Rejection of Patriarchy by the Protagonists of “The Storm” and “The Awakening” Both Calixta and Edna reject the roles given them by the societies around them, through similar and dissimilar means: Calixta rebels solely by committing adultery, whereas Edna commits adultery in addition to several other acts which reject the definition of womanhood as defined for her by society. According to Phyllis Chesler, this would constitute both women falling subject to madness as defined by the patriarch of society - “Madness is the rejection, either partial or total of one’s sex role stereotype.” Calixta and Edna both defy the conception of woman as silent and subordinate, for they are neither. By purchasing a separate home, and having the audacity to host dinner parties within, Edna is flagrantly insubordinate; and her insubordination is therefore far from silent. Calixta, similarly is insubordinate; however, her insubordination is through a covert act, making the act itself ‘silent’ to cognizance. Felman states that the woman has been reduced by man to the status of a “silent and subordinate object” (7) Generally, characterized as outcast type characters in literature, ‘madwomen’ are featured as the protagonists in Chopin’s writing. The sociological sexism predominant to the patriarchal societies in which Calixta and Edna lived established their characters as being unique; however the uniqueness was not correlated as a positive attribute to their personage, but as a waywardness to be pitied. Madam Ragtinolle, the portrayal of the ideal patriarchal woman of society in ‘The Awakening’ coddles Edna, and is concerned for her well being and her children as if Edna were not capable of doing so herself. Mdm. Ragtinolle is the narrative device to sympathetically portray a direct interaction of patriarchy with the characters is perceives as helpless and naïve, like Edna. Although Edna is seemingly satisfied in her progressive rebirth; the systematic viewing of patriarchy would be that of Edna as a deprived individual, for she is not indulging herself in the provisions which it (patriarchy) has set forth. Chopin varies from the principles of patriarchy in that men are not the possessors. Men do not direct the destinies of Edna or Calixta. Edna and Calixta both have a man who holds influence, but by their own willingness to allow that element of control. Edna is influenced by Robert, whom she believes she is in love with, and his reactions to her, including his rejection of allowing her to love him affect Edna. This effect on Edna is not the application of patriarchy, for Robert was neither her husband, nor a lover. Calixta’s destiny is influenced by Alcee merely by his presence during the time of the storm. The passions resulting between them were from a previous romantic encounter which was initiated by both wills. Neither woman succumbs to patriarchy in their acts of rebellion; however both realize that they cannot escape it. Calixta, in the end of ‘The Storm’ reverts to the acceptance of patriarchy as dominant of her lifestyle in that she, in subconscious compensation for her adultery, performs the domesticated acts of cooking for her husband and son. Calixta before the affair is portrayed as a figure of domesticity in that Bobinot refers to her keeping the house in dialogue with Bibi at the store, she is sewing before the storm, and that she is rushing to tend to Bobinot’s clothing prior to the storm’s arrival. She is silently insubordinate; outside the picture of patriarchal womanhood, but internally with ideals conflicting to society’s image of her definition. Edna is highly impulsive and wants no way other than her own; her way is such that she refuses to accept the social norms. By allowing herself to awaken and seemingly wander in her thought processes without holding any specific objective in mind Edna is setting herself up for destruction. She recognizes it at points, particularly when describing a childhood memory of wandering in a field on impulse. Although she recognizes the fallacies in her thought processes and herself as a specimen that society will never accept, she continues onward in her endeavors. According to Sullivan and Smith, Edna is not to be admired for acting upon her artistic and sexual impulses. The reinforcement of Edna’s liberation is not found in her suicide at the end of the novel, however displays her “wanton self-destructiveness.” (148) A level of disappointment is experienced when it is understood that Edna’s actions are more impulsive than methodical, however seriousness and depth of Edna’s thoughts of awakening and her emotions tied to it are an aspect of her that is distinguishing and admirable. The Awakening is unique in that it features a woman engaged in an adult emotional relationship. Edna is also set out to be unique in the text she is described as ‘stand(ing) alone.’ Edna recognizes that she is in fact different, revealed in her thoughts and specifically in a dialogue with Alcee Arobin where she tells him that she is a ‘wicked specimen of the species.’ Despite her uniqueness, Edna still falls prey to fantasy. The romanticized French Creole society around her bathes women in fantasy of domesticity; however, Edna chooses her own fantasy of freedom and emancipation. Another separation of Edna from the other women of her time is characterized in her role as a mother. Mostly growing up without her mother, who died when Edna was young, Edna herself does not understand the role of a true maternal figure. Her lack of concern for her children, who are mentioned less and less as Edna experiences rebirth, shows a lack of emphasis on motherhood as a priority in Edna’s life. By moving out of her husband’s house, Edna is taking an action that is almost unfathomable: for all women lived with their children, in the house provided for them by their husband. Although it is her husband’s money which provides for Edna’s separate house, that is not the home in which her and Mr. Pontellier and made for themselves. The new residence does not even include the presence of her husband or children; therefore Edna’s separate house is