Article #160-1 | Gutenberg Articles

Excerpt

Excerpt from The Awakening, and Selected Short Stories, by Kate Chopin

Alcée Arobin wrote Edna an elaborate note of apology, palpitant with
sincerity. It embarrassed her; for in a cooler, quieter moment it
appeared to her absurd that she should have taken his action so
seriously, so dramatically. She felt sure that the significance of the
whole occurrence had lain in her own self-consciousness. If she ignored
his note it would give undue importance to a trivial affair. If she
replied to it in a serious spirit it would still leave in his mind the
impression that she had in a susceptible moment yielded to his
influence. After all, it was no great matter to have one’s hand kissed.
She was provoked at his having written the apology. She answered in as
light and bantering a spirit as she fancied it deserved, and said she
would be glad to have him look in upon her at work whenever he felt the
inclination and his business gave him the opportunity.

He responded at once by presenting himself at her home with all his
disarming naïveté. And then there was scarcely a day which followed
that she did not see him or was not reminded of him. He was prolific in
pretexts. His attitude became one of good-humored subservience and
tacit adoration. He was ready at all times to submit to her moods,
which were as often kind as they were cold. She grew accustomed to him.
They became intimate and friendly by imperceptible degrees, and then by
leaps. He sometimes talked in a way that astonished her at first and
brought the crimson into her face; in a way that pleased her at last,
appealing to the animalism that stirred impatiently within her.

There was nothing which so quieted the turmoil of Edna’s senses as a
visit to Mademoiselle Reisz. It was then, in the presence of that
personality which was offensive to her, that the woman, by her divine
art, seemed to reach Edna’s spirit and set it free.

Explanation

This excerpt from The Awakening (1899) by Kate Chopin captures a pivotal moment in Edna Pontellier’s emotional and psychological journey toward self-discovery and independence. The novel, a landmark of early feminist literature, explores themes of female autonomy, sexual awakening, societal constraints, and artistic expression in the late 19th-century American South. This passage, in particular, highlights Edna’s conflicted responses to male attention, her burgeoning sensuality, and her complex relationship with art and freedom.

Context Within the Novel

Edna, a married woman with children, is undergoing an "awakening"—a realization of her own desires, identity, and dissatisfaction with the stifling roles prescribed to women. She is torn between societal expectations (embodied by her husband, Léonce, and the Creole community) and her own emerging needs. Alcée Arobin, a charming and persistent suitor, represents a temptation toward sensual and emotional liberation, while Mademoiselle Reisz, an unconventional pianist, symbolizes artistic and spiritual freedom.

The excerpt follows Edna’s rejection of Robert Lebrun (a man she genuinely loves but who cannot offer her true independence) and her growing intimacy with Arobin, a relationship that is both thrilling and morally ambiguous.

Detailed Analysis of the Excerpt

1. Edna’s Reaction to Alcée Arobin’s Apology

Initial Embarrassment & Self-Awareness:
- Arobin’s "elaborate note of apology" for kissing her hand is "palpitant with sincerity", but Edna finds it excessive and absurd in retrospect. This suggests her oscillating emotions—she is both flattered and irritated by his attention.
- The phrase "in a cooler, quieter moment" implies that her initial dramatic reaction was impulsive, driven by self-consciousness rather than genuine offense. This reflects her internal conflict: she is both drawn to and resistant to male admiration.
- Her dismissal of the hand-kissing as "no great matter" is ironic—it is significant because it challenges Victorian propriety, and her defensive reaction reveals her own repressed desires.
Strategic Response:
- She deliberately replies in a "light and bantering" tone to downplay the incident, but this also invites further interaction. Her invitation for him to visit "whenever he felt the inclination" is a calculated risk—she enjoys the attention but does not want to appear vulnerable.
- This ambivalence is key: she wants control over the dynamic but is also curious about where it might lead.

