Chapter XIV The Awakening


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The youngest boy, Etienne, had been very naughty, Madame Ratignolle said, as she delivered him into the hands of his mother. He had been unwilling to go to bed and had made a scene; whereupon she had taken charge of him and pacified him as well as she could. Raoul had been in bed and asleep for two hours.

The youngster was in his long white nightgown, that kept tripping him up as Madame Ratignolle led him along by the hand. With the other chubby fist he rubbed his eyes, which were heavy with sleep and ill humor. Edna took him in her arms, and seating herself in the rocker, began to coddle and caress him, calling him all manner of tender names, soothing him to sleep.

It was not more than nine o'clock. No one had yet gone to bed but the children.

Leonce had been very uneasy at first, Madame Ratignolle said, and had wanted to start at once for the Cheniere. But Monsieur Farival had assured him that his wife was only overcome with sleep and fatigue, that Tonie would bring her safely back later in the day; and he had thus been dissuaded from crossing the bay. He had gone over to Klein's, looking up some cotton broker whom he wished to see in regard to securities, exchanges, stocks, bonds, or something of the sort, Madame Ratignolle did not remember what. He said he would not remain away late. She herself was suffering from heat and oppression, she said. She carried a bottle of salts and a large fan. She would not consent to remain with Edna, for Monsieur Ratignolle was alone, and he detested above all things to be left alone.

When Etienne had fallen asleep Edna bore him into the back room, and Robert went and lifted the mosquito bar that she might lay the child comfortably in his bed. The quadroon had vanished. When they emerged from the cottage Robert bade Edna good-night.

“Do you know we have been together the whole livelong day, Robert—since early this morning?” she said at parting.

“All but the hundred years when you were sleeping. Goodnight.”

He pressed her hand and went away in the direction of the beach. He did not join any of the others, but walked alone toward the Gulf.

Edna stayed outside, awaiting her husband's return. She had no desire to sleep or to retire; nor did she feel like going over to sit with the Ratignolles, or to join Madame Lebrun and a group whose animated voices reached her as they sat in conversation before the house. She let her mind wander back over her stay at Grand Isle; and she tried to discover wherein this summer had been different from any and every other summer of her life. She could only realize that she herself—her present self—was in some way different from the other self. That she was seeing with different eyes and making the acquaintance of new conditions in herself that colored and changed her environment, she did not yet suspect.

She wondered why Robert had gone away and left her. It did not occur to her to think he might have grown tired of being with her the livelong day. She was not tired, and she felt that he was not. She regretted that he had gone. It was so much more natural to have him stay when he was not absolutely required to leave her.

As Edna waited for her husband she sang low a little song that Robert had sung as they crossed the bay. It began with “Ah! Si tu savais,” and every verse ended with “si tu savais.”

Robert's voice was not pretentious. It was musical and true. The voice, the notes, the whole refrain haunted her memory.

Frequently Asked Questions about Chapter XIV from The Awakening

What happens in Chapter 14 of The Awakening?

Edna Pontellier returns from the Chênière Caminada to find her youngest son, Etienne, still awake and fussy. She soothes him to sleep in a rocking chair while Madame Ratignolle reports on the day’s events and then departs. Robert Lebrun helps Edna put Etienne to bed, and the two share a meaningful farewell at the door—Edna remarks that they have been together the entire day, and Robert replies, “All but the hundred years when you were sleeping.” He leaves alone toward the Gulf. Edna stays outside, reflecting on how she herself has changed over the course of the summer, and softly sings the French song Robert sang as they crossed the bay.

What is the significance of Robert’s line "All but the hundred years when you were sleeping"?

Robert Lebrun’s response to Edna’s observation that they spent the whole day together is both romantic and revealing. By exaggerating her nap at Madame Antoine’s into “a hundred years,” he implies that their time apart felt like an eternity. The line echoes fairy-tale imagery—a sleeping beauty awakened—and connects to the novel’s central metaphor of Edna’s awakening. It also signals the depth of Robert’s attachment, even as his gentle, teasing tone keeps the confession safely indirect. Chopin uses this exchange to mark the growing emotional bond between the two characters without either one openly declaring love.

What does Edna realize about herself at the end of Chapter 14?

As she sits alone on the porch waiting for Léonce, Edna reflects on her summer at Grand Isle and tries to determine why it has been different from every other summer. She arrives at a crucial insight: it is not Grand Isle that has changed but “she herself—her present self—was in some way different from the other self.” She recognizes that she is “seeing with different eyes and making the acquaintance of new conditions in herself.” Chopin adds, however, that Edna does not yet fully understand how profoundly these changes will reshape her life. This moment of partial self-awareness is a turning point in the novel’s exploration of identity and desire.

What does the song "Si tu savais" symbolize in Chapter 14 of The Awakening?

While waiting for her husband to return, Edna quietly sings the French song Robert performed as they crossed the bay: “Ah! Si tu savais” (“If you only knew”). The refrain carries a double meaning. On the surface it is a love song about unspoken feelings, but in context it mirrors Edna’s own situation—she is developing emotions she cannot yet articulate or fully comprehend. Music throughout The Awakening serves as a vehicle for feelings that Creole social conventions forbid expressing openly. That Robert’s voice and melody “haunted her memory” shows how deeply his influence has penetrated her consciousness, binding her emotional awakening to his presence.

How does Chapter 14 contrast the Pontellier and Ratignolle marriages?

Chopin draws a quiet but pointed contrast between the two couples. Madame Ratignolle hurries home because her husband “detested above all things to be left alone”—the Ratignolles are inseparable, representing the Creole ideal of devoted partnership. Meanwhile, Léonce Pontellier is away at Klein’s hotel discussing financial matters, and Edna waits alone outside with no desire to join him or anyone else. Léonce’s absence is emotional as well as physical; he did not even stay to welcome Edna home. The chapter suggests that Edna’s marriage lacks the closeness the Ratignolles enjoy, creating the emotional vacuum that Robert has begun to fill.

 

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