A society is a group of people who live together in a structured and cooperative way. Thus, certain people are expected to act in particular ways in order to positively contribute to society. Since the establishment of the first patriarchal society, women have been expected to serve their husbands and be homemakers for their families. Some women abide by their society’s expectations, but others rebel. Kate Chopin’s The Awakening deals with both types of women. These two types of women, exemplified by Adèle Ratignole and Mademoiselle Reisz, not only contrast one another, but also act as societal models for Edna Pontellier, Chopin’s main character, to choose from.
When Adèle Ratignole is introduced in the beginning of the novel, her relationship with Edna Pontellier is immediately described. Readers learn that Adèle is one of Edna’s closest friends who worships both her husband and her children. Chopin writes, “[Adèle] was the embodiment of every womanly grace and charm. If her husband did not adore her, he was a brute, deserving of death by slow torture” (Chopin 51). It is also said that, “[Edna] stood watching the fair woman walk down the long line of galleries with grace and majesty which queens are sometimes supposed to possess” (Chopin 57). Adèle, then, is described as being the perfect woman in the nineteenth century; thus, she is the first type of woman that Edna could choose to be like in this novel.
It is obvious that Adèle finds solace in her simple life, because she is also written about as a, “mother-woman” (Chopin 51). This defines a woman that spends her time caring for her children, does the things her husband asks of her, and finds herself lucky to be able to do these things. Surprisingly, it is also written that, “Mrs. Pontellier was not a mother-woman” (Chopin 55). This is the first quote that leads Chopin’s readers to come to the conclusion that Adèle’s mannerisms and attitude differentiate from Edna’s. Later in the novel, readers learn that Adèle also notices that Edna contrasts herself and says, “[Edna] is not one of us: she is not like us” (Chopin 64). This is very interesting, because usually close friends have a lot in common, but Edna and Adèle seem to be opposites of one another; therefore, Edna is straying from becoming the type of woman that abides by what their society expects of them.
Adèle is one of Chopin’s characters that upholds both her society’s gendered expectations and her sexual morality. This can be said because Adèle is the epitome of an adult Creole woman; she is a dedicated mother and wife. These characteristics make Adèle come across as the societal role that Edna is supposed to mirror. However, Adèle seems to push Edna in the opposite direction. For example, she becomes very upset when Edna tells her that she would not give the essential parts of herself up for her children. Adèle replies “‘I don't know what you would call the essential, or what you mean by the unessential… but a woman who would give her life for her children could do no more than that–your Bible tells you so. I'm sure I couldn't do more than that’” (Chopin 97). This argument summarizes Adèle’s comfort in her life as a wife and mother; however, it also leads Edna to realize how simple and conformed Adèle’s life truly is. Furthering Edna’s finding, at the end of the novel, Adèle gives birth to her fourth child. This reiterates Adèle as the ideal woman in their Creole society- a society where women are meant to do whatever it takes to keep their children and husbands happy. Adèle believes women are obligated to serve their families and society, opening Edna’s eyes to the realization that there may be much more she could have in life.
Unlike Adèle, Mademoiselle Reisz is an unwedded Creole woman who has no children. She is a truly essential character in The Awakening because she defies her gender roles; thus, she is the second type of woman Edna could choose to become. Mademoiselle Reisz is described as, "a disagreeable little woman, no longer young, who had quarreled with almost everyone, owing to a temper which was self-assertive and a disposition to trample upon the rights of others” (Chopin 70). After reading this quote, readers can make the assumption that she is not a very popular woman in the Creole society. Unless Mademoiselle Reisz is playing the piano at gatherings on Grand Isle, she is almost never seen with the others on the island. Because Mademoiselle Reisz lives independently, is an artist consumed with her passions, and does not make herself pleasant to those around her, she opposes her society’s gendered expectations.
Chopin uses Mademoiselle Reisz to show what an independent woman would look like in this society. Mademoiselle Reisz is a self-sufficient woman who commits herself to her own passions, rather than worrying about what those around demand of her. Unfortunately, this leads to her being regarded with disfavor and only admired for her ability to play the piano. Luckily, that seems to be enough for Mademoiselle Reisz to live happily in isolation and independence. However, Mademoiselle Reisz is not completely isolated, though, because Edna forms a relationship with the old woman after hearing her music. Mademoiselle Reisz states, “‘You are the only one worth playing for. Those others? Bah!’ and she went shuffling and sidling on down the gallery toward her room” (Chopin 72). Mademoiselle Reisz believes Edna is different than the others, and she is correct. In fact, Edna is the only person interested in Mademoiselle Reisz as an individual, not only for her ability to play the piano on Grand Isle. This can be concluded when Edna continues to see her after they return to New Orleans. Chopin writes, “there was nothing which so quieted the turmoil of Edna’s senses as a visit to Mademoiselle Reisz. It was then, in the presence of that personality which was offensive to her, that the woman, by her divine art, seemed to reach Edna’s spirit and set it free” (Chopin 133). Readers learn that Edna does not necessarily get along with Mademoiselle Reisz, but for some reason she still likes being with her. This is because Mademoiselle Reisz shares her true thoughts to Edna and therefore opens her mind to a life of independence. Edna seems much more interested in Mademoiselle Reisz’s life than Adèle’s.
