The Awakening

by Kate Chopin


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Chapter XVIII


The following morning Mr. Pontellier, upon leaving for his office, asked Edna if she would not meet him in town in order to look at some new fixtures for the library.

“I hardly think we need new fixtures, Leonce. Don't let us get anything new; you are too extravagant. I don't believe you ever think of saving or putting by.”

“The way to become rich is to make money, my dear Edna, not to save it,” he said. He regretted that she did not feel inclined to go with him and select new fixtures. He kissed her good-by, and told her she was not looking well and must take care of herself. She was unusually pale and very quiet.

She stood on the front veranda as he quitted the house, and absently picked a few sprays of jessamine that grew upon a trellis near by. She inhaled the odor of the blossoms and thrust them into the bosom of her white morning gown. The boys were dragging along the banquette a small “express wagon,” which they had filled with blocks and sticks. The quadroon was following them with little quick steps, having assumed a fictitious animation and alacrity for the occasion. A fruit vender was crying his wares in the street.

Edna looked straight before her with a self-absorbed expression upon her face. She felt no interest in anything about her. The street, the children, the fruit vender, the flowers growing there under her eyes, were all part and parcel of an alien world which had suddenly become antagonistic.

She went back into the house. She had thought of speaking to the cook concerning her blunders of the previous night; but Mr. Pontellier had saved her that disagreeable mission, for which she was so poorly fitted. Mr. Pontellier's arguments were usually convincing with those whom he employed. He left home feeling quite sure that he and Edna would sit down that evening, and possibly a few subsequent evenings, to a dinner deserving of the name.

Edna spent an hour or two in looking over some of her old sketches. She could see their shortcomings and defects, which were glaring in her eyes. She tried to work a little, but found she was not in the humor. Finally she gathered together a few of the sketches—those which she considered the least discreditable; and she carried them with her when, a little later, she dressed and left the house. She looked handsome and distinguished in her street gown. The tan of the seashore had left her face, and her forehead was smooth, white, and polished beneath her heavy, yellow-brown hair. There were a few freckles on her face, and a small, dark mole near the under lip and one on the temple, half-hidden in her hair.

As Edna walked along the street she was thinking of Robert. She was still under the spell of her infatuation. She had tried to forget him, realizing the inutility of remembering. But the thought of him was like an obsession, ever pressing itself upon her. It was not that she dwelt upon details of their acquaintance, or recalled in any special or peculiar way his personality; it was his being, his existence, which dominated her thought, fading sometimes as if it would melt into the mist of the forgotten, reviving again with an intensity which filled her with an incomprehensible longing.

Edna was on her way to Madame Ratignolle's. Their intimacy, begun at Grand Isle, had not declined, and they had seen each other with some frequency since their return to the city. The Ratignolles lived at no great distance from Edna's home, on the corner of a side street, where Monsieur Ratignolle owned and conducted a drug store which enjoyed a steady and prosperous trade. His father had been in the business before him, and Monsieur Ratignolle stood well in the community and bore an enviable reputation for integrity and clearheadedness. His family lived in commodious apartments over the store, having an entrance on the side within the porte cochere. There was something which Edna thought very French, very foreign, about their whole manner of living. In the large and pleasant salon which extended across the width of the house, the Ratignolles entertained their friends once a fortnight with a soiree musicale, sometimes diversified by card-playing. There was a friend who played upon the 'cello. One brought his flute and another his violin, while there were some who sang and a number who performed upon the piano with various degrees of taste and agility. The Ratignolles' soirees musicales were widely known, and it was considered a privilege to be invited to them.

Edna found her friend engaged in assorting the clothes which had returned that morning from the laundry. She at once abandoned her occupation upon seeing Edna, who had been ushered without ceremony into her presence.

“`Cite can do it as well as I; it is really her business,” she explained to Edna, who apologized for interrupting her. And she summoned a young black woman, whom she instructed, in French, to be very careful in checking off the list which she handed her. She told her to notice particularly if a fine linen handkerchief of Monsieur Ratignolle's, which was missing last week, had been returned; and to be sure to set to one side such pieces as required mending and darning.

Then placing an arm around Edna's waist, she led her to the front of the house, to the salon, where it was cool and sweet with the odor of great roses that stood upon the hearth in jars.

Madame Ratignolle looked more beautiful than ever there at home, in a neglige which left her arms almost wholly bare and exposed the rich, melting curves of her white throat.

“Perhaps I shall be able to paint your picture some day,” said Edna with a smile when they were seated. She produced the roll of sketches and started to unfold them. “I believe I ought to work again. I feel as if I wanted to be doing something. What do you think of them? Do you think it worth while to take it up again and study some more? I might study for a while with Laidpore.”

She knew that Madame Ratignolle's opinion in such a matter would be next to valueless, that she herself had not alone decided, but determined; but she sought the words of praise and encouragement that would help her to put heart into her venture.

“Your talent is immense, dear!”

“Nonsense!” protested Edna, well pleased.

“Immense, I tell you,” persisted Madame Ratignolle, surveying the sketches one by one, at close range, then holding them at arm's length, narrowing her eyes, and dropping her head on one side. “Surely, this Bavarian peasant is worthy of framing; and this basket of apples! never have I seen anything more lifelike. One might almost be tempted to reach out a hand and take one.”

