A woman sits alone in her empty living room, overcome by unbearable boredom. She sits cross-legged, one elbow resting on the faded beige armrest and the other resting on her thigh. She sighs in exasperation as she patiently waits for her children to arrive at school. She understands her role only too well and mechanically greets her husband, whose attitude smacks of vanilla and infidelity. He is in a good mood and so is she. He says he's overworked and it's been a long day. He sleeps rather soundly, his chest rising and falling evenly. However, she stays awake and laments the redundancy of her life. The children sleep, in separate realms of unconsciousness, and she wearily turns away from her husband, her mind immersed in discontent. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay It's a fate that, in a way, a classic of modern literature is grappling with. Kate Chopin, the author of the classic “feminist” novel The Awakening, was 49 when she finished the book. In modern society, the book is critically acclaimed for its strong and diverse views on feminism and self-identity. However, when Chopin published the book in her time, it received disastrous reviews, most of the reviewers being older men who deeply disapproved of her writing style, criticizing and trivializing anything she wished to incorporate into her texts. Proponents of the 18th and 19th century mentality condemned it, calling it “morbid, vulgar and unpleasant” as well as “banal and sordid” (Koloski). Women's self-discovery in the Victorian era proves detrimental and seems to be a guarantee of greater loneliness. In light of the novel's use of symbolism, allegory, and situational irony, Edna's inability to emancipate herself from the various men who constrain her, and her drastic and changing fluctuations between accepting oneself and living for others demonstrate that The Awakening does not entirely conform to the feminist ideal. Edna proves that she is incapable of overcoming the patriarchal constraints of society and thus, the anti-feminist nature of the novel becomes evident. First of all, we can say that Edna Pontellier is a powerful and vehement protagonist who fights the patriarchy. every moment allotted to him. The alarming passivity of women in the novel is the madness criticized by Chopin. She subtly explains that husbands can treat their wives however they want and that something should be done about it, which explains why the protagonist, Edna, remains so resilient. However, for The Awakening to fully qualify as a feminist novel, Edna would have to free herself from the constraints of all men, which of course she does not do. A feminist is indeed someone who believes in the social, political and economic equality of the sexes, but a feminist is also a woman who does not allow herself to be pinned down by any man. This “confinement” refers to the entrapment and “cage” in which Victorian-era women were trapped and therefore unable to escape. The first symbol which largely demonstrates this madness is that of birds. The very first sentence the book opens with is a shrill sound, coming from the parrot that resides in the cage outside the Pontelliers' beach house. We hear the parrot screaming and chirping through the metal bars of Mr. Pontellier's cage. “A green and yellow parrot, hanging in a cage in front of the door, kept repeating: “Go away! Go away ! Sapristi! It's okay!" which translates to "go away, go away!" and of course,“he spoke a little Spanish, and also a language that no one understood, unless it was the mockingbird that hung on the other side of the door, whistling its flute notes in the wind with maddening insistence » (Chopin1). The parrot represents Edna, and gives voice to the seemingly voiceless protagonist, articulating her unspoken feelings. The cage also represents Edna's non-rhetorical imprisonment. The mockingbird, also in a cage, easily represents Miss Reisz thanks to its strange markings and its pretty hissing sounds. It is obvious that the mockingbird is the only thing capable of understanding the parrot when it speaks Spanish. (Toward the end of the novel, as Edna prepares to commit suicide, Miss Reisz is the only person alive who is fully capable of understanding Edna.) Chopin attempts to use caged birds to allude to the Lilliputian role women in the Victorian era. Era: Society only expects a woman to be useful as a mother or wife. Generally, when we think of cages and, in particular, caged birds, we may believe that these cages are there only for decoration and comfort. It is not wise to think of something as stupid as the bird that might escape from the cage. The second symbol that demonstrates this inmalleable madness is Edna's wedding ring. Wedding rings symbolize fidelity and eternity. “Giving a ring to a woman means endless and immortal love” (Noreen). Whether going swimming or going to bed, Edna takes off her wedding wing every time she does so. When Léonce returned from work after an extended absence, his comments and rude attitude during dinner deeply irritated Edna. She fled from the dining room and began angrily pacing the room in which she had escaped from her husband, and "stopped, taking off her wedding ring and throwing it on the carpet." When she saw it lying there, she stamped on it with her heel, trying to crush it. But