Similarities Between The Awakening And The House On Mango Street

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.

Kate Chopin’s The Awakening depicts Edna Pontellier’s struggle to find and assert herself within the cultural constraints of late 19th century America. Like her name “Pontellier”, which means “one who bridges,” it implies that Edna is in a transition between two worlds but not fully embedded in either. Her intent is to bridge the limited world of the mother-woman to that of selfhood.

Edna’s children are different from other children, if one of her boys fell “…he was not apt to rush crying to his mother’s arms for comfort; he would more likely pick himself up, wipe the water out of his eyes and the sand out of his mouth, and go on playing”. Edna is not a typical Creole “mother-woman” who “idolized her children (and) worshipped her husband” (8) and at times that results in her husband’s claims that she neglects her children. Edna’s children leave her attached to her husband, and even if she is somehow able to escape the relationship with her husband she will never be able to escape her children. She realizes this and whether consciously or not, doesn’t care for her children the way this is expected of a woman in her time period. When Adele Ratignolle reminds her to, “Think of the children!…Oh think of the children! Remember them!” Edna finally realizes her decisions affect her and her children. Instead of accepting her responsibility as a mother Edna decides to give up, and does so by committing suicide.

“I want to be like the waves on the sea, like the clouds in the wind, but I’m me. One day I’ll jump out of my skin. I’ll shake the sky like a hundred violins” (60). In the story “The House on Mango Street”, the author Sandra Cisneros uses sentences full of imagery, metaphors, and word games, to show how self definition is a result of the people and places surrounding you. This is represented throughout the book when Esperanza wants to change her name, living in a male dominated society, and when she wishes for a new home.

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).

But they need not have thought that they could possess her, body and soul" (504).  Although Edna did perform her duties as a wife for some time, she is not the typical housewife.  She does not worship her husband or idolize her children, which makes both Edna and Leonce begin to sense that Edna is different from the other mother-women (Lin 1).  Edna never realized the reasons she neglected her duties as a wife until she fell in love with Robert and acknowledged that her desires and needs exist outside of her marriage.  Thus, after her experiences with Robert, Edna is ready to neglect her husband even more, because she now realizes that her husband is holding her back from her needs.  When Leonce tries to make Edna act like the other women that obey their husbands, his attempts to control Edna further instigate Edna's desire for independence from him.  For example, the scene when Edna is lying in the hammock, Leonce says: "I can't permit you to stay out there all night.  You must come in the house instantly," Edna replies: "I mean to stay out here.  I don't wish to go in, and I don't intend to.  Don't speak to me like that again; I shall not answer you" (492).  Edna is carefree and spirited, and she refuses to conform to her husband because she does not want to lose herself.  Becoming the perfect, obedient wife would mean losing her individuality, and Edna realizes she can gain no fulfillment

These first thirteen chapters chronicle the daily life of Edna Pontellier, The Awakening’s protagonist. The novel opens on Mr. Pontellier; he is smoking a cigar and reading the newspaper while idly observing the life and activity around him. The novel turns its attention to his wife, Edna Pontellier. She is described as “rather handsome than beautiful” and has a face with a “certain frankness of expression,” an intriguing description if there ever was one. She is accompanied by Robert Lebrun, the son of Madame Lebrun, the owner of “the house” at which the Creole aristocracy stayed on the Grand Isle. They are rather close companions; Robert has chosen to follow her around for the summer, as is later revealed to be his custom. It’s revealed that Edna is an American woman from “the old Kentucky bluegrass country.” As the day progresses, Chopin details the tiny minutiae of married life that have disappointed both Leonce and Edna; Leonce feels hurt by her dismissiveness- “He thought it very discouraging that his wife, who was the sole object of his existence, evinced so little interest in things which concerned him, and valued so little his conversation…”- while Edna resents his overbearing conventionality- “An indescribable oppression, which seemed to generate in some unfamiliar part of her consciousness, filled her whole being with a vague anguish.” The Pontelliers reconcile before Leonce leaves for New Orleans

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.

