The Awakening

by Kate Chopin


Previous Chapter Next Chapter

Chapter III


It was eleven o'clock that night when Mr. Pontellier returned from Klein's hotel. He was in an excellent humor, in high spirits, and very talkative. His entrance awoke his wife, who was in bed and fast asleep when he came in. He talked to her while he undressed, telling her anecdotes and bits of news and gossip that he had gathered during the day. From his trousers pockets he took a fistful of crumpled bank notes and a good deal of silver coin, which he piled on the bureau indiscriminately with keys, knife, handkerchief, and whatever else happened to be in his pockets. She was overcome with sleep, and answered him with little half utterances.

He thought it very discouraging that his wife, who was the sole object of his existence, evinced so little interest in things which concerned him, and valued so little his conversation.

Mr. Pontellier had forgotten the bonbons and peanuts for the boys. Notwithstanding he loved them very much, and went into the adjoining room where they slept to take a look at them and make sure that they were resting comfortably. The result of his investigation was far from satisfactory. He turned and shifted the youngsters about in bed. One of them began to kick and talk about a basket full of crabs.

Mr. Pontellier returned to his wife with the information that Raoul had a high fever and needed looking after. Then he lit a cigar and went and sat near the open door to smoke it.

Mrs. Pontellier was quite sure Raoul had no fever. He had gone to bed perfectly well, she said, and nothing had ailed him all day. Mr. Pontellier was too well acquainted with fever symptoms to be mistaken. He assured her the child was consuming at that moment in the next room.

He reproached his wife with 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? He himself had his hands full with his brokerage business. He could not be in two places at once; making a living for his family on the street, and staying at home to see that no harm befell them. He talked in a monotonous, insistent way.

Mrs. Pontellier sprang out of bed and went into the next room. She soon came back and sat on the edge of the bed, leaning her head down on the pillow. She said nothing, and refused to answer her husband when he questioned her. When his cigar was smoked out he went to bed, and in half a minute he was fast asleep.

Mrs. Pontellier was by that time thoroughly awake. She began to cry a little, and wiped her eyes on the sleeve of her peignoir. Blowing out the candle, which her husband had left burning, she slipped her bare feet into a pair of satin mules at the foot of the bed and went out on the porch, where she sat down in the wicker chair and began to rock gently to and fro.

It was then past midnight. The cottages were all dark. A single faint light gleamed out from the hallway of the house. There was no sound abroad except the hooting of an old owl in the top of a water-oak, and the everlasting voice of the sea, that was not uplifted at that soft hour. It broke like a mournful lullaby upon the night.

The tears came so fast to Mrs. Pontellier's eyes that the damp sleeve of her peignoir no longer served to dry them. She was holding the back of her chair with one hand; her loose sleeve had slipped almost to the shoulder of her uplifted arm. Turning, she thrust her face, steaming and wet, into the bend of her arm, and she went on crying there, not caring any longer to dry her face, her eyes, her arms. She could not have told why she was crying. Such experiences as the foregoing were not uncommon in her married life. They seemed never before to have weighed much against the abundance of her husband's kindness and a uniform devotion which had come to be tacit and self-understood.

An indescribable oppression, which seemed to generate in some unfamiliar part of her consciousness, filled her whole being with a vague anguish. It was like a shadow, like a mist passing across her soul's summer day. It was strange and unfamiliar; it was a mood. She did not sit there inwardly upbraiding her husband, lamenting at Fate, which had directed her footsteps to the path which they had taken. She was just having a good cry all to herself. The mosquitoes made merry over her, biting her firm, round arms and nipping at her bare insteps.

The little stinging, buzzing imps succeeded in dispelling a mood which might have held her there in the darkness half a night longer.

The following morning Mr. Pontellier was up in good time to take the rockaway which was to convey him to the steamer at the wharf. He was returning to the city to his business, and they would not see him again at the Island till the coming Saturday. He had regained his composure, which seemed to have been somewhat impaired the night before. He was eager to be gone, as he looked forward to a lively week in Carondelet Street.

Mr. Pontellier gave his wife half of the money which he had brought away from Klein's hotel the evening before. She liked money as well as most women, and, accepted it with no little satisfaction.

“It will buy a handsome wedding present for Sister Janet!” she exclaimed, smoothing out the bills as she counted them one by one.

“Oh! we'll treat Sister Janet better than that, my dear,” he laughed, as he prepared to kiss her good-by.

The boys were tumbling about, clinging to his legs, imploring that numerous things be brought back to them. Mr. Pontellier was a great favorite, and ladies, men, children, even nurses, were always on hand to say goodby to him. His wife stood smiling and waving, the boys shouting, as he disappeared in the old rockaway down the sandy road.

