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Edna's Ribirth

       Who would have thought that after struggling to ignore thoughts of rebellion, then acknowledging them and finally embracing them, Edna Pontellier would resolve in suicide. This end to Chopin's novella shocked most readers, including myself. Since the beginning, we are able to serve as expectors in Edna's 'awakening'. This is why it comes as a shock her decision to succumb to the idea that things won't go as she pleases. Of course Robert's flee adds to the reasons of her suicide, because after all, there was no human being whom she wanted near her except Robert." However, men aren't really Edna's problem. Her problem on the other hand is wanting to belong to herself no one else. She desires to be independent, to not have to rely on anyone but herself. "She would never sacrifice herself for her children." (Chopin, 212) To do this she must go where no woman has gone before to achieve her dreams.

        In the last few pages of The Awakening, Chopin writes, "The water of the Gulf stretched out before her, gleaming with the million lights of the sun," again we are back at the see where Edna had her moment of awakening, realizing her strength and her position in the universe. "The voice of the sea is seductive, never ceasing, whispering, clamoring, murmuring, inviting the soul to wander in abysses of solitude." (Chopin, 212) This sentence caught my attention because it seemed familiar. I then noticed that I had talked about this phrase in a previous blog. Chopin writes the same sentence in chapter VI, as Edna walks into the sea. Besides personifying the sea, saying it has a voice, the phrase serves as symbolism in the novella. Not only does it represent freedom and independence, being at both the beginning and the end of the book, Chopin eludes that Edna's transformation went from the moment she entered the ea. and realized her power, until the moment she entered the sea, but was too overwhelmed to continue with her life. 

        This transformation can be analyzed as a rebirth. When you are born, you are naked and pure. You have not been shaped by society yet and you still conserve your identity. As you continue with your life, you lose that identity and become molded in what society considers you should be. At the end of the novella, Chopin writes, "how strange and awful it seemed to stand naked under the sky… she felt like some new-born creature, opening its eyes in a familiar world that it had never known." (213) The sea is being the medium where Edna is born again and is also where she dies. This "world that it had never known" is the world of Edna when she awakens, and the world she leaves behind is where she dies. Even though technically it's the same sea, the same world, the meaning of each changes and Edna is able to differentiate and decide the one she would like to belong to. 

Imagination and Imagery

Under The Sea

Today I discovered you can upload videos on youtube and then on blogger!!! woohoo finally I conquer technology.

Le Français

       The other day while I was reading Julio Cortazar's novel, Hopscotch, I stumbled upon a few phrases that caught my attention. The reason for this was because they were I French. I realized that was not been the first time it happen. A few weeks later, I began reading Kate Chopin's, The Awakening, and to my surprise, the usage of french expressions was also present. The reason of having french influence in Cortazar's novel was because he himself had lived in France and in the novel, the intellectuals lived in Paris. In Chopin's novel, I would guess the reason behind the french phrases would be because many people with French and Spanish roots lived in Louisiana during Kate Chopin's time. Most of the characters in The Awakening speak French, Spanish, Creole, or all three, in addition to English. But the protagonist Edna Pontellier does not, as she points out in chapter two, "a small infusion of French which seemed to have been lost in dilution." (Chopin,19) As a matter of fact, “Mrs. Pontellier, though she had married a Creole, was not thoroughly at home in the society of Creoles; never before had she been thrown so intimately among them.” (Chopin, 28)

Maybe Both

       In Pedro Virguez's blog, his entry Yes...No responds to an entry Juliana Castro made. As I read what he wrote, I came across some points I wish to discuss. First of all, Pedro feels the story is not a cliché whereas Juliana strongly disagrees. In my opinion, they are both right. Pedro is right when he states that during that time period, feeling or acting the way Mrs. Pontellier does was not normal, ergo could not have been cliché. But if we see the novel in a modern perspective, too many books or stories have been told concerning such topic. So I guess it all comes down to Juliana's title of her entry, Understanding A Different Time: Both arguments are valid depending the time you are talking about. 

