The Awakening

by Kate Chopin


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Chapter IV


It would have been a difficult matter for Mr. Pontellier to define to his own satisfaction or any one else's wherein his wife failed in her duty toward their children. It was something which he felt rather than perceived, and he never voiced the feeling without subsequent regret and ample atonement.

If one of the little Pontellier boys took a tumble whilst at play, he was not apt to rush crying to his mother's arms for comfort; he would more likely pick himself up, wipe the water out of his eves 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. The quadroon nurse was looked upon as a huge encumbrance, only good to button up waists and panties and to brush and part hair; since it seemed to be a law of society that hair must be parted and brushed.

In short, Mrs. Pontellier was not a mother-woman. The motherwomen seemed to prevail that summer at Grand Isle. It was easy to know them, fluttering about with extended, protecting wings when any harm, real or imaginary, threatened their precious brood. They were women who idolized their children, worshiped their husbands, and esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels.

Many of them were delicious in the role; one of them was the embodiment of every womanly grace and charm. If her husband did not adore her, he was a brute, deserving of death by slow torture. Her name was Adele Ratignolle. There are no words to describe her save the old ones that have served so often to picture the bygone heroine of romance and the fair lady of our dreams. There was nothing subtle or hidden about her charms; her beauty was all there, flaming and apparent: the spun-gold hair that comb nor confining pin could restrain; the blue eyes that were like nothing but sapphires; two lips that pouted, that were so red one could only think of cherries or some other delicious crimson fruit in looking at them. She was growing a little stout, but it did not seem to detract an iota from the grace of every step, pose, gesture. One would not have wanted her white neck a mite less full or her beautiful arms more slender. Never were hands more exquisite than hers, and it was a joy to look at them when she threaded her needle or adjusted her gold thimble to her taper middle finger as she sewed away on the little night-drawers or fashioned a bodice or a bib.

Madame Ratignolle was very fond of Mrs. Pontellier, and often she took her sewing and went over to sit with her in the afternoons. She was sitting there the afternoon of the day the box arrived from New Orleans. She had possession of the rocker, and she was busily engaged in sewing upon a diminutive pair of night-drawers.

She had brought the pattern of the drawers for Mrs. Pontellier to cut out—a marvel of construction, fashioned to enclose a baby's body so effectually that only two small eyes might look out from the garment, like an Eskimo's. They were designed for winter wear, when treacherous drafts came down chimneys and insidious currents of deadly cold found their way through key-holes.

Mrs. Pontellier's mind was quite at rest concerning the present material needs of her children, and she could not see the use of anticipating and making winter night garments the subject of her summer meditations. But she did not want to appear unamiable and uninterested, so she had brought forth newspapers, which she spread upon the floor of the gallery, and under Madame Ratignolle's directions she had cut a pattern of the impervious garment.

Robert was there, seated as he had been the Sunday before, and Mrs. Pontellier also occupied her former position on the upper step, leaning listlessly against the post. Beside her was a box of bonbons, which she held out at intervals to Madame Ratignolle.

That lady seemed at a loss to make a selection, but finally settled upon a stick of nougat, wondering if it were not too rich; whether it could possibly hurt her. Madame Ratignolle had been married seven years. About every two years she had a baby. At that time she had three babies, and was beginning to think of a fourth one. She was always talking about her “condition.” Her “condition” was in no way apparent, and no one would have known a thing about it but for her persistence in making it the subject of conversation.

Robert started to reassure her, asserting that he had known a lady who had subsisted upon nougat during the entire—but seeing the color mount into Mrs. Pontellier's face he checked himself and changed the subject.

Mrs. Pontellier, though she had married a Creole, was not thoroughly at home in the society of Creoles; never before had she been thrown so intimately among them. There were only Creoles that summer at Lebrun's. They all knew each other, and felt like one large family, among whom existed the most amicable relations. A characteristic which distinguished them and which impressed Mrs. Pontellier most forcibly was their entire absence of prudery. Their freedom of expression was at first incomprehensible to her, though she had no difficulty in reconciling it with a lofty chastity which in the Creole woman seems to be inborn and unmistakable.

