Writing (London: The Women’s Press, 1979) 60. 2 Kate Chopin, The Awakening and Selected Stories (1899; Harmondsworth, [etc.]: Penguin Classics, 2003). All further references to this novel will be indicated with AW, followed by the page number. 3 Chopin’s earlier novels were: At Fault (1890) and Young Dr. Gosse (1891; but never published). 4 Sandra M. Gilbert, “Introduction,” The Awakening and Selected Stories, 12. 113 THE MIRROR IMAGE Edna; but the situation confuses him and he flees to Mexico. At the end of the summer, Edna and her children go back to New Orleans. Edna, however, now becomes aware of the limitations of her marital and social context and she breaks with many aspects of her earlier life. All of this frustrates her husband, Léonce, to such an extent that he goes to New York on a business trip of several months. Raoul and Etienne, Edna’s sons, go to visit Léonce’s mother at Iberville during their father’s absence. Edna now begins an affair with Alcée Arobin, and moves to another house that she can pay for herself. When Robert returns from Mexico, she tells him that she loves him. Right at this moment, a servant from her friend Adèle comes to fetch Edna to assist with Adèle’s delivery. When Edna later returns to her house, Robert has left, leaving a message saying “Good-by – because I love you” (AW, 176). Edna realizes that neither Léonce, nor Alcée, nor Robert take her seriously as an individual. This knowledge disappoints her to such an extent that she goes back to Grand Isle and drowns herself (AW, 175). The style of this novel can be described as emotional realism. 5 The story is told by an omniscient narrator. The book opens with a chapter recounting the point of view of Edna’s husband Léonce, but in most of The Awakening we are told about Edna’s thoughts and feelings. Adèle is sometimes presented as an alternative and throughout the story there are occasional comments by the narrator. The female main characters Edna Pontellier and her friend Adèle Ratignolle are about the same age. The protagonists in this novel are in a different phase in life than Shirley and Caroline. Both Edna and Adèle are already married; Edna has two children and Adèle three. Still, certain differences between the female protagonists that can be observed in Shirley are also present in The Awakening , and The Awakening will be analyzed along similar lines as the previous novel. Edna Pontellier represents the more rebellious character. She does not stick to the accepted norm and value system related to the gender specific roles of wife, housewife, and mother, or the class specific role of the lady. On the contrary, Edna is beginning to realize that she is an individual and that she may have different priorities in life than sticking to the accepted gender and class roles. Her behavior is regarded with suspicion by the other characters and actively corrected by her mirror image, Adèle Ratignolle, who, by contrast, is the personification of the ‘Angel in the House.’ Edna Pontellier is described as more ordinary; she does not make such an angelic impression, but then, she is not trying to be the perfect mother, wife, or lady. She just wants to be ‘herself.’ Some of the minor characters in the novel seem to understand what Edna is going through and actively try to help. Mademoiselle Reisz is one of them, as we shall see later on, and another one would be Dr. Mandelet. Overall, the patriarchal society Edna lives in is unsympathetic to Edna’s behavior, though; and some contemporary readers were so shocked by Edna’s conduct that they severely criticized the novel. Literary critics did the same, with the result that The Awakening was the last novel Kate Chopin published. 6 5 Chopin’s overall style in this novel is generally referred to as realistic. Throughout the story, however, Chopin not only faithfully records an actual way of life, there is also an intense focus on the emotional experience of the protagonist(s), hence my use of the terms emotional realism. 6 I will explain this process in detail in my discussion of the reception of The Awakening in 1899, in Chapter 4.5 of this dissertation. 114 The Awakening : Portrait of the Artist as a Young Woman 4.1: PSYCHOMACHY What is noteworthy about the gender specific socialization both protagonists experience is that neither of them seems to have received a proper education. Both Edna and Adèle are well-bred and the socialization and education they received within the family was the standard nineteenth-century socialization for upper middle-class girls and young women in America. But it is not mentioned that Edna or Adèle went to primary or secondary school, or that they received any higher education. 7 This is ironic, because basically the whole novel is about Edna’s ‘education’ or her growing awareness of her own position in the world, “Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her” (AW, 57). Such a realization would never have been the goal of a proper education, though. It is something within Edna herself that craves for such knowledge. It is quite remarkable that at the age of twenty-eight, after having been married for six years and after having had two sons, Edna begins to wonder about gender roles and her own wishes as an individual. And though taking place much later in life, this process of awakening and subsequent personal development has an enormous impact on Edna’s life. Throughout this process various people have different influences. Two characters are especially important, namely Mademoiselle Reisz and Adèle Ratignolle. 8 It is Mlle. Reisz with her music and her independent spirit who presents the most explicit example of female independence to Edna. 9 Edna is very moved by her music and intrigued by her personality. Mlle. Reisz in turn is drawn to Edna because she is more serious and more reflective than the others at Grand Isle. Overall, Edna and the pianist are very much alike; so much alike, in fact, that they can almost be regarded as mirror images. That this term is not used in relation to Mlle. Reisz is because she is not consistently compared with Edna throughout the novel. She is a minor character, she appears in only five chapters, and Edna and Mlle.
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