A few days later a box arrived for Mrs. Pontellier from New Orleans. It was from her husband. It was filled with friandises, with luscious and toothsome bits—the finest of fruits, pates, a rare bottle or two, delicious syrups, and bonbons in abundance.

Mrs. Pontellier was always very generous with the contents of such a box; she was quite used to receiving them when away from home. The pates and fruit were brought to the dining-room; the bonbons were passed around. And the ladies, selecting with dainty and discriminating fingers and a little greedily, all declared that Mr. Pontellier was the best husband in the world. Mrs. Pontellier was forced to admit that she knew of none better.

Frequently Asked Questions about Chapter III from The Awakening

What happens in Chapter III of The Awakening?

Mr. Pontellier returns late from Klein's hotel and wakes Edna to share gossip, but she is too sleepy to engage. He checks on their children, then accuses Edna of neglecting them by claiming their son Raoul has a fever — which Edna disputes. After he falls asleep, Edna retreats to the porch and cries uncontrollably past midnight, overcome by an oppression she cannot name. The next morning Pontellier departs for New Orleans, leaving Edna money. Days later he sends a lavish box of delicacies, and the neighboring ladies declare him the best husband in the world.

Why does Edna cry on the porch in Chapter III?

Edna's tears are not a direct response to the argument with her husband — Chopin makes clear that such disputes "were not uncommon in her married life." Instead, her crying stems from an "indescribable oppression" that seems to originate in "some unfamiliar part of her consciousness." This is the first manifestation of Edna's awakening: a deep, formless dissatisfaction with her constrained role as wife and mother that she cannot yet articulate. She does not blame Léonce or lament her fate; the anguish is existential rather than situational, representing the first crack in the emotional surface she has maintained throughout her marriage.

What does the sea symbolize in Chapter III of The Awakening?

The sea in Chapter III is described as having an "everlasting voice" that "broke like a mournful lullaby upon the night." This paradoxical image — simultaneously eternal and sorrowful, soothing and melancholic — establishes the sea as a complex symbol throughout the novel. It represents both freedom and danger, comfort and the unknown. In this midnight scene, the sea's voice accompanies Edna's first experience of deep, unnameable grief, linking the natural world to her inner emotional awakening. The sea will return as the novel's central symbol, ultimately becoming the site of Edna's final, decisive act.

How does Mr. Pontellier treat Edna in Chapter III?

Mr. Pontellier's treatment of Edna reveals the patriarchal assumptions underlying their marriage. He wakes her from sleep to demand her attention, grows irritated when she is too drowsy to be interested in his conversation, and reproaches her for what he calls "habitual neglect of the children" — despite Edna's insistence that Raoul is perfectly well. He lectures her in a "monotonous, insistent way" about a mother's duties, claiming his brokerage business prevents him from doing more at home. Yet he falls asleep within half a minute while Edna lies awake in distress. Chopin contrasts his emotional obliviousness with his material generosity: the gifts he later sends earn him public praise as "the best husband in the world," exposing how society measures marital worth in material rather than emotional terms.

What is the significance of the gifts Mr. Pontellier sends in Chapter III?

The lavish box of friandises — fine fruits, patés, syrups, and bonbons — that Mr. Pontellier sends from New Orleans functions as a symbol of material wealth substituting for emotional intimacy. He forgot the bonbons and peanuts he had promised the boys, but compensates with an even more extravagant gesture. The gifts earn him the neighbors' admiration and the declaration that he is "the best husband in the world." This scene reveals how Creole society conflates financial generosity with genuine devotion. Edna is "forced to admit that she knew of none better" — and the word forced carries heavy dramatic irony, suggesting that social pressure, not heartfelt conviction, drives her agreement.

What literary devices does Kate Chopin use in Chapter III of The Awakening?

Chopin employs several significant literary devices in this chapter:

  • Dramatic irony — The ladies' declaration that Mr. Pontellier is "the best husband in the world" directly contradicts what the reader has just witnessed. Edna's being "forced to admit" she knew of none better undercuts the praise with quiet subversion.
  • Symbolism — The sea's "mournful lullaby" blends comfort and sorrow; the owl's solitary hooting suggests isolation and emerging wisdom; the mosquitoes represent petty reality intruding on deeper contemplation.
  • Contrast and juxtaposition — Mr. Pontellier falls asleep in "half a minute" while Edna lies awake for hours, structurally mirroring the imbalance of awareness between them.
  • Foreshadowing — The "indescribable oppression" from an "unfamiliar part of her consciousness" anticipates Edna's full psychological and social awakening across the novel.
  • Imagery — The midnight porch scene is rich with sensory detail: the dark cottages, faint hallway light, and Edna's "steaming and wet" face pressed into her arm.

 

Previous Chapter Next Chapter
Return to the The Awakening Summary Return to the Kate Chopin Library