her little boot heel made no mark, no mark on the little glittering circle. The wedding ring that Edna attempts to destroy symbolizes the tight control that husbands have over their wives in terms of marriage. The indestructible nature of the glittering circle alludes to the idea that women cannot leave marriage, regardless of the circumstances, because the circle represents eternity and timelessness. This symbol is used to mock Victorian society and marriages within it due to the passive and unimportant role women play. Chopin quietly lets readers know that marriage is indestructible and that the bond between husband and wife is both questionable and irrevocable. As Edna becomes "more and more aware that she 'seeks and finds herself,' she struggles with increasing ferocity to reject and even destroy the conventions by which she has lived, including her wedding ring." (Gilbert) Edna's wedding ring is a “symbol of the ties that unite her to Léonce Pontellier, her husband. This represents the vows they agreed to when they got married. By “taking off her ring and stomping on it to try to destroy it…” (Carey 43 years old) Edna tries to free herself from her husband and his toxicity, and finds herself unable to do so. The aim of this criticism is to highlight her “denial of her role as mother and wife” (Kaplon). This, even in the rudimentary stages of modern feminism, conveys an unambiguous and unequivocal message even to women today, declaring without apprehension that women are not their marriage; more precisely, they can in fact free themselves from confinement. However, even though Chopin deduces an extremely substantial point, she does not follow through with her beliefs. When she realizes that she isIn love with Robert, Edna begins to further explore herself and her sexuality by pushing against the norms set for marriage. Her opposition to the strict boundaries of marriage constitutes the beginning of what could be a feminist standard, as she feels vestiges of anger and rebellion throughout the novel, but this never progresses. After discovering her secret hatred of her husband, Edna engages in several "dates" with Robert before fleeing to Mexico due to an unexpected need to leave the islands. Heartbroken, she then decides to relieve her sexual urges by getting involved with womanizer, Alcee Arobin. She then realizes that he cannot realize his desire, because she is desperately in love with Robert and is very afraid of non-reciprocity. By acting primarily this way, Edna asserts that she still relies heavily on men for happiness and for her life to have true purpose. This tactic is undoubtedly polar to the feminist challenge, because a feminist is never shy in declaring that she does not need the presence and adoration of a man to succeed and find a purpose for your self-esteem. Throughout the gradual process of her awakening, the realization of being attached to her children only enrages Edna further, making her want to distance herself from her children and her husband. Edna Pontellier's mood swings radically throughout the novel. There are instances where she fully embraces her role as a mother, and then shortly after curses the fact that she even gave birth to her children. Edna's inconsistency leads readers to believe that she is not entirely emotionally stable. It is obvious that Edna unconsciously abandons her maternal responsibilities and duties because she desires to live her life for herself and not for the lives of others. She neglects her children because by doing so she fulfills her constant desire to disobey the rules and thus neglect her responsibilities. Edna “is not a woman-mother” (Chopin 8), meaning that once her two children, Raoul and Etienne, were out of her field of vision, they were also out of her mind. She was "a thoughtless little child back then, simply following a deceptive impulse without question." On the contrary, during a period of [her] life, religion took a firm hold of [her]; after [she] was twelve and until - well, [she] [supposes], until now, although [she] never thought much about it - just driven by habit. (Chopin 54) This means that Edna was not necessarily thinking about what she was doing or saying – she was simply following what her mother, as well as other women of her time, were doing. Edna tries to explain that she doesn't conform to the things women "should do" or the way women "should be" because she feels like she's just driven by habit. The "deceptive impulse" that Edna speaks of so disturbingly represents the standard set for women and the way in which the ideology of femininity is ingrained in her mind in middle age, such that she grows up conditioned to believe that she should succumb to the desires of her future husband. and needs. Her children's absences were a blessing or a relief, though she wouldn't admit it, even to herself. This finally freed her from a duty she had blindly assumed and for which fate had not prepared her. Her “habitual neglect of children” (Chopin 24) proves that her constant preoccupation with herself made her act childish and rather selfish herself. Her “conduct out of habit”, as well as her “habitual neglect towards the children” (Chopin 24) prove that her constant concern for herself makes her act in a mannerchildish and rather selfish. This shows that she is not