Rebellious women in The Awakening and in Ruth Hall Kate Chopin’s The awakening and Fanny Fern’ Ruth

She leaves the care of her children to her grandmother, abandoning them and her husband when she leaves to live in the pigeon-house. To her, leaving her old home with Léonce is very important to her freedom. Almost everything in their house belonged to him, so even if he were to leave, she would still feel surrounded by his possessions. She never fully becomes free of him until she physically leaves the house. That way, Edna has no ties whatsoever to that man. Furthermore, Edna indulges in more humanistic things such as art and music. She listens to Mademoiselle Reisz’s playing of the piano and feels the music resonate throughout her body and soul, and uses it as a form of escapism from the world. Based on these instances, Edna acts almost like a very young child, completely disregarding consequences and thinking only about what they want to do experience most at that moment. However, to the reader this does not necessarily appear “bad”, but rather it is seen from the perspective of a person who has been controlled by others their entire life and wishes to break free from their grasp. In a way, she is enacting a childlike and subconscious form of revenge by disobeying all known social constructs of how a woman should talk, walk, act, and interact with others.

Illogical, submissive, and sensual are some of the words used to describe the view of women during the nineteenth century. In the novel The Awakening, Kate Chopin tells the controversial story of a woman, Edna Pontellier, and her spiritual growing. Throughout the story, Edna constantly battles between her heart’s desires and society’s standard. The novel shows how two women’s lives influence Edna throughout the novel. Mademoiselle Reisz and Madame Ratignolle are both in their own way strong, motherly influences in Edna’s life. Mademoiselle Reisz is Edna the mother who wants Edna to pursue her heart’s desires. Madame Ratignolle however, is the type of mother to Edna who wants Edna to do what is socially right. The way the two live

Kate Chopin’s book The Awakening published in 1899, provides a snapshot of Creole society through a neutral point of view. The male dominated French-Louisiana society provides a challenge for the main character, Edna Pontellier to adapt to. Through the character of Edna Pontellier, we the audience, see both an emotional and physical awakening. After awakening, Edna tries to combat the societal structures of motherhood which define her as the wife of motherhood and force her identity as the wife of Leoncé and the mother of Raoul and Etienne instead of her own self-defined individual. Chopin’s concentration on two other principal females outlines Edna’s options; either

Mademoiselle Reisz understood what it means to be an artist. She was an “artist at the piano” (Chopin 554). Mademoiselle Reisz was isolated from society. She lived alone with practically no friends, except Robert and Edna. Her proprietor described her as “the most disagreeable and unpopular woman” (Chopin 580). Mademoiselle Reisz defied society’s convention. She devoted herself entirely to art; as a result, she became ostracized from society (Koloski 119). She plays music, not for others, but for herself. She told Edna that she was “the only

A foil for Adele Ratignolle, Mademoiselle Reisz serves as a living example of an entirely self-sufficient woman, who is ruled by her art and her passions, rather than by the expectations of society. A small homely woman, unmarried and childless, Mademoiselle Reisz is a talented pianist and somewhat of a recluse. She represents the anti-mother along independence and freedom. The first time she is introduced in the novel she is introduced as being “eccentric and quarrelsome”, from that we are able to infer that she is unlike the other women. Later as the novel continues to progress from her house and manner of expression we are again able to infer that she is unlike the other Creole women. For her home is an apartment above everyone, with a view, that is disagreeable and often cold. Mademoiselle Reisz is the woman that Edna could have become should she have remained independent of her husband and children and lived to old age.

In Chapter 8, Madame Ratignolle pulls Robert aside and asks him to leave Edna alone. She explains that Edna,” Is not one of us; she is not like us. She might make the unfortunate blunder of taking you seriously.” Chopin’s use of repetition in Adele’s dialogue puts emphasis on Edna’s uniqueness and labels her as an outcast. Adele sees Edna drifting further and further away from the social norms of their accustomed society and wishes to stop her before its too late. Chopin also uses this scene to foreshadow Robert’s unwillingness to commit to Edna as he brushes off Madame Ratignolle’s warning, seeing his relationship with Edna as a fling rather than being the passionate lover Edna craves.

In Kate Chopin’s The Awakening, two people who have the ultimate influence on Edna are Mademoiselle Reisz, and Robert Lebrun.

Through the story Edna becomes more and more uneasy about not being able to do and have what she really wants. This can be shown from the beginning when she lets her children play by themselves and doesn’t miss her husband when he is away from home. Edna tried to be a good mother by becoming friends with an old fashioned woman, Madame Adèle Ratignolle, who devoted her life to her husband and children. However, when Edna was not around Madame Adèle Ratignolle, she forgot how to be like Adèle Ratignolle and instead busied herself with what was considered to be her “childish ways”. She would try to make herself as happy as possible; she was not her happiest with her husband and kids. When Edna discovered her passion for art, she embraced it and neglected her family even more so than before.

