Kate Chopin often wrote about subjects that were particularly sensitive in her life, and many of them still cause a nervous reaction in the United States. "Child Desiree" Chopin offers an irresistible critique of class and racial prejudices that permeated the positions of the pre-war South. In addition, thanks to the relationship between Desiree and Armand, Chopin will explore the precarious status of both those who do not have a family and those who are related to racial origins. Desiree was unlucky, and she seems to be on the wrong side of each of these characteristics, and in the latter part of the story, she turns her social isolation from the mental and emotional state to physical when she crosses Bayou and disappears from civilization. As in "Outside of Bayu", the marshes are a symbolic boundary, but Desiree loses herself by crossing her, while the heroine "For Bayou" finds a new life.
In the nineteenth century, the sexual relationship between two people of different races, or debauchery, was obviously offensive. As the child-slave quadrant, who loves Desiree's own child, interracial relations did indeed occur at a relative rate, but such children were often slaves in accordance with the theory that even one drop of African or "black" blood had made a man black, but not white. At the same time, many people who have a bias inherited pale skin, and European, and not African features, can assimilate, at least temporarily, into a white society, "going over" for whites if they chose. In the case of Armand, he did not even have to hide, because he did not know his status. Some people who went as white as Armand even successfully entered the southern "ruling" class, which was not only supposedly white but also rich in plantation lands. Meanwhile, while most people found themselves on one side of the social conversation between black and white, people of mixed parentage lived on the border of social acceptability. Thus, the quadrant boy serving the master of the quadroon is ironic, but he is also representative of the group of birds as the demographic sector of the population.
The second main irony of Chopin's story is that, although Desiree is likely to be Caucasian blood, after all, only she and her innocent child suffer from a charge of confusion, whereas the mixed race of Armand Aubigny probably does not face any consequences for either his racial origins or his cruelty to his wife. This is clearly an unfair state of affairs not only because Armand will probably take the secret to his grave, but also because, as Chopin informs us in the third paragraph, Desiré's status in each class, like the racial class. Although her alleged European origins put him above the slave class in the Louisiana hierarchy, being white is not enough to put her in a class equal to Aubigny's class. Note also that although Armand can echo his father in forgiving a beloved woman for her social status, Arman can never be equal to his father, because he can not forgive his alleged racial heritage. On the contrary, Madame Valmonde is depicted as loving, kind and highly ethical in her refusal to condemn Desiree for her dubious blood.
In addition to hinting at the family secret of Armand, Chopin hints at his cruelty towards his slaves and creates an obvious parallel between his attitude towards him and his wife, which was the legal code of the era, While his father is described as "calm and indulgent" Arman is too strict about the social mores of his era and not enough on the real moral code. Despite his name, Desiree wants only if his standards are exceeded, and when he burns their wedding corbel, this is the physical manifestation of the destruction of their wedding vows, in which he apparently promised to cherish and take care of her until death. Thus, his seemingly fiery love manifests itself as petty and unworthy.
Chopin anticipates the final revelation of Armand's unconscious origin throughout history, as she associates Desire with white images, emphasizing the darkness of Armand. When Desiree first appears physically in history, she rests in "soft white muslin and lace," and she continues to wear "thin white clothes" throughout the narrative. When she asks Armand whether she should go, Chopin describes her as "silent, white and immobile", and, as she herself mentions, her hand is less dark than her husband's. On the contrary, Armand has a "dark beautiful face," and, therefore, treatment is not a surprise when he reads his mother's letter and discovers the truth about the history of his son's African blood.