Chopin\'s Definition of Motherhood

Awakening

In today's culture it is sometimes easy to forget the progress women have made in regards to determining their own future, personal freedom, and changing the definition of their societal roles. Women can run for president, take charge of multi-billion dollar corporations, decide to pursue (or not) motherhood; modern culture embraces feminism and a woman's right to choose. The freedom women have today is inherited through a long series of struggles, women slowly breaking down barriers. Kate Chopin is an early advocate for altering the role of women in society. The Awakening is an honest portrayal of an 18th century women dissatisfied with her life, and more urgently trapped by the constraints of society. Chopin demonstrates to her contemporaries that women are not defined by the societal expectations, some women can and do want more than motherhood and wifehood. This paper will argue that Chopin believed that women were held to idealized and therefore unrealistic expectations, and societal institutions limited the freedom of women.

Chapter 4 introduces the reader to the term mother-women, a moniker that refers to the ideal woman of the time. The beginning of the chapter begins with Mr. Pontellier asserting that Edna is not a mother-woman; she fails to devote herself completely to her husband and children. In the previous chapter, Leonce is disappointed with his wife, in "her inattention, her habitual neglect of the children. If it was not a mother's place to look after children, whose on earth was it?" (Chopin, The Awakening) in his eyes, his wife failed in her duty as mother, "In short, Mrs. Pontellier was not a mother-woman." Chopin uses Leonce as the personification of society, who echoes society's disapproval towards a woman who is not overly affectionate towards her children. However, while Leonce and society disapprove, Chopin does not.

She subtly hints at how children raised in a different manner than those upheld by society can benefit. She describes Edna's sons as "he would more likely pick himself up, wipe the water out of his eyes and the sand out of his mouth, and go on playing. Tots as they were, they pulled together and stood their ground in childish battles with doubled fists and uplifted voices, which usually prevailed against the other mother-tots." (Chopin, The Awakening). Chopin is applauding Edna's mothering style, commenting on the potential physical and emotional strength that comes from not coddling your children. It is poignant that Chopin also picked characteristics that many Americans think of as positive such as individualism and strength. A deeper reading of the passage, may even suggest that her children derive their strength from Edna's strength of character. Chopin then contrasts Edna and her children, to the ideal Adele Ratignolle.

Adele Ratignolle, was a true mother-woman, who "idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels." (Chopin, The Awakening). Chopin uses lofty words to describe Adele, a reflection of how society thought women should be. Chopin continues to describe her as, "the bygone heroine of romance and the fair lady of our dreams." (Chopin, The Awakening). The heroines of old tales are usually damsels in distress, waiting for their prince charming to save them. They are completely dependent on their male counterparts, unable to free themselves by their own efforts. Chopin describing Adele in such a manner is a critique on motherhood, the expectations associated with the role are too high and therefore, constraining. In order to fit the perfect mold of motherhood, a woman needs to lack ambition, and is completely subservient to her husband and children. Edna challenges this expectation by eventually wanting more for herself and refusing to let the title of mother completely define her.