Edna’s suicide was victory of self-expression. Edna undergoes a gradual awakening process in which portrays not to only her newly established independence from the constraints of her husband, but also her ability to go against the social norms of society in order to individually express herself. Her suicide encompases the question and critique of living life through the perspective of society such as being responsible for taking care of the kids, cleaning the house, and entertaining any guests that the husband may have over anytime. In the first couple of capters, the novel is quick to emphasize the gerneralized roles kthat are placed onto females, making it apparent that fe,ales are expected to successfully fulfil these roles. For example, Leonce enters home after being out and stated one of the kids had a fever. Edna was certain the child had no fever but Leonce belittles her capability as a mother for indifference with him. “If it was not a mother’s place to look after the children, whose on earth was it?” (27capac).

This description of Adele by Edna Pontellier gives a deeper meaning to Adele 's characterization as the perfect mother. Other women were aware of her perfection and her immense love of her children and they envied how easily it was for her to love her life and be content with just being a homemaker. Both Mademoiselle Reisz and Adèle Ratignolle are extremely contrasting characters with completely different outlooks on life in the late nineteenth century.

Adele and Mademoiselle's lifestyles seem to be the only two options for Edna. Kinninson believes that Edna's options are the reward of complete self-sacrifice versus the reproof of female self-assertion. No middle ground exist, just these extreme contradictions. Edna is a mother of two children but being a mother or "mother-woman" doesn't satisfy her soul and her desire for self-hood. This is all part of her "awakening" and finding herself. (Kinninson, 23-24)

She is moved by music. During that summer Edna sketches to find an artistic side to herself. She needs an outlet to express who she is. Edna feels that art is important and adds meaning to her life. After the summer is over and they are back to the city and Edna is a changed woman. She makes many steps towards independence. She stops holding "Tuesday socials", she sends her children to live in the country with their grandparents, she refuses to travel abroad with her husband, she moves out of the Lebrun house on Esplanade Street, and to earn money, she starts selling her sketches and betting the horses. She also starts a relationship with another man Alcee Arobin. He meant nothing to her emotionally but she used him for sexual pleasure. Edna evolved above her peers she did not believe that sexuality and motherhood had to be linked. The last step of her "awakening" is the realization that she can not fulfill her life in a society that will not allow her to be a person and a mother. Edna commits suicide in the ocean at Grand Isle.

There are many other areas of Edna's story while illustrate the rebellious ideas that she represents. For example, her view of religion is very controversial for that time period. Throughout the story, we can see that Edna had no tolerance for the religious practices that were held so dear to the rest of society (Klein 3). It is not surprising that Edna refuses to "worship" any higher power, since we have also seen that she refuses to hold even her family to any higher regard (Klein 4). Additionally, Edna's attitude towards art builds on the unconventional themes of the story (Klein 6). Edna is told by Mademoiselle Reisz that ""o be an artist... you must possess the courageous soul... the brave soul. The soul that dares and defies" (Chopin 115). This seems indicative of the very soul that Edna strives to possess in the story. Her quest to become an artist seems tied to her quest to break from the conventions of society because of this definition. Edna's reverence for art and the values that it seems to be connected with make her personality even more unconventional in the terms of the society that she lived in.

Throughout “The Awakening”, Edna is immersed in a constant clash with society over the significance of the difference between her life and her self. To Edna, the question of whether or not she would die for her children is somewhat simple. Edna attempts to explain this concept to her good friend, Adele Ratignolle, but to no avail, “I would give up the unessential; I would give my money, I would give my life for my children; but I wouldn’t give myself” (Chopin 62). Not only does Edna consider her life unessential, she categorizes it as equal with material objects such as money. The idea of self, on the other hand, lies on a completely different level in Edna’s mind. The most important goal to Edna in her life is the journey to discover her true character. The idea that her inner self is more essential than life or even her children causes Edna to stray farther from the social constraints of the typical domestic woman. Kathleen M. Streater weighs in on Edna’s situation and placement in

Streater believes that Chopin described two different types of women symbolizing feminism through Edna and Adele. Throughout the novel, Streater indicates that the actions by Adele support the assigned gender roles. Adele is content with her life while Edna always wanted more. Edna looked up to Mademoiselle Reisz as the role model who according to Streater did not have such qualities. Edna is too blinded by the dire need of perceived freedom, but this was authentic feminist potential (Streater 412). However, the author requires the reader to interrogate the popular and suppressive societal demands (Streater 410). Adeptly, Streater gets the core of the matter by trying to make the reader identify with Adele instead of Edna. She wanted her audience to see that Chopin’s followers or readers would resemble domestic situation as experienced by Adele and not Edna’s rejection path.