Edna could not control a feeling which bordered upon complacency at her friend's praise, even realizing, as she did, its true worth. She retained a few of the sketches, and gave all the rest to Madame Ratignolle, who appreciated the gift far beyond its value and proudly exhibited the pictures to her husband when he came up from the store a little later for his midday dinner.

Mr. Ratignolle was one of those men who are called the salt of the earth. His cheerfulness was unbounded, and it was matched by his goodness of heart, his broad charity, and common sense. He and his wife spoke English with an accent which was only discernible through its un-English emphasis and a certain carefulness and deliberation. Edna's husband spoke English with no accent whatever. The Ratignolles understood each other perfectly. If ever the fusion of two human beings into one has been accomplished on this sphere it was surely in their union.

As Edna seated herself at table with them she thought, “Better a dinner of herbs,” though it did not take her long to discover that it was no dinner of herbs, but a delicious repast, simple, choice, and in every way satisfying.

Monsieur Ratignolle was delighted to see her, though he found her looking not so well as at Grand Isle, and he advised a tonic. He talked a good deal on various topics, a little politics, some city news and neighborhood gossip. He spoke with an animation and earnestness that gave an exaggerated importance to every syllable he uttered. His wife was keenly interested in everything he said, laying down her fork the better to listen, chiming in, taking the words out of his mouth.

Edna felt depressed rather than soothed after leaving them. The little glimpse of domestic harmony which had been offered her, gave her no regret, no longing. It was not a condition of life which fitted her, and she could see in it but an appalling and hopeless ennui. She was moved by a kind of commiseration for Madame Ratignolle,—a pity for that colorless existence which never uplifted its possessor beyond the region of blind contentment, in which no moment of anguish ever visited her soul, in which she would never have the taste of life's delirium. Edna vaguely wondered what she meant by “life's delirium.” It had crossed her thought like some unsought, extraneous impression.

Frequently Asked Questions about Chapter XVIII from The Awakening

What happens in Chapter 18 of The Awakening?

Chapter 18 takes place the morning after Edna has abandoned her Tuesday reception duties. Léonce asks her to help choose new library fixtures, but she declines. Left alone, Edna feels completely alienated from her domestic surroundings—the street, her children, the flowers all seem part of “an alien world which had suddenly become antagonistic.” She reviews her old sketches, selects the best ones, and carries them to Madame Ratignolle, who praises them lavishly and encourages her to study with Laidpore. Edna stays for a midday dinner with the Ratignolles and witnesses their perfectly harmonious marriage, but leaves feeling depressed rather than inspired, pitying Adèle for her “colorless existence” of “blind contentment.”

Why does Edna feel alienated from her surroundings in Chapter 18?

Edna’s alienation in Chapter 18 signals the depth of her emotional and psychological “awakening.” Having broken with convention by skipping her reception day, the ordinary elements of her life—her children playing on the banquette, a fruit vendor, flowers on the veranda—now feel foreign and even hostile. Kate Chopin writes that they were “all part and parcel of an alien world which had suddenly become antagonistic.” This estrangement reflects Edna’s growing awareness that she does not belong in the role Creole society has assigned her. Her inner world, dominated by thoughts of Robert Lebrun and a desire for artistic expression, has diverged sharply from the domestic life surrounding her.

What is the significance of Edna visiting the Ratignolles in The Awakening Chapter 18?

The visit to the Ratignolles serves as a crucial contrast. Monsieur Ratignolle is described as “one of those men who are called the salt of the earth,” and his marriage to Adèle represents the ideal Creole union—Chopin writes that “if ever the fusion of two human beings into one has been accomplished on this sphere it was surely in their union.” Yet instead of admiring or envying this harmony, Edna leaves feeling “depressed rather than soothed.” She regards their domestic contentment as “appalling and hopeless ennui” and feels pity for Adèle’s inability to experience what Edna mysteriously calls “life’s delirium.” This reaction confirms that Edna’s awakening has moved beyond restlessness into a fundamental rejection of conventional married life.

What does "life's delirium" mean in Chapter 18 of The Awakening?

The phrase “life’s delirium” appears at the very end of Chapter 18 and is one of The Awakening’s most evocative expressions. After leaving the Ratignolles, Edna pities Adèle for existing in a state of “blind contentment, in which no moment of anguish ever visited her soul, in which she would never have the taste of life’s delirium.” The phrase suggests the full spectrum of intense, unrestrained experience—passion, creativity, suffering, ecstasy—that Edna has begun to crave. Significantly, Chopin notes that the idea crosses Edna’s mind “like some unsought, extraneous impression,” indicating that her awakening is not entirely a conscious choice but something welling up from within, beyond rational control.

What role does Edna's art play in Chapter 18 of The Awakening?

In Chapter 18, Edna’s relationship with her art takes on new seriousness. She spends time reviewing old sketches, critically identifies their “shortcomings and defects, which were glaring in her eyes,” and selects only the “least discreditable” ones to show Madame Ratignolle. She tells Adèle, “I feel as if I wanted to be doing something,” and mentions studying with the professional teacher Laidpore. Although Adèle’s praise (“Your talent is immense, dear!”) is exaggerated and Edna knows it is “next to valueless,” the encouragement helps her “put heart into her venture.” Art is becoming a channel for Edna’s emerging independence—a pursuit that belongs to her alone, outside the expectations of marriage and motherhood.

 

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