completely severed from the roles of her domestic life as a wife and mother. According to Thornton, the society in which Edna lived only gave enough freedom to women to tempt them or satisfy them. Society did not meet the needs of Edna, but rather confined them; therefore, Edna Pontellier turned to inward contemplation as a source of personal satisfaction which leads her into conflict with her French Creole society, and eventually conflict with her own contentedness of existence. In general women were satisfied, however, Edna was a unique individual of her society and isolated in many ways, ultimately physically and socially. The society being ‘solidly conventional’ reveals the existence of patriarchy in that the society is following traditional gender roles. The deception of Creole Society which seems to accord women with greater latitude than it is willing to grant. That women could smoke cigarettes, listen to men tell risqué stories, and read French novels soon appears as only a veneer covering a solidly conventional society that titillated itself with flourishes of libertinism. (86) Gender Roles present themselves in the Awakening in the form of being the initiation of need to rebel. The realization of Edna as being ‘personal property’ caused her to feel an oppression and a need to rebel against the society which condoned that oppression. Ironically, the gender role is not escaped despite Edna’s attempts in that Robert is how Edna first discovers her need to rebel. Edna later determines that she is her only source of liberation, and swims out into the ocean, the ultimate reversal of gender role. Edna continues reaching for it herself; however she cannot find the satisfaction that her romantic illusion has created for her therefore her act of swimming out into the sea is the recognition that society has no place for her. (88) By creating a character which provides Edna with support (Mme. Reisz), Chopin is advocating the free spirit of Edna’s new self which she is discovering by giving a characterized support. Mme. Reisz is the confidant of Edna which plays her the music where she temporarily finds her escape. The ultimate point to which Edna is driven, she goes alone, without a friendship supporting her, and thus Chopin’s statement that suicide as escape of society induced gender oppression is not the proper response. As Edna reaches to develop herself, she becomes increasingly detached from reality. As Edna attempts to get away from the romanticism of her Creole society, she falls into another form created by herself. By defying society, Edna recognizes who she is as defined by herself and society, and she is temporarily set free by it; however because there is no place for her, her awakening becomes a burdensome fact which makes her miserable to the point of death. Chopin conveys the benefits of the liberated woman along with the personal detriments especially if the liberation is against the societal norms. By overly depending on the world which liberation provides and detaching from reality, Edna had created for herself something that was unattainable and therefore unbearable.
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Rejection of Patriarchy by the Protagonists of “The Storm” and “The Awakening”
Both Calixta and Edna reject the roles given them by the societies around them, through similar and dissimilar means: Calixta rebels solely by committing adultery, whereas Edna commits adultery in addition to several other acts which reject the definition of womanhood as defined for her by society. According to Phyllis Chesler, this would constitute both women falling subject to madness as defined by the patriarch of society - “Madness is the rejection, either partial or total of one’s sex role stereotype.”
Calixta and Edna both defy the conception of woman as silent and subordinate, for they are neither. By purchasing a separate home, and having the audacity to host dinner parties within, Edna is flagrantly insubordinate; and her insubordination is therefore far from silent. Calixta, similarly is insubordinate; however, her insubordination is through a covert act, making the act itself ‘silent’ to cognizance. Felman states that the woman has been reduced by man to the status of a “silent and subordinate object” (7) Generally, characterized as outcast type characters in literature, ‘madwomen’ are featured as the protagonists in Chopin’s writing.
The sociological sexism predominant to the patriarchal societies in which Calixta and Edna lived established their characters as being unique; however the uniqueness was not correlated as a positive attribute to their personage, but as a waywardness to be pitied. Madam Ragtinolle, the portrayal of the ideal patriarchal woman of society in ‘The Awakening’ coddles Edna, and is concerned for her well being and her children as if Edna were not capable of doing so herself. Mdm. Ragtinolle is the narrative device to sympathetically portray a direct interaction of patriarchy with the characters is perceives as helpless and naïve, like Edna. Although Edna is seemingly satisfied in her progressive rebirth; the systematic viewing of patriarchy would be that of Edna as a deprived individual, for she is not indulging herself in the provisions which it (patriarchy) has set forth. Chopin varies from the principles of patriarchy in that men are not the possessors. Men do not direct the destinies of Edna or Calixta.
Edna and Calixta both have a man who holds influence, but by their own willingness to allow that element of control. Edna is influenced by Robert, whom she believes she is in love with, and his reactions to her, including his rejection of allowing her to love him affect Edna. This effect on Edna is not the application of patriarchy, for Robert was neither her husband, nor a lover. Calixta’s destiny is influenced by Alcee merely by his presence during the time of the storm. The passions resulting between them were from a previous romantic encounter which was initiated by both wills. Neither woman succumbs to patriarchy in their acts of rebellion; however both realize that they cannot escape it.
