Edna Pontillier In Kate Chopin's The Awakening

In Kate Chopin’s The Awakening the Edna Pontillier evolves throughout the novel and her identity is complex. Edna Pontillier is slowly awakened by Madam Reicz’s music and Madam Ratignolle’s company. In this novel the imagery of the ocean, the allusions to the bible, and interactions amongst Edna and other female characters characterize Edna as Aphrodite. In a time of men and patriarchy Chopin’s The Awakening made a statement. Her character, Edna Pontillier, became an independent woman who did not need a man. Rumor has it that the novel was an allusion to the author. Chopin and Edna are both female artists that try to pursue their artistic passion in a society that does not find such behavior appropriate for a woman. Both of these women live …show more content…
Pontillier’s spinal column. […] She trembled, she was choked and the tears blinded her.”(Chopin 33-4) Just like the sea, the music spoke to her soul and empowered Edna. As Showalter points out “the pianist first plays a Chopin prelude.”(Showalter 316) This reference to Chopin the great muse and the author hints toward a strong empowerment of Edna’s artistic side, which is not supported by her society. This experience with Mademoiselle Reisz influences Edna. The pianist stands for the life Edna can pursue: a life that is unconventional but would bring happiness to her. Mademoiselle Reisz was a widow who immersed herself in music; whereas, Madam Ratignolle was “the empress of the ‘mother women’ of Grand Isle.”(Showalter …show more content…
Aphrodite is born from the sea: Edna is also born from the sea and the ocean is her element. Edna describes the voice of the sea as “seductive, never ceasing, whispering […] inviting the soul to wonder […] in the abysses of solitude […] inward contemplation.”(Chopin 17) To further support this notion Gilbert states that “the new energy and her new ambitions are symbolically fostered by […] mythical associations of […] water” (Chopin 17) Then the allusion to the Last Supper fits in place with the theory that Edna is Aphrodite. As suggested by Gilbert Edna is the female version of the myth of Jesus; the fact that only a dozen were invited to the dinner party at the pigeon house alludes to the pivotal moment in the Bible where Jesus took a stand with his disciples one last time. After this dinner party Edna takes a stand and “she had resolved to never again belong to another than herself.” (Chopin 135) Edna had transformed into her true goddess state which revealed “her attitude […] suggested the regal woman […] who stands alone” (Chopin 117-8) Gilbert interprets the end of the novel with “she swims not only toward a female paradise but out of a one of a grand novel.” (Gilbert