Kate Chopin was born Katherine O’Flaherty on February 8, 1851 in St. Louis, Missouri. She was born into a society proud of its French Creole roots. Kate’s mother Eliza Faris O’Flaherty played a prominent role in the French Creole elite, her ancestry tracing back almost until the village’s founding in 1764. Kate’s father, Thomas O’Flaherty was an Irish immigrant and merchant. Kate’s parents gave birth to five children, of which Kate was the third, but all except her died before reaching twenty-five.
When Kate was seven years old the O’Flaherty family lost Thomas to a train accident. What was a famously joyful and lively household, immediately transformed into a place of grief and mourning. Although some of the changes observed following his death soon returned to normal (piano playing for example), the household was never the same. Following her father’s death Kate lived at home for the next two years in the company of her mother, grandmother and great-grandmother, all of whom were widowed. It is this time and the years that followed in Kate’s upbringing that are usually seen most directly responsible for her work later on in life. She was raised by strong and independent women who successfully managed without the aid of a man. A special bond between Kate and her mother developed during the time immediately following the death of Thomas. Having both lost someone important to them, and recognizing this in each other, the women’s sadness brought them together. Kate’s mother begin regularly telling Kate stories, some of whose “questionable nature,” are thought to have influenced Chopin’s utilization of bold realism later on (Critical, 17).
In 1860 Kate began her education at the Academy of Sacred Heart. During this time of her youth, although she made friends with various other girls at the academy and enjoyed a particular miniature horse, she is said to have spent the majority of her time on “music and reading—veritable passions,” (18). The academy Kate attended focused on the intellectual and mental development of its students, encouraging obvious strengths in various pupils. In 1867 Kate began writing poems and essays, many of which were copied into her commonplace book. In the reading the commonplace book it is obvious that Chopin was occupied with two main subjects at this time in her life: “literature and education,” (22). Much of the rest of the subject matter in the book is dark and grief-stricken, and thought to be an attempt to express the remaining effect of her father’s and sibling’s death. Kate graduated from the Academy in June, 1868.
Immediately following she became a prominent social character and was categorized “as one of the acknowledged belles of St. Louis, a favorite not only for her beauty, but also for her amiability of character and her cleverness,” (23). Although she was had the duties of her social role to attend to, Kate still pursued music, reading and writing with a fervent passion. She began reading more serious authors like Dante, Goethe, Jane Austen, Charlotte Bronte and Racine. There are direct and obvious influences on her writing to be found in some of these readings. For example, Chopin took a particular interest in Mme. de Stael’s novels Delphine and Corinne. One is about a woman who thinks her lover and her love for him are more important that what the world will allow. The other is about a female poet who moves to Italy so that she can live and work without having to abide by English moral law. Both of these stories can be thought to have directly influenced The Awakening.
In 1870 when she was twenty years old, Kate married Oscar Chopin. Oscar was from French-Creole northwestern Louisiana. She moved with him to New Orleans and the couple had had their six children by the time Kate was 29. Later they moved to Cloutierville where they started various plantations and ran a general store. It is during this time with her husband, both active members in the community, that Kate got much of her inspiration for her later writings. This is especially true of the Creole social society (which The Awakening is set in). Oscar died of “swamp fever” in 1882. He left Kate with a substantial amount of debt. During the time immediately following his death, Kate is rumored to have engaged with various local men. Despite this, she also attempted to keep her late husband’s business alive as best she could. Two years of effort in she sold the plantation and at the beckoning of her mother returned home. After having been settled in St. Louis with her children for only a year, Kate’s mother died. It was during this time that Chopin sunk into a state of depression. After some time she eventually agreed to see a doctor who advised her that writing, something she had always enjoyed, could be a therapeutic source during this time and even possibly provide her with income. During the early 1890’s Chopin wrote various short stories many of which were publishes. In 1899 her second novel The Awakening was published.
Kate Chopin
The Awakening
Friday, December 2, 2011
Analysis of Text
The story begins in Grand Isle, located in Lousiana and set in 1899. Our protagonist and character with whom the third person narrator most closely sympathizes is Edna Pontellier, a twenty-eight year old wife and mother of two sons. Edna spends most of her time with her closest friend Adele who is never hesitant to remind her of her maternal duties and role as a wife. Edna meets Robert, with whom she feels a connection different and deeper than she has ever felt with her husband. Slowly the two begin to fall in love, but Robert realizing nothing good can come from further contact, leaves for Mexico saying he must attend to business. This event and the combination of a relationship Edna later develops with a pianist named Mademoiselle Reisz, who encourages Edna to express herself artistically through playing, initiate an awakening within Edna. As the novel progresses she begins to feel more and more the tensions between her desire for independence and fulfillment and the expectations society has placed upon her as a wife and mother. As Edna continues to undergo dense self-realization she comes to understand that the societal constraints will never allow her the opportunity to develop the sense of individuality she needs to be at peace with herself. Her husband, Leonce, starts to realize the changes within Edna and has a doctor come to diagnose her. The doctor advises that Leonce to allow her spacce, and as a result Edna moves out into her own house. She has an insignificant affair, which is an instance of her attempting to defy her established role. Following this she sees Robert one last time, and he makes it clear it will be the last. She returns to Grand Isle where she first met him, and in an ambiguous ending swims into the sea letting it overcome her and assumedly commits suicide.