Calixta, in the end of ‘The Storm’ reverts to the acceptance of patriarchy as dominant of her lifestyle in that she, in subconscious compensation for her adultery, performs the domesticated acts of cooking for her husband and son. Calixta before the affair is portrayed as a figure of domesticity in that Bobinot refers to her keeping the house in dialogue with Bibi at the store, she is sewing before the storm, and that she is rushing to tend to Bobinot’s clothing prior to the storm’s arrival. She is silently insubordinate; outside the picture of patriarchal womanhood, but internally with ideals conflicting to society’s image of her definition.
Edna is highly impulsive and wants no way other than her own; her way is such that she refuses to accept the social norms. By allowing herself to awaken and seemingly wander in her thought processes without holding any specific objective in mind Edna is setting herself up for destruction. She recognizes it at points, particularly when describing a childhood memory of wandering in a field on impulse. Although she recognizes the fallacies in her thought processes and herself as a specimen that society will never accept, she continues onward in her endeavors. According to Sullivan and Smith, Edna is not to be admired for acting upon her artistic and sexual impulses. The reinforcement of Edna’s liberation is not found in her suicide at the end of the novel, however displays her “wanton self-destructiveness.” (148) A level of disappointment is experienced when it is understood that Edna’s actions are more impulsive than methodical, however seriousness and depth of Edna’s thoughts of awakening and her emotions tied to it are an aspect of her that is distinguishing and admirable.
The Awakening is unique in that it features a woman engaged in an adult emotional relationship. Edna is also set out to be unique in the text she is described as ‘stand(ing) alone.’ Edna recognizes that she is in fact different, revealed in her thoughts and specifically in a dialogue with Alcee Arobin where she tells him that she is a ‘wicked specimen of the species.’ Despite her uniqueness, Edna still falls prey to fantasy. The romanticized French Creole society around her bathes women in fantasy of domesticity; however, Edna chooses her own fantasy of freedom and emancipation.
Another separation of Edna from the other women of her time is characterized in her role as a mother. Mostly growing up without her mother, who died when Edna was young, Edna herself does not understand the role of a true maternal figure. Her lack of concern for her children, who are mentioned less and less as Edna experiences rebirth, shows a lack of emphasis on motherhood as a priority in Edna’s life. By moving out of her husband’s house, Edna is taking an action that is almost unfathomable: for all women lived with their children, in the house provided for them by their husband. Although it is her husband’s money which provides for Edna’s separate house, that is not the home in which her and Mr. Pontellier and made for themselves. The new residence does not even include the presence of her husband or children; therefore Edna’s separate house is completely severed from the roles of her domestic life as a wife and mother.
According to Thornton, the society in which Edna lived only gave enough freedom to women to tempt them or satisfy them. Society did not meet the needs of Edna, but rather confined them; therefore, Edna Pontellier turned to inward contemplation as a source of personal satisfaction which leads her into conflict with her French Creole society, and eventually conflict with her own contentedness of existence. In general women were satisfied, however, Edna was a unique individual of her society and isolated in many ways, ultimately physically and socially. The society being ‘solidly conventional’ reveals the existence of patriarchy in that the society is following traditional gender roles.
The deception of Creole Society which seems to accord women with greater latitude than it is willing to grant. That women could smoke cigarettes, listen to men tell risqué stories, and read French novels soon appears as only a veneer covering a solidly conventional society that titillated itself with flourishes of libertinism.
(86) Gender Roles present themselves in the Awakening in the form of being the initiation of need to rebel. The realization of Edna as being ‘personal property’ caused her to feel an oppression and a need to rebel against the society which condoned that oppression. Ironically, the gender role is not escaped despite Edna’s attempts in that Robert is how Edna first discovers her need to rebel. Edna later determines that she is her only source of liberation, and swims out into the ocean, the ultimate reversal of gender role. Edna continues reaching for it herself; however she cannot find the satisfaction that her romantic illusion has created for her therefore her act of swimming out into the sea is the recognition that society has no place for her. (88)
By creating a character which provides Edna with support (Mme. Reisz), Chopin is advocating the free spirit of Edna’s new self which she is discovering by giving a characterized support. Mme. Reisz is the confidant of Edna which plays her the music where she temporarily finds her escape. The ultimate point to which Edna is driven, she goes alone, without a friendship supporting her, and thus Chopin’s statement that suicide as escape of society induced gender oppression is not the proper response. As Edna reaches to develop herself, she becomes increasingly detached from reality. As Edna attempts to get away from the romanticism of her Creole society, she falls into another form created by herself. By defying society, Edna recognizes who she is as defined by herself and society, and she is temporarily set free by it; however because there is no place for her, her awakening becomes a burdensome fact which makes her miserable to the point of death. Chopin conveys the benefits of the liberated woman along with the personal detriments especially if the liberation is against the societal norms. By overly depending on the world which liberation provides and detaching from reality, Edna had created for herself something that was unattainable and therefore unbearable.
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