fit for motherhood, as she delays the existence of her children too often to be considered a good mother. Lydia Lovric compares Edna to “women who give birth and almost immediately hand the child over to an educator or nanny so that they can return to the office and feel fulfilled.” (Lovric) This analogy criticizes the protagonist because it highlights her lack of will and incompetence to be a mother. You should never alternate between loving your children and then immediately neglecting them. However, she sporadically shows compassion towards her children. It can be observed by careful analysis that she only does this in a trance state; because she only shows that she cares about them through materialistic means; and not motherly and affectionate ways. She “[loves] her children in an unequal and impulsive way” (Chopin 75). Allegory, through the act of telling a story, can explain the rigid, unmalleable, and predefined gender roles that Edna's two sons will have to experience. , and cannot escape it due to the constant mental and emotional absence of their mother in their lives. Even though she claims to love them, Edna leads readers to believe otherwise. “She [puts] her arms around me and [feels] my shoulder blades, to see if my wings [are] strong,” she says. “The bird that [soars] above the plain of traditions and prejudices must have strong wings. It is a sad spectacle to see these weak, bruised, exhausted people return to earth. Where would you like to fly to? (Chopin 289). To begin, Chopin refers to Edna as the bird that rises above tradition and prejudice, and explains that to achieve this, Edna must remain resilient and valiant in her efforts. In comparison, the “weak” that Madame Reisz speaks of are a direct reference to Edna’s two children. Reisz notably characterizes these children as “weak” because of their conformity to society’s rigid norms. She subtly explains that they will grow up to be exactly like those who came before them, implying that they will be "normal". Normal, in this case, is unfavorable, because it alludes to the idea that one must act like a robot, without real control over one's life. The “weak” return to earth “bruised” and “exhausted” when they realize that assimilating the regulatory society of the Victorian era is demoralizing and very restrictive. Similarly, the “weak” could also symbolize women of the Victorian era, as they are subject to carefully structured institutionalized sexism and marginalization. The downfall of her "weak" children is inevitable due to Edna's constant absence from their lives, as she is unable to educate them on aspects of her enlightenment, which could work in their favor. Mrs. Pontellier's mind is still "completely serene regarding the current material needs of her children" (Chopin 33), meaning that she is not emotionally or mentally present. She “sometimes gathers them with passion on her heart; [and] sometimes forgets them” (Chopin 76). It is evident that his love extends only to the means of acquisition and is expressed in a dreamlike state, similar to that of trance. The attention paid to “her children and her home is such a priority that it leaves no room for what Edna considers a necessity: the inner life, an identity unrelated to marriage” (Justus). This entirely validates the point that Edna's "sporadic expressions of her love for them are proportional to her growing dissatisfaction as a wife and mother"; and that “pervasive neglect is compensated by bursts of concentrated attention” (Justus). Chopin intentionally created Edna tovast journeys through the lands of discordance. She deliberately created Edna to inherently displease older, inapprehensive men and to arouse an internalized sense of discomfort in Victorian-era women. His goals of demeaning society worked – and provided an excellent basis, because Chopin really liked the confusion that men experienced while reading his texts. However, the feminist test is aimed at everyone and is therefore not discriminatory against children, men and others. The constant relegation of her two only children quickly sidelined the nascent ideas of feminism that were prevalent in the novel. Therefore, it is evident that Edna does not view her children as a fundamental source of happiness nor is she proud of them. Even when she allows herself to be with her children, it's often pretended, with no real context. The awakening of Edna's emotional and sexual desires is exactly what drives her to commit suicide, leaving readers with the looming question of whether suicide constitutes cowardly abandonment or a liberating act of triumph. The prevailing human folly is the theorization of suicide and how such intense and drastic measures were taken simply because Edna felt like her life had not been fulfilling enough. When a feminist faces an obstacle or feels overwhelmed by her burdens, her perseverance prevails and shows her the way. Her constant perseverance sets a standard in the name of feminism: the embodiment of strength must flow from movement. Edna's suicide amounts to her submission to the malevolent and demanding hands of society. Situational irony is heavily incorporated in The Awakening. The many awakenings that Edna experiences are both a blessing and a curse. Edna bears the curse of knowledge as she obviously concludes that she will