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59 pages 1 hour read

Kate Chopin

The Awakening

Fiction | Novel | Adult | Published in 1899

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Chapters 20-24Chapter Summaries & Analyses

Chapter 20 Summary

One day in November, when Edna feels especially discouraged, she decides to go to Mademoiselle Reisz’s house. Edna wants to listen to the woman play, hoping that the music will lift her spirits. When Edna reaches Mademoiselle Reisz’s house, she finds out that Reisz no longer lives there. Determined to find her new address, she heads to the Lebruns’ house.

She is greeted by Victor, Robert’s brother. While they are waiting for Madame Lebrun, Victor tells Edna a story about his dalliances the previous evening, which Edna finds very entertaining. Madame Lebrun appears, complaining about how boring life in New Orleans is and how few people she sees these days. Victor shares with Edna what Robert has written in the two letters he had sent them from Mexico. Edna is upset to find out that Robert did not leave a message for her. She asks about Mademoiselle Reisz and acquires her new address from Madam Lebrun. After Edna had gone to visit Mademoiselle Reisz, Madame Lebrun and Victor share their observations about how Edna has become even more gorgeous, and Victor concludes that in some ways, “she doesn’t seem like the same woman” (159). 

Chapter 21 Summary

Mademoiselle Reisz is happy and surprised when Edna arrives at her door. Edna tells Reisz right away that Edna still doesn’t know if she likes Reisz or not. Mademoiselle Reisz finds Edna’s candidness appealing. The two women converse and Reisz brings up the topic of Robert, and how he had sent her a letter, where he writes not about himself, but mostly about Edna. Edna begs to read the letter but Mademoiselle Reisz tells her that although it is about her, it is not addressed to her. Nevertheless, Reisz offers to play for Edna, because that’s what Robert had asked her to do in his letter. Edna pleads for Mademoiselle Reisz to play the piano and to show her Robert’s letter incessantly.

Edna shares with Mademoiselle Reisz her intentions to become an artist; Reisz does not hide her astonishment. She warns Edna that it’s not easy to be an artist, as an artist must possess “a courageous soul […] that dares and defies” (165). Edna assures her that she is persistent, if not brave, and begs her again to play the piano and to show her the letter. Mademoiselle Reisz gives in to Edna’s pleas, hands her the letter, and begins to play Chopin’s Impromptu. The music moves Edna and she cries as Mademoiselle Reisz plays the Impromptu and “Isolde’s Song.” Edna cries “just as she had wept one midnight at Grand Isle when strange, new voices awoke in her” (167). It is already quite late when Edna leaves Mademoiselle Reisz’s house. Before Edna goes away, Reisz assures her that she can visit her at any time.

Chapter 22 Summary

Concerned about Edna’s health, Léonce decides to consult Doctor Mandelet, the family’s physician and Léonce’s friend. Léonce tells the doctor that Edna “has got some sort of notion in her head concerning the eternal rights of women” (170). Doctor Mandelet asks if Edna has become friends with the so-called “pseudo-intellectual women” (171), to which Léonce replies that now she mostly spends time alone and does not see anyone at all, and has even abandoned her Tuesday receptions and spends her days wandering the streets alone.

Realizing that Edna’s surroundings are not a reason for her metamorphosis, Doctor Mandelet asks about her family history. Léonce does not think that the reason for such behavior may be found in Edna’s family, because she had received an exemplary Christian upbringing. Despite this, he admits that Edna’s younger sister, Janet, “is something of a vixen” (172). Doctor Mandelet advises Léonce to let Edna go to her sister’s wedding so that she can spend time with her family. Léonce is not sure if Edna wants to go to the wedding, because once she told him that “a wedding is one of the most lamentable spectacles on earth” (172). Doctor Mandelet thinks for a while, and finally advises Léonce to leave Edna alone for a while and let her do as she pleases. He thinks that this is only “some passing whim” (173) that will go away soon. He even suggests that Léonce allow her to stay home alone when he goes on a business trip, if she decides that this is what she wants to do. Doctor Mandelet does not tell Léonce about his suspicion that the cause for Edna’s strange behavior might lie in another man, and instead promises to attend dinner at the Pontellier home to talk to Edna and to observe her himself.

Chapter 23 Summary

Edna’s father, a former colonel in the Confederate Army, pays a visit to the Pontellier family. He came to the city to search for a wedding gift and to buy himself a new suit. Edna is not very close with her father, but she finds his company enjoyable. As soon as he arrives, Edna sketches him in her studio. Edna’s father does not make fun of her painting, and instead is willing to pose for her at every opportunity. Edna decides to go with him to Adèle’s house, to listen to her play the piano. Once they get there, Adèle compliments Edna’s father unceasingly. Léonce does not attend the event, as he prefers to spend his time at the club. Adèle does not hide the fact that she finds it inappropriate that Léonce is always at the club. She adds that instead of spending the time apart, Edna and Léonce should make an effort to spend more time together. Edna finds this idea ridiculous because they “wouldn’t have anything to say to each other” (179).