Never would Edna Pontellier forget the shock with which she heard Madame Ratignolle relating to old Monsieur Farival the harrowing story of one of her accouchements, withholding no intimate detail. She was growing accustomed to like shocks, but she could not keep the mounting color back from her cheeks. Oftener than once her coming had interrupted the droll story with which Robert was entertaining some amused group of married women.

A book had gone the rounds of the pension. When it came her turn to read it, she did so with profound astonishment. She felt moved to read the book in secret and solitude, though none of the others had done so,—to hide it from view at the sound of approaching footsteps. It was openly criticised and freely discussed at table. Mrs. Pontellier gave over being astonished, and concluded that wonders would never cease.

Frequently Asked Questions about Chapter IV from The Awakening

What does the term "mother-woman" mean in Chapter IV of The Awakening?

Kate Chopin coins the term "mother-woman" to describe women at Grand Isle who devote themselves entirely to their husbands and children, "esteemed it a holy privilege to efface themselves as individuals and grow wings as ministering angels." These women define their worth solely through domestic service. Edna Pontellier is explicitly described as not a mother-woman, establishing a central tension in the novel between individual desire and the self-sacrificing maternal ideal of late nineteenth-century Creole society.

How does Adele Ratignolle serve as a foil to Edna Pontellier in Chapter IV?

Adèle Ratignolle is presented as the supreme example of the mother-woman ideal—beautiful, graceful, and wholly absorbed in domesticity. She spends her afternoons sewing night-drawers for her children and speaks freely about her pregnancies. Edna, by contrast, sees no point in making winter garments during summer and blushes at frank discussions of childbirth. This juxtaposition frames the two women as opposing poles: Adèle represents contented conformity, while Edna embodies a restless individuality that cannot be contained by the role of wife and mother.

Why is Edna Pontellier uncomfortable in Creole society in Chapter IV?

Although Edna married a Creole, she was raised in a Protestant Kentucky household and has never been "thrown so intimately" among Creole families before the summer at Grand Isle. She is startled by their "entire absence of prudery"—their willingness to discuss pregnancy, childbirth, and sexuality openly. She is shocked when Adèle Ratignolle describes her labor in graphic detail to an elderly man, and she feels compelled to read a risqué novel in secret while the other guests discuss it freely at dinner. This cultural displacement underscores Edna’s broader alienation from the social roles expected of her.

What is the significance of the sewing scene between Edna and Adele in Chapter IV?

The sewing scene crystallizes the difference between the two women. Adèle Ratignolle arrives with a pattern for baby night-drawers—"a marvel of construction" designed to shield an infant from winter drafts—and eagerly works on the garment. Edna cooperates by cutting the pattern but inwardly considers it pointless to "anticipat[e] and mak[e] winter night garments the subject of her summer meditations." Sewing functions as a symbol of domestic labor and maternal anticipation; Adèle’s enthusiasm for the task affirms her identity as a mother-woman, while Edna’s reluctant compliance hints at her growing detachment from that role.

What role does Robert Lebrun play in Chapter IV of The Awakening?

Robert Lebrun occupies a quiet but revealing position in this chapter. He is seated in his "customary" spot near Edna on the gallery, reinforcing their developing familiarity. When he begins to tell Adèle a story about a woman who ate nougat during pregnancy, he abruptly stops upon "seeing the color mount into Mrs. Pontellier’s face." His sensitivity to Edna’s discomfort shows a personal attentiveness that distinguishes their relationship from the casual social dynamic of the pension. This small moment foreshadows the emotional intimacy that will develop between them.

What does the scandalous book circulating at the pension symbolize in Chapter IV?

Near the end of the chapter, Chopin describes a book that has "gone the rounds of the pension" and is "openly criticised and freely discussed at table." When Edna reads it, she does so "with profound astonishment" and feels "moved to read the book in secret and solitude," hiding it at the sound of footsteps. The book symbolizes the broader sexual openness of Creole culture that both attracts and unsettles Edna. Her need for secrecy reveals internalized inhibitions rooted in her Protestant upbringing, while her willingness to read it at all signals the first stirrings of curiosity that will eventually develop into her awakening.

 

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