The Role of Mademoiselle Reisz in Edna's Awakening by Zi Yang on Prezi
"If I were young and in love with a man," said Mademoiselle, turning on the stool and pressing her wiry hands between her knees as she looked down at Edna. Edna Pontellier and Mlle. Reisz. Mlle. Reisz is unique from other Victorian women. She lives through her art and her passions, rather than. The main character of the novel is Edna Pontellier and she had two very good female friends named Mademoiselle Reisz, and Adele Ratignolle. These two.
Throughout The Awakening, Edna increasingly distances herself from the image of the mother-woman, until her suicide, which serves as the total opposite of the mother-woman image.
Adele Ratignolle and Mademoiselle Reisz, the two important female subsidary characters, provide the two different identities Edna associates with.
For Edna, Adele appears unable to perceive herself as an individual human being. She possesses no sense of herself beyond her role as wife and mother, and therefore Adele exists only in relation to her family, not in relation to herself or the world.
Edna desires individuality, and the identity of a mother-woman does not provide that. In contrast to Adele Ratignolle, Mademoiselle Reisz offers Edna an alternative to the role of being yet another mother-woman. Mademoislle Reisz has in abundance the autonomy that Adele completely lacks.
Although she has a secure sense of her own individuality and autonomy, her life lacks love, friendship, or warmth.
Edna’s Relationships in Kate Chopin’s The Awakening
More honest in self-awareness than Adele, more dependent on human relationships than Reisz. So her thoughts as she walks into the sea comment profoundly on the identity problems that women face: They were a part of her life. In stark contrast, Mademoiselle Reisz is disliked by and dislikes almost everyone, lacking interpersonal skills, fashion sense, and physical attractiveness. Yet her performance is that of a master, stirring everyone within earshot with the power of music.
Edna is particularly affected by the music, which "sent a keen tremor" down her spine. Note the connection between music and the sea: Her visceral reaction is an indication of her awakening desire to experience some great passion in her life; "her being was tempered to take an impress of the abiding truth" for the first time.
In Chapter 10, the mock romance Robert has been indulging in with Edna begins to assume a genuine air. In response to Madame Ratignolle's advice, he has been avoiding Edna some days, causing her to miss him "just as one misses the sun on a cloudy day without having thought much about the sun when it was shining" — hardly a passionate state to begin with. Yet Edna experiences in Chapter 10 a breakthrough in her ability to swim, which symbolizes the blossoming of her desire to leave behind social constraints, "to swim far out, where no woman had swum before.
After her initial bold progress into the Gulf, she soon finds that she has swum farther out than she can actually swim back — she has made more progress than she can handle.
Again her death is foreshadowed when she is struck by "a quick vision of death" that terrifies her. Edna's childlike aspect is emphasized in the description of her as a "little tottering, stumbling, clutching child, who of a sudden realizes its powers, and walks for the first time alone, boldly and with over-confidence.
The Awakening: Characterization of Mademoiselle Reisz, Adele by Zoe Xypteras on Prezi
Chapter 10 ends with the beginning of Edna's deeper entanglement with Robert. When he tells her the tale of the Gulf spirit whom she has captivated, he is also referring to himself. After the powerful music and the liberating swim, Edna is primed for further emotional stimulation and Robert is there to further his romantic interests with the one woman who may take him seriously in that regard.
Chapter 11 demonstrates Edna's potential for defiance. When she insists that she will remain in the hammock as long as she likes, his response is calm and methodical: His cigar-smoking presence is stifling to Edna's rebellious mood. In fact, he outdoes her when he remains on the porch after she herself yields to the physical need for sleep and goes inside to bed.
These small defeats indicate her greatest weakness: Edna's spirit is strong enough to begin a rebellion but too weak to maintain it.