Further on in the blog, Pedro mentions how he is in disagreement with Juliana when she says Mrs. Pontellier has no “apparent reason for her sucky marriage”. What I understood in Juliana's blog was that given the example she gave, of Mrs. Pontellier crying as she leaves her bed, she feels that there was no apparent reason for Mrs. Pontellier to do this. In other words, Juliana only said this talking about one specific example, not in general as Pedro thought. Besides this, I would have liked to read more about Pedro's opinion concerning the character analysis presented by Juliana. 

Edna Pontellier

       One of the things I really appreciate author's doing is describing characters so vividly, you can have a perfect image of them in your head. I remember last year we created pictures of Billy from Slaughterhouse Five in order to have a kind of guide we could relate to when reading the book. I realized that by making this picture, I was able to really visualize Billy as the story went on. This is why I decided to make a drawing of how I imagine Edna. Here is a picture of my drawing and a few quotes I chose that best described Edna. 

“Mrs. Pontellier's eyes were quick and bright; they were a yellowish brown, about the color of her hair... Her eyebrows were a shade darker than her hair. They were thick and almost horizontal, emphasizing the depth of her eyes.” (Chopin, 17)

Out For A Swim?

       Before I began reading the novel, I spent a few minutes reading and analyzing the back cover of the book, where Kate Chopin powerfully writes, “She wanted to swim far out, where no woman had swum before.” What I understood from the quote, having in mind it was a feminist book I was reading, was that a woman had a desire to break free from what is considered appropriate for her, and go to a place where no other woman has been. I though the place she was talking about was satisfaction of ones life, knowing that you are doing what who really wish to do, without any limitations. Further on in the novel, I came across a phrase, or a few phrases, that took me back to the quote in the back cover. After having some trouble with a painting, Mrs. Pontellier feels to tired to go out for a swim. But Robert, noticing her attitude, insists in the idea of bathing. “'Oh, come!' he insisted. 'you mustn't miss your bath. Come on. The water must be delicious; it will not hurt you. Come.'” (Chopin, 33) When I read this, I connected it with the quote mentioned before. I thought that maybe what was stopping Mrs. Pontellier from swimming far from what was expected for her, was the feeling of tiredness and purposeless she felt. The same feeling she had when she failed in her attempt of painting. 

Strong Words That Make You Weak

       As I read Kate Chopin's novel The Awakening, I couldn't help noticing a few sentences that degraded the novel's protagonist, Mrs. Pontellier. I classify it as 'degrading' because it's limiting the character's free will to do whatever she pleases.
       When Mrs. Pontellier's son seemed to have a fever, Mr. Pontellier argued that “if it was not a mother's place to look after children, whose on earth was it?” (Chopin, 21) Personally, I look forward to take care of my children when they get sick, or to provide a safe place for them at home, but I don't judge those who don't. Mrs. Pontellier is being judged, by her husband nonetheless, because she prefers spending time painting or doing something she enjoys, rather that sewing, or taking care of her children or any other labour a mother was expected to realize. Chopin then states that “it would have been a difficult matter for Mr. Pontellier to define to his own satisfaction or any one else's wherein his wife failed in her duty toward their children.” (Chopin, 25) The irony used by the author in words like 'duty' help emphasize the ridiculousness of Mr. Pontellier's beliefs of what a wife should be obligated to do.

It is clear that Mrs. Pontellier is unhappy with her life and her husband. There is a constant reminder of this in situations where Mrs. Pontellier socially obligated to defend and praise her husband. “..all declared that Mr. Pontellier was forced to admit that she knew of none better.” (Chopin, 24) Since when does a wife feel forced to feel certain appreciation towards her husband? These examples make me wonder the true reasons behind that marriage, or whether something happened that made Mrs. Pontellier feel differently about her husband. The author let's the reader know that “such experiences as the foregoing were not uncommon in her married life”, so why would Mrs. Pontellier accept this and continue being unhappy?