2. The Development of Edna and Arobin’s Relationship

Arobin’s Pursuit & Edna’s Surrender:
- Arobin’s "disarming naïveté" and "prolific pretexts" for visiting her show his persistent, almost predatory charm. He adapts to her moods, making himself indispensable—a contrast to her husband, who demands obedience.
- The phrase "good-humored subservience and tacit adoration" suggests a performance of devotion, but it is transactional: he flatters her ego while testing boundaries.
- Their intimacy grows "by imperceptible degrees, and then by leaps"—this acceleration mirrors Edna’s own unraveling restraint. She is both passive and complicit in the deepening relationship.
Sensual Awakening:
- Arobin’s "talk that astonished her" and "brought the crimson into her face" indicates sexual innuendo, which shocks but ultimately pleases her.
- The phrase "appealing to the animalism that stirred impatiently within her" is crucial—it reveals Edna’s repressed physical desires, which society tells her to ignore. Chopin’s use of "animalism" is bold for the era, framing female sexuality as natural and powerful, not shameful.
- This moment marks a shift in Edna’s self-perception: she is no longer just a wife and mother but a woman with her own appetites.

3. Contrast with Mademoiselle Reisz: Art as Liberation

Mademoiselle Reisz as a Foil:
- While Arobin stirs Edna’s senses, Mademoiselle Reisz quiets them—but in a way that freed her spirit.
- Reisz is "offensive" to Edna (likely due to her unconventional, abrasive personality), yet her music transcends social norms, offering Edna a glimpse of true independence.
- The phrase "divine art" suggests that art is a sacred, almost religious experience for Edna—it lifts her beyond the mundane constraints of marriage and motherhood.
Duality of Freedom:
- Arobin represents bodily freedom (sensuality, passion), while Reisz represents spiritual and artistic freedom.
- Edna is drawn to both, but neither can fully satisfy her—Arobin cannot offer true independence (he is still a man who expects possession), and Reisz’s life is lonely and socially rejected.
- This tension between desire and autonomy is central to Edna’s tragedy: she wants both, but society allows neither.

Literary Devices & Stylistic Choices

Irony:
- Edna claims the hand-kissing is "no great matter", but her strong reaction (and the narrative focus on it) proves otherwise.
- Arobin’s "sincere" apology is manipulative—he uses it to draw her closer.
Symbolism:
- Arobin’s "animalism" = Edna’s repressed sexuality.
- Mademoiselle Reisz’s piano = art as a path to self-expression and freedom.
Imagery & Sensory Language:
- "Crimson in her face" = shame and excitement.
- "Turmoil of Edna’s senses" = internal chaos of desire vs. duty.
Foreshadowing:
- The rapid progression of Edna and Arobin’s relationship hints at her eventual affair, which will further isolate her from society.
Contrast:
- Arobin (masculine, sensual, socially acceptable) vs. Reisz (feminine, artistic, socially rejected)—Edna is pulled between these two forces.

Themes Highlighted in the Excerpt

Female Sexuality & Repression:
- Edna’s response to Arobin’s advances shows her struggle between societal expectations and personal desire.
- The "animalism" within her is not just lust but a metaphor for her wild, untamed self—the part of her that society seeks to domesticate.
The Illusion of Control:
- Edna thinks she is managing Arobin, but he is actively seducing her, showing how women’s "choices" are often constrained by male dominance.
- Her lighthearted reply is a façade; she is more affected than she admits.
Art vs. Sensuality as Paths to Freedom:
- Arobin offers temporary escape (physical pleasure), while Reisz offers a more lasting but lonelier freedom (artistic expression).
- Neither is fully satisfying, emphasizing the impossibility of true liberation for women in this era.
Social Hypocrisy:
- Edna is judged for her growing independence, while men like Arobin face no consequences for their pursuits.
- The hand-kissing incident is trivial in itself, but its social implications (reputation, marriage, morality) weigh heavily on Edna.

