Dawn In Kate Chopin's The Awakening
In Kate Chopin’s book The Awakening, the title holds a significant but complex meaning. Throughout the book, the main character, Edna Pontellier, experiences various awakenings in different ways; she has an awakening of herself as an artist when she tries to paint, a realisation that she can appreciate music, a realisation of what love is, along with realisations of who she is and how unfulfilling her life is. Edna also experiences freedom for the first time; she comprehends deeper understanding of how she is her own person and how she is not bound by other people’s expectations. These understandings are awakenings to Edna, who seems to have lived much of her life without more poignant thought or defiance. Chopin uses this proliferation of
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However, Chopin also contrasts this light with “shadowy anguish” giving the idea that although Edna seems to have ‘awoken’ from her stupor she is still clouded in many aspects of what she feels. Continuing throughout the book, Edna remains in a deep thought, which also suggests that she has not fully emerged and still continues to be slightly outside of what is real. In the short length of chapter six Chopin abridges Edna’s most significant spiritual awakening throughout the book; capturing the wisdom that is slowly descending upon Edna. After chapter six there seems to be a change and over the course of her time in Grand Isle her reticent character seems to erode. She exposes a stronger sense of herself through her relationship with Robert; his insouciant flirting seems to inspire Edna to reveal herself more to others. Despite this, she still seems to be living a “dual life-the outward existence which she conforms, the inward life which she questions” which could refer back to her mechanized way of life. It becomes evident that as Edna experiences her awakening she begins to blur the lines of these dual lives. This interlacing is shown, most clearly, through her attitude towards her husband and friends and the way in which her social interactions begins to
However, Chopin also contrasts this light with “shadowy anguish” giving the idea that although Edna seems to have ‘awoken’ from her stupor she is still clouded in many aspects of what she feels. Continuing throughout the book, Edna remains in a deep thought, which also suggests that she has not fully emerged and still continues to be slightly outside of what is real. In the short length of chapter six Chopin abridges Edna’s most significant spiritual awakening throughout the book; capturing the wisdom that is slowly descending upon Edna. After chapter six there seems to be a change and over the course of her time in Grand Isle her reticent character seems to erode. She exposes a stronger sense of herself through her relationship with Robert; his insouciant flirting seems to inspire Edna to reveal herself more to others. Despite this, she still seems to be living a “dual life-the outward existence which she conforms, the inward life which she questions” which could refer back to her mechanized way of life. It becomes evident that as Edna experiences her awakening she begins to blur the lines of these dual lives. This interlacing is shown, most clearly, through her attitude towards her husband and friends and the way in which her social interactions begins to