In “The Awakening”, Kate Chopin demonstrates Edna’s early mother who experiences a melodramatic phase of transformation that she “awakens” to the boundaries of her old-style society and growing with freedom. Then, we look at Edna Pontellier awake in circumstances that have metaphorical awakenings to a new modern woman with sexual experiences. Edna fights off the common and ordinary structures of maternity that force her to be well-defined by her designation as spouse of Leonce Pontellier and mother of Raoul and Etienne Pontellier, instead of being her own, self-defined individual. Chopin’s focus on two other female characters, Adele Ratignolle and Mademoiselle Reisz, Edna’s pathways of life. Chopin portrays distinct types of characters that

In Kate Chopin’s novel, The Awakening, the main protagonist Edna Pontellier exists as the embodiment of the feminist ideas that stand as outliers in the midst of the more traditional nineteenth century beliefs. Set in 1899 near the end of this generation, Chopin’s work explores the shared attitudes of most of the novel’s cast as they respond to Edna’s search for independence and freedom, an action that challenges her conservative society. Though the radical Industrial Revolution and Feminist Movement are beginning to diffuse their collective ideas in this era, Edna’s binding role as a wife and mother are still solidified by the orthodox beliefs of the century. Among the techniques that structure The Awakening, is Chopin’s notable manipulation of setting to provide a background that becomes the impetus for Edna Pontellier’s decisions. Through these combined elements, Kate Chopin places an emphasis on the social and cultural values of the nineteenth century era in her work, The Awakening, which she simultaneously explores and fluently analyzes.

In Kate Chopin’s novel, “The Awakening,” it takes the reader back to the 19th century when society had a defined meaning of what it was meant to be a woman. During the time that Chopin published her book in 1899 women were expected to stay home and take care of their husbands and children. By this means, society had implied that women were only allowed to act certain ways and do certain things; otherwise, they were thought to be senile. In the “The Awakening,” Edna Pontellier undergoes a dramatic change of self-realization, denying her role as a mother and wife. Edna awakens to discover her own identity seeing the world around her in a new perspective forgetting the roles that have been determine by society and ignoring the consequences to

In Kate Chopin’s The Awakening, there are three major female characters that help depict Victorian society from different perspectives. To be a good person in Edna’s society meant being a "mother-woman" who completely surrenders her sense of self in favor of her husband and children. In the beginning of the novel Edna is comfortable with her life and does not recognize her true desires. It is not until she is at Grand Isle and grows passion for Robert, where she finally begins her awakening and yearns freedom. Edna Pontellier is both a mother and wife, but she does not see those roles as a blessing, but rather a burden. Attempting to rid herself of all responsibilities imposed on her by society she neglects family responsibilities and social obligations. Instead she focuses on her artistic expression and surrounds herself with like minded friends such as Mademoiselle Reisz. As the novel progresses Edna completely changes her perspective on life and heads on her journey to freedom in a seemingly child like manner. This being so, she disregards the needs of anyone but herself and never looks ahead to the consequences of her actions. Her search for freedom and personal happiness often cause her to make selfish decisions. Edna continuously seeks to be liberated from the social convictions of Victorian society throughout her awakening. In the end, Edna is unable to find a fulfilling sense of freedom in her world because of her attachment to her sons’ reputations. Therefore,

Perspectives upon certain stereotypes throughout centuries, regarding the role of women in any society has varied tremendously. A women’s perceived role in 19th century America has influenced, to an extent, the way a woman acts in any society today. Predominantly, feminist thought has impacted a women’s behavior as well as played a factor in the way society views them. In the novel, The Awakening by Kate Chopin, the protagonist Edna Pontellier, questions her social standards regarding her role as a woman during her era. Her ambivalent nature is drawn out by the social norms of this era in conjunction with the enforcement of submissiveness which was forced upon the women of this time.

Edna is expected to live and act a certain way in order to uphold a reputation for her family, but mostly her husband. At the beginning of the novel, she does act this way. She puts on an outside personality which contradicts her true opinions and values. She keeps this personality until her “Awakening”, where she starts to show her true self. This “Awakening” starts with her realization of her love for Robert as he left to go to Mexico. Edna’s realization is shown in the statement, “For the first time she recognized anew the symptoms of infatuation which she had felt incipiently as a child” (45).