Edna appreciates the companionship of her father but she realizes that her interest in him will likely fade soon. Doctor Mandelet comes to dinner but notices nothing disturbing in Edna’s behavior. On the contrary, she seems to him radiant, as she relates her day at the racetrack, where she and her father socialized with Mrs. Merriman, Mrs. Highcamp, and Alcée Arobin. At the dinner table, everyone takes turns telling stories for entertainment: the Colonel speaks of war times, Léonce recalls memories from his youth, and the doctor tells a tale of a female patient who fell in love with another man but eventually returned her devotion to her husband. Edna counters his story with a fictional tale about a woman and her lover who rowed away one night in a small boat and disappeared forever. Edna pretends to have heard the story from Madame Antoine but the doctor perceives the implications of her tale, and fears that some other man enamored her. On his way home, he says to himself, “I hope to heaven it isn’t Alcée Arobin” (184).

Chapter 24 Summary

Edna is glad when her father’s visit is over, as the two have clashed over Edna not wanting to attend Janet’s wedding. Léonce does not intervene, adhering to the doctor’s suggestion and letting Edna do what she pleases. Instead, he decides to attend the wedding himself, in order to compensate for Edna’s absence. The Colonel criticizes Léonce’s lack of control over Edna, saying that being more commanding is the only way to manage a wife. When Léonce is about to leave for his extended business trip to New York, Edna suddenly becomes attentive to him, remembering many of his acts of kindness towards her. The children are also leaving for a while, in order to spend some time with Léonce’s mother, Madame Pontellier, in the countryside. Once alone, Edna feels that “a radiant peace settles upon her” (187). She wanders through her house and gardens as if for the first time, eats her dinner alone, and reads a book before going to bed.

Chapters 20-24 Analysis

Edna, while searching for Mademoiselle Reisz’s address, realizes that “her desire to see Mademoiselle Reisz had increased tenfold since these unlooked-for obstacles had arisen to thwart it” (152). This is yet another expression of Edna desiring the unobtainable, which is exaggerated in the light of her recent transformation. Becoming more and more rebellious, Edna tends to desire that which is denied for perhaps no more reason than the denial. This casts doubt on the sincerity of all her previous infatuations, as well as the cause of her current feelings for Robert.

Madame Lebrun’s house “from the outside looked like a prison” (153) because of iron bars that “were a relic of the old régime, and no one has ever thought of dislodging them” (153). The bars serve as a symbol of social constraints enforced upon women, and even though they are no longer appropriate, no one examines them closely enough to see that they belong in the past and should be removed.

Robert’s brother, Victor, who is notorious for his rebellious spirit, is one of the few people to recognize the change that’s occurred in Edna’s character, and remarks to his mother that Edna “doesn’t seem like the same woman” (139). Although Edna has never been close to Victor, she finds herself enjoying his company and his stories. On the contrary, the difference between Edna and Adèle intensifies. Adèle, who exemplifies the ideal “mother-woman,” and who seems to enjoy her domesticity, sees art not as a means to express one’s emotions, but as a social tool. Meanwhile, Edna drifts even further away from her maternal responsibilities and social obligations and wants to immerse herself in her art.

As Edna finds herself distanced from Adèle, she grows close to Mademoiselle Reisz, who is an independent woman and an inspiration for Edna. Reisz loves playing music and disregards the opinions of people around her. Mademoiselle Reisz helps Edna reconnect not only with her art, but also with Robert, since she is the only one to whom he reveals his feelings for Edna.

After playing the piece that Robert had asked her to play for Edna, Chopin’s Impromptu, Mademoiselle Reisz starts playing a song from Wagner’s opera Tristan and Isolde. The two main characters of the opera resemble Edna and Robert: Isolde is a married woman and Tristan is a single man so they can be together only in death. By choosing to play this piece, Mademoiselle Reisz demonstrates her understanding of the passion that Robert and Edna felt for each other.

Léonce, who does not look beyond conventional views of women’s behavior, sees Edna’s newfound self-awareness and independence merely as a sign of mental illness. Doctor Mandelet, who is much more perceptive, intends his story at dinner to be a warning to Edna. Instead of hiding her understanding of the doctor’s intention, Edna demonstrates that she understands it by comprising her own tale about a woman who escapes with her lover. Edna’s story represents her ideal resolution to her current situation. She tells it in such detail that it becomes clear that for her the tale is not about the ending, it’s about the unfolding of events—the experience, rather than consequences.

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