At the beginning of Chopin’s novel, Edna Pontellier is described as a respectable woman, but she seems to be living her life like she is half asleep. Chopin writes, “Mr. Pontellier was the best husband in the world. Mrs. Pontellier was forced to admit that she knew of none better” (Chopin 50). The use of the adjective “forced” allows readers to make the assumption that Edna does not truly believe what she admitted. It is later stated, “her marriage to Léonce Pontellier was purely an accident” (Chopin 62). This is very unusual, people do not usually marry someone by accident, or admit that their marriage was an accident, like Edna does. Her marriage to Léonce is the beginning of a life full of responsibility and was supposed to end her previous life which was full of romantic fantasies, but this former life remerges while at Grand Isle. Edna begins to fall for Robert Lebrun and it is written that, “[Edna] felt throbbings of desire” when she was with Robert (Chopin 77). This is the first time readers see Edna’s character beginning to change.
Meeting Robert seems to awaken Edna’s desires for more in life. She begins to disregard the things that are expected of her like taking care of her children and showing up for work. Adèle would never do such things, since she is the perfect woman, but because Mademoiselle Reisz does not try to please those around her it can be said that she would do as Edna does. Chopin writes, “[Edna] began to do as she liked and to feel as she liked” (Chopin 107). While arguing with Mr. Pontellier one night about her irresponsible decision to skip work in order to paint, Léonce yells, “Then in God's name paint! but don't let the family go to the devil” (Chopin 108). Mr. Pontellier seems to be extremely upset, because Edna is choosing to paint rather than keep up with her household duties. It is obvious that Edna chooses to paint in order to break away from her society’s expectations of her. For example, Edna also decides to drop her children off at their grandmother’s house when Mr. Pontellier is out of town on business. Chopin writes, “[Edna] did not miss them except with an occasional intense longing. Their absence was a sort of relief, though she did not admit this, even to herself” (Chopin 63). Edna’s sons, then, are obviously not very important to her. This is very uncommon in mothers, since they are supposed to care for and about their children, showing Edna’s rebellion against her responsibilities. It is apparent that Edna wants to be independent much like the unmarried and childless Mademoiselle Reisz is.
Not only does Edna begin to push back on the societal forces that repress her, she also begins to ignore her vows and responsibilities of marriage. This is the exact opposite of what Adèle does. One day Edna writes Léonce to tell him about her intention to move out of their house and into a smaller one, perfect for herself. Chopin writes, “[Léonce] immediately wrote her a letter of unqualified disapproval and remonstrance” (Chopin 150). Of course, Edna does what she wants instead of listening to her husband’s discouragement. It is later stated, “the pigeon-house pleased her. It at once assumed the intimate character of a home, while she herself invested it with a charm which it reflected with a warm glow” (Chopin 151). Edna’s unconventional actions lead readers to conclude that she no longer cares about what society expects of her. She is a married woman, yet she moves out of her husband’s house in order to please herself. She seems to only care about herself, much like Mademoiselle Reisz, and this act of selfishness seems to stick with her when she acts against her marital vows. She mocks Robert for fearing adultery and says, “you have been a very, very foolish boy… I give myself where I choose” (Chopin 167). Immediately after they kiss, Edna whispers, “‘I love you… only you; no one but you. It was you who awoke me last summer out of a life-long, stupid dream’” (Chopin 168). This “stupid dream” Edna speaks of is her life as a married woman to Léonce, the one Adèle is also living, full of responsibility.
At the end of the novel, Edna decides to commit suicide as an act of final rebellion. She swims deep into the water and remembers the time that she swam far out, “where no woman had swum before” (Chopin 73). Edna is Chopin’s dynamic character that grew and changed as The Awakening progressed. At the beginning, Edna lived in a semi-conscious state until she experienced an awakening. This led her to become unconventional, choosing to be a woman who could not care less about what people around her think.
Chopin uses Adèle and Mademoiselle Reisz to represent women that stand by their society’s expectations and women that resist these norms, respectively. Edna’s midlife crisis leads her to choose which type of woman she wants to be. Her acts of rebellion, including her relationship with Robert, her decision to move into the pigeon house, and her choice of art over her job, lead to her selection of Mademoiselle Reisz’s lifestyle. By committing suicide, Edna rebels against her society’s expectations, once again, and proves that she does not desire to abide by the Creole’s society where women are expected to give up everything for their husbands and children.