The Awakening was published in 1899, during the turn of the century, into a society where the Industrial Movement, and feminism were emerging, but still at odds with established ideas and ways of life. The novel depicts exactly that: a character struggling with the emergence of internal realization that contradicts the expectations and conventions of society at that time. Edna exists in a society that requires a married woman to selflessly, and basically inhumanely, place the needs of her children and husband above her own. During this time women do not have the right to self-discovery; they are told what they are and what they are to do. When Leonce calls the doctor to come diagnose Edna, it is for acting as a woman would in today’s society; the behavior is so foreign her husband can only account for it by blaming it on mental or physical illness.
The Awakening was Chopin’s second novel. It was first published in 1899. It was immediately criticized for its subject matter (mostly that it so openly addressed female sexuality, and that the protagonist defies, even if only for the most part internally, established gender roles). Many of the initial reviews lament the waste of Chopin’s talent and style, on what was categorized at the time as “sex fiction,” (comparable to a trashy paperback romance today). One of the harsher reviews reads: “We are well satisfied when Edna drowns herself in the end.”
I attempted to refrain from total submersion into the argument of what makes a feminist, or what truly constitutes equality between the genders, and still attempted to explore the question “Should Chopin’s The Awakening be regarded as a work of feminism, or is it less specifically a character study of a certain type of character (who just happens to be female) during a certain time period?” This is an attempt to canonize The Awakening, and assign it to the feminist canon. Not to discredit myself or this argument, but I want to acknowledge that in the end, however you choose to label the story, I think you basically take the same things from it. I believe The Awakening to be first and foremost a depiction: of a society, a woman, a character, a problem, a different period in time. The themes that accompany the story do not make it any less so a portrait.
At first I thought a good way to approach this question was by deciding whether the events that happen in The Awakening could have happened to a man. Then I came to realize that that’s not entirely relevant. Obviously no, the events in the novel, the dilemmas faced by Edna are unique to women during this time, but that does nothing in establishing whether the novel is a feminist work or not. This is the point in my research when I realized it’s an impossible question to address unless you do establish what exactly a feminist work is. And just for the sake of this project, I thought what I am really trying to ask or get to, is whether or not Chopin intended for The Awakening to have some effect on society, catalyze change, or whether her intention was to merely create a representation of a particular situation.
The biggest piece of evidence to be found in the story that backs it being a work of feminism is Edna’s suicide in the end. That the story presents a particular character’s situation, and that that situation ends in tragedy, inadvertently advocates for change. The Awakening is well written in that although I normally don’t see swimming into the sea and allowing it to overcome you as an appropriate response to a situation, Chopin effectively links a course of events that make Edna’s decision appear inevitable to the reader. This makes the story all the more tragic, and also speaks against the societal constraints which have lead Edna to this decision. Backing this are certain inherent moral ideals: like suicide is bad and no one should be placed in a situation where they feel inclined to commit suicide.
The biggest piece of evidence to be found in the story that backs it being a work of feminism is Edna’s suicide in the end. That the story presents a particular character’s situation, and that that situation ends in tragedy, inadvertently advocates for change. The Awakening is well written in that although I normally don’t see swimming into the sea and allowing it to overcome you as an appropriate response to a situation, Chopin effectively links a course of events that make Edna’s decision appear inevitable to the reader. This makes the story all the more tragic, and also speaks against the societal constraints which have lead Edna to this decision. Backing this are certain inherent moral ideals: like suicide is bad and no one should be placed in a situation where they feel inclined to commit suicide.
The fact alone that Chopin followed through with her decision to publish The Awakening is evidence that it is a feminist work. The Awakening is set during what was then present day; Chopin is not depicting a future society. She is an intelligent and educated women, to whom it must have been apparent that the things she was writing were at the time outlandish, and risqué. It is assumed that before publishing she at least once thought about the public reaction and criticism the novel would receive. She was considered a talented writer in her time and not incapable of writing on another subject. That she chose, despite the possibility (or guarantee) of the literary community’s disapproval, to go through with her publishing, is interpreted as Chopin having reason and motive to follow through. Even if she didn’t intend to initiate change, her intention could possible have been to bring to light the effects of the current way of life.
