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The Awakening Literary Analysis

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“Our birth is but a sleep and a forgetting,” Wordsworth once famously observed, and as we read Kate Chopin’s The Awakening, this sense of being born into sleep, simultaneously surfacing and submerging, is particularly fitting. As the title suggests, the crucial theme of the book is one of emergence, specifically that of Edna Pontellier, a young woman who has become a wife and a mother as a matter of course, with only the haziest, socially determined sense of why, but who, as the book begins, seems to be approaching a personal transformation. The impetus for this rupture in her sense of self-identity, however, rather than any precise ambition or desire, seems to be a progressively concentrated pit of frustration. Dissatisfied with her mind-numbingly …show more content…

Edna has been rebuffed by Robert who, having returned to New Orleans, and after a passionate kiss, on the verge of sexual and emotional climax, leaves her with a note that says simply “Good-by – because I love you” (124). He refuses complicity in her downfall on behalf of a dream. Edna, on the other hand, does not know how to wake from it. It is under the influence of the “voice of the sea” (16) that Edna first began to realize “her position in the universe as a human being,” and, more importantly for us, “to recognize her relations as an individual to the world within and about her” (16). For all her angst, it was not until her experiences in Grand Isle that her consciousness became irrevocably divided into inward and outward states; her love of Robert, the music of Mlle Reisz, and the sea. The sea is Edna’s mirror: it is “seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude, to lose itself in mazes of inward contemplation” (16). Like the sea, Edna is a fluid passion, inarticulate, constantly merging, warping, and pouring apart, a perpetual flux of unity, but fundamentally incapable of stability. We are told that the sea “speaks to the soul” (16), that its touch is “sensuous, enfolding the body in its soft, close embrace” (16), and this lulling, soft, unindividuated enclosure is the only one that Edna can finally take solace in, the only possible outward manifestation of her internal oblivion. She stands on the shore, preparing to wade out into her destiny, noting how, even at this late point, “she felt like some new-born creature, opening its eyes in a familiar world that it had never known” (127). She begins to swim as Robert taught her, going “on and on, thinking of the blue-grass meadow that she had traversed when a little child, believing it had no beginning and no end” (127), until “exhaustion was pressing upon

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