Significance in the Novel

This passage is a turning point in Edna’s descent into self-awareness and societal rejection:

It foreshadows her affair with Arobin, which will further alienate her from her husband and community.
It reveals her internal conflict: she wants freedom but is unsure how to achieve it without sacrificing her dignity or happiness.
The contrast between Arobin and Reisz underscores the limited options available to women—either submit to male desire or live as an outcast.

Ultimately, this excerpt illustrates the cost of awakening: Edna is becoming more alive to her own needs, but this awakening is painful and isolating. Chopin does not judge her—instead, she exposes the suffocating norms that make Edna’s struggle inevitable.

Conclusion: Why This Matters

Chopin’s unflinching portrayal of female desire and rebellion was radical for the 1890s. This passage captures the complexity of Edna’s journey—she is neither a victim nor a heroine, but a flawed, human woman navigating impossible choices. The tension between passion and independence remains relevant today, making The Awakening a timeless exploration of female agency.

Would you like a deeper dive into any specific aspect, such as the Creole cultural context or comparisons to other feminist works of the era?

Questions

Question 1

The passage suggests that Edna’s response to Alcée Arobin’s apology is primarily motivated by a desire to:

A. assert her moral superiority by feigning indifference to his advances.
B. suppress her genuine attraction to him through performative detachment.
C. adhere to the social expectations of a married woman in Creole society.
D. maintain a veneer of control while covertly inviting further interaction.
E. punish Arobin for his presumption by exposing his insincerity.

Question 2

The phrase "appealing to the animalism that stirred impatiently within her" functions most significantly to:

A. condemn Edna’s burgeoning sensuality as a regression to primal instincts.
B. highlight the contrast between Edna’s refined exterior and her hidden vulgarity.
C. suggest that Arobin’s influence is corrupting her otherwise pure nature.
D. frame Edna’s desires as a natural but socially transgressive force.
E. imply that her awakening is less about liberation than about carnal indulgence.

Question 3

The relationship between Edna’s interactions with Arobin and her visits to Mademoiselle Reisz can best be described as:

A. complementary, as both figures offer her distinct but equally fulfilling forms of escape.
B. sequential, with Arobin’s sensuality preparing her for Reisz’s spiritual liberation.
C. oppositional, as Arobin embodies societal norms while Reisz rejects them entirely.
D. dialectical, with each representing an extreme that exposes the limitations of the other.
E. incidental, as her engagement with Reisz is unrelated to her evolving dynamic with Arobin.

Question 4

The narrative’s portrayal of Arobin’s "disarming naïveté" and "good-humored subservience" serves chiefly to:

A. underscore his genuine affection for Edna, despite her marital status.
B. critique the performative nature of male charm in patriarchal courtship.
C. illustrate the ease with which Edna manipulates men to suit her whims.
D. reveal the calculated nature of his pursuit beneath a façade of innocence.
E. contrast his sincerity with the hypocrisy of Creole social conventions.

Question 5

The passage’s closing sentence—"It was then, in the presence of that personality which was offensive to her, that the woman, by her divine art, seemed to reach Edna’s spirit and set it free"—primarily conveys:

A. the paradox of finding liberation through an individual one actively dislikes.
B. the superiority of artistic transcendence over fleeting physical pleasures.
C. Edna’s masochistic tendency to seek validation from those who demean her.
D. the idea that true freedom often requires confronting what one resists.
E. a critique of Reisz’s abrasiveness as a necessary evil for Edna’s growth.

Solutions and Explanations

1) Correct answer: D

Why D is most correct: Edna’s reply to Arobin is deliberately "light and bantering" to downplay the significance of his advance, yet her invitation for him to visit signals a subconscious desire for continued engagement. This duality—rejecting the seriousness of the moment while leaving the door open—reveals her need to appear in control even as she craves the interaction. The text emphasizes her strategic ambiguity: she doesn’t want to seem susceptible, but she doesn’t truly want him to disappear either. This aligns with D’s "veneer of control while covertly inviting further interaction."