never be truly satisfied with society and its rigid standards. The irony is prevalent because Edna felt rebellious, enraged, and conquered life with fiery passion. She minimized standardization and rose well above regulatory standards. However, due to its ethnic and moral values ​​for her as an individual, the place where she decided to commit suicide turned out to be the most ironic – in the sea. Moments before her death, Edna sees a “ bird with a broken wing that beat the air.” above, tottering, floating, going round and round, handicapped downward, down to the water” (Chopin 421). Edna is now a woman who is no longer sure of who she is. Her position in life is not secure and the limits placed on Edna are as limited as the horizon. “The inevitability of her fate as a creature defined by a man drives her to despair and she frees herself in the only way possible, through suicide” (Kaplon). The bird touches on Edna's failure to find freedom; furthermore, his inability to “rise above the plain of tradition”. A bird cannot fly with a broken wing. Edna's suicide in the sea is a categorical rejection of Victorian womanhood and is highly ironic because she dies in the very waters where she first discovered herself. When she first learned to swim, she “became bold and reckless, overestimating her strength. She wanted to swim far, where no woman had swum before. (Chopin 98) The sea, once a symbol of empowerment and independence, is soon the site of Edna Pontellier's suicide. She grows tired of her normal life and realizes that Robert cannot satisfy her innermost desires due to the lack of reciprocal love. With that, she enters the ocean and begins to swim away, claiming that "the touch of the sea is sensual, enveloping the body in its embracesoft and narrow. (Chopin 403) The bird with the broken wing symbolizes Edna only too well. Midway through the novel, Miss. Reisz tells Edna that her wings must be strong so that she can overcome prejudice and courageously challenge the known. Ironically, she states that the "weak" return to earth, like the falling bird she sees before committing suicide. Although this alludes to his children, Chopin intentionally foreshadows Edna's death by mentioning the weak bird, as the quote has many underlying double meanings. It's a disheartening sight to see the bird, or Edna, realize her true abilities too late. The sea in The Awakening symbolizes freedom and escape. It is a vast expanse that Edna can only brave when she is alone and only after discovering her own strength. While in the water, Edna is reminded of the depth of the universe and her own position as a human being within that depth. The sensual sound of the waves constantly attracts and seduces Edna throughout the novel. Water is associated with purification and baptism, which can allude to rebirth, particularly in Christianity. The sea is Edna’s awakening – a rebirth. The sea was once a sacrosanct paradise of indefinite potential, but it is quickly transforming into an empty, enveloping void that serves as both promise and threat. In its empyrean immensity, the sea corresponds to robustness, splendor and isolation with the aim of simple independence. While Léonce is on a work trip, Edna falls irrevocably in love with Robert Lebrun, a young bachelor who is friends with her and Adèle. As they spend time together, she realizes that she is slowly starting to see him from a different perspective – romantic. Robert realizes this too and decides to flee to Mexico. Edna's heart surprisingly breaks when he leaves, and she then turns to Alcee Arobin, the local flirt and womanizer. They flirt all summer, and it's obvious that Edna is only using Arobin to satisfy her sexual needs and desires, not because she truly admires or loves him. When Arobin “[leans] forward and [kisses] him, she [grabs] his head and [holds] her lips against his” (Chopin 292). Edna expresses that it was the first kiss of her life to which "her nature had truly responded." (Chopin 292) Edna is aware of the fact that he is a debauched man, which explains why she does not really love him. He is just a doll for Edna to play with, a mere adequate substitute for Robert when it comes to expressing her passions and desires. Instead of committing adultery twice, Edna could have expressed her displeasure with her husband and children, and as a family they could have resolved their differences gradually, with tireless effort. Rather selfishly, she instead chooses to completely avoid her husband and neglect her children. Her acts of fornication can be seen as a form of sexism and misandry, thus challenging and contrasting all notions of fundamental and true feminism which advocates gender equality. Edna's disdain for men explains why she views men as disposable. Edna says that “today it’s Arobin; tomorrow it will be someone else. It makes no difference to me, it doesn't matter to Léonce Pontellier. (Chopin 401) Edna hereby shows that men, including Léonce, with whom she has sworn to spend her life, are insignificant and meaningless to her. When considering feminism, it is important to remember that intersectional feminism does not coincide with radical feminism, which can be defined as "a perspective within feminism that calls for a radical reorganization of society in which supremacy male is eliminated in all.