Frequently Asked Questions about Chapter XX from The Awakening
What happens in Chapter 20 of The Awakening?
In Chapter 20, Edna Pontellier sets out to find Mademoiselle Reisz, wanting to hear the pianist play during one of her dark moods. After discovering that Reisz has moved from her old address on Bienville Street, Edna visits the Lebrun home on Chartres Street. There she chats with Victor, who tells her about a romantic escapade, and with Madame Lebrun, who shares the contents of two impersonal letters from Robert in Mexico—none of which contain any message for Edna. Madame Lebrun gives Edna the pianist’s new address, and Edna departs feeling despondent about Robert’s silence.
Why does Edna want to find Mademoiselle Reisz in Chapter 20?
Edna seeks out Mademoiselle Reisz because she is in a restless, despondent mood and desires to hear the pianist play. Throughout The Awakening, Reisz’s music serves as an emotional catalyst for Edna, stirring deep feelings she struggles to express otherwise. The obstacles Edna encounters—an outdated address, unhelpful neighbors, a hostile grocer—only intensify her determination, reflecting her broader pattern of craving what is difficult to attain. Her pursuit of Reisz also represents her growing preference for art and emotional authenticity over the superficial social obligations she has been abandoning.
What do the iron bars on the Lebrun house symbolize in The Awakening?
The iron bars on the front of the Lebrun house on Chartres Street are described as “a relic of the old régime” that “no one had ever thought of dislodging.” They symbolize the outdated social constraints that persist in Creole New Orleans—particularly the patriarchal conventions governing women’s behavior. Like these bars, the restrictive codes surrounding marriage and female conduct remain firmly in place not because anyone has examined whether they still serve a purpose, but simply because tradition is rarely questioned. The locked garden gate Edna must ring to enter further reinforces this imagery of barriers and enclosure.
What is the significance of Robert’s letters in Chapter 20?
Robert’s two letters—one from Vera Cruz and one from Mexico City—are significant for what they do not contain. They discuss business prospects, describe local scenery, enclose a check for his mother, and send love to the family, but include no personal message for Edna. Chopin writes that Edna “felt that if there had been a message for her, she would have received it,” and the realization plunges her back into despondency. The letters reveal that Robert is deliberately maintaining emotional distance, while simultaneously confirming that Edna’s sense of self-worth has become dangerously dependent on his attention—a tension that will deepen as the novel progresses.
How does Victor Lebrun function as a character in Chapter 20?
Victor Lebrun is introduced as a “dark-browed, good-looking youngster of nineteen” who greatly resembles his mother but with “ten times her impetuosity.” He serves as a youthful, uninhibited foil to his brother Robert. Where Robert carefully conceals his feelings for Edna, Victor is openly flirtatious and indiscreet, whispering about his romantic adventures and winking at Edna behind his mother’s back. His presence makes Edna feel “like a confederate in crime,” drawing her into a playful complicity that contrasts with the emotional weight of her feelings for Robert. Victor’s final assessment—“Ravishing! … She doesn’t seem like the same woman”—provides external confirmation that Edna’s inner awakening is now visibly transforming her.
What does Chapter 20 reveal about Edna’s transformation in The Awakening?
Chapter 20 demonstrates that Edna’s awakening has progressed to a point where it is visible to others. She traverses New Orleans alone, visiting unfamiliar neighborhoods and pressing strangers for information—actions that would have been unusual for a respectable Creole wife. Victor and Madame Lebrun both remark on her changed appearance, and the closing dialogue underscores the transformation: Madame Lebrun comments on how “handsome” Edna looks, and Victor declares she is “ravishing” and “doesn’t seem like the same woman.” Yet the chapter also reveals the limits of Edna’s independence: learning that Robert has not written to her sends her spiraling back into despondency, suggesting her emotional liberation remains incomplete.