Jennifer B. Gray in her article for the Southern Literary Magazine asserts that The Awakening can be classified as a feminist work simply because the ideas in the story (specifically the thoughts of Edna) follow with nineteenth century feminism. Because Edna's personal accounts of her "awakening" echo the feminine concept of female identity (e.g. "Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her" (The Awakening, Chopin 57) Gray believes the novel is automatically categorized as a feminist work. Gray insists that all it takes for a work to be considered a type, is to, whether intentionally or not, possess characteristics that fall under that type.
Elizabeth Fox-Genovese noted women studies scholar who taught at Emory is quoted as saying, “Kate was neither a feminist nor a suffragist, she said so. She was nonetheless a woman who took women extremely seriously. She never doubted women's ability to be strong.” Here Fox-Genovese opposes Gray, in that she believes for someone to be a feminist (and accordingly there work to be feminist) they must have intention. Fox-Genovese asserts that because Chopin allegedly spoke against feminism and denied any personal feminist convictions, it is impossible for her or her work to be considered such.
Jennifer B. Gray in her article for the Southern Literary Magazine asserts that The Awakening can be classified as a feminist work simply because the ideas in the story (specifically the thoughts of Edna) follow with nineteenth century feminism. Because Edna's personal accounts of her "awakening" echo the feminine concept of female identity (e.g. "Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her" (The Awakening, Chopin 57) Gray believes the novel is automatically categorized as a feminist work. Gray insists that all it takes for a work to be considered a type, is to, whether intentionally or not, possess characteristics that fall under that type.
Elizabeth Fox-Genovese noted women studies scholar who taught at Emory is quoted as saying, “Kate was neither a feminist nor a suffragist, she said so. She was nonetheless a woman who took women extremely seriously. She never doubted women's ability to be strong.” Here Fox-Genovese opposes Gray, in that she believes for someone to be a feminist (and accordingly there work to be feminist) they must have intention. Fox-Genovese asserts that because Chopin allegedly spoke against feminism and denied any personal feminist convictions, it is impossible for her or her work to be considered such.
Presentation (Handout, Outline of lecture)
Amanda O’Donnell
Kate Chopin, The Awakening
I first read Chopin’s The Awakening in my women writers’ class. I thought Chopin’s ability to depict relatable internal conflict was impressive. Having studied it since, I began to realize as many times as it is referred to as a feminist work, responsible even for having in someway spearheaded the feminist movement, it is referred to as the opposite: a work of an author with a distinct lack of interest in feminism. Should The Awakening be approached as a feminist work? What does it matter? I attempted to classify it based on evidence found within the novel.
Biography:
- · Born in 1850
- · Raised by strong, independent females
- · First published in early 1890’s
Summary:
- · Protagonist Edna Pontellier
- · Unsatisfied with society’s designated role, to act solely as mother and wife
- · Incapable of filling personal desires, sexual and emotional
- · Is eventually overtaken by the conflict of her realizations and defiance, and established norms
- · Swims out to sea in an act that is assumed suicidal
Background:
- · Published in 1899
- · Turn of the century, emergence of feminist ideals
- · Criticized for subject matter, praised for style and ability
Feminism or… :
- · Ultimately a depiction
- · Despite what it is labeled it reads the same
- · Edna’s suicide as a hope for change
- · Chopin’s decision to publish
Works Cited
Chopin, Kate. The Awakening and Selected Stories. New York: Random House, 1981. Print.
Gray, Jennifer B. "The Escape of the Sea: Ideology and The Awakening." The Southern Literary Journal Fall 37.1 (2004): 53-73. Web.
Seyersted, Per. Kate Chopin. A Critical Biography. Oslo: Universitetsforlaget, 1969. Print.
Toth, Emily. Kate Chopin. New York: Morrow, 1990. Print.
Toth, Emily. Unveiling Kate Chopin. Jackson: University of Mississippi, 1999. Print.
Further Perusal
The entire text of The Awakening can be found here:
http://etext.virginia.edu/toc/modeng/public/ChoAwak.html
This is an extensive research guide with numerous articles, books and papers on Chopin and her works:
http://www.womenwriters.net/domesticgoddess/chopinbib.htm
This is the PBS site on Chopin:
http://www.pbs.org/katechopin/resources.html
http://etext.virginia.edu/toc/modeng/public/ChoAwak.html
This is an extensive research guide with numerous articles, books and papers on Chopin and her works:
http://www.womenwriters.net/domesticgoddess/chopinbib.htm
This is the PBS site on Chopin:
http://www.pbs.org/katechopin/resources.html
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