Desiree's Baby
by Kate Chopin
Kate Chopin turns a young mother’s joy into a searing tragedy that exposes the cruel power of racial prejudice in the antebellum South.
1
As the day was pleasant, Madame Valmonde drove over to L'Abri to see Desiree and the baby. It made her laugh to think of Desiree with a baby. Why, it seemed but yesterday that Desiree was little more than a baby herself; when Monsieur in riding through the gateway of Valmonde had found her lying asleep in the shadow of the big stone pillar. The little one awoke in his arms and began to cry for “Dada.” That was as much as she could do or say. Some people thought she might have strayed there of her own accord, for she was of the toddling age. The prevailing belief was that she had been purposely left by a party of Texans, whose canvas-covered wagon, late in the day, had crossed the ferry that Coton Mais kept, just below the plantation. In time Madame Valmonde abandoned every speculation but the one that Desiree had been sent to her by a beneficent Providence to be the child of her affection, seeing that she was without child of the flesh. For the girl grew to be beautiful and gentle, affectionate and sincere - the idol of Valmonde. It was no wonder, when she stood one day against the stone pillar in whose shadow she had lain asleep, eighteen years before, that Armand Aubigny riding by and seeing her there, had fallen in love with her. That was the way all the Aubignys fell in love, as if struck by a pistol shot. The wonder was that he had not loved her before; for he had known her since his father brought him home from Paris, a boy of eight, after his mother died there. The passion that awoke in him that day, when he saw her at the gate, swept along like an avalanche, or like a prairie fire, or like anything that drives headlong over all obstacles. Monsieur Valmonde grew practical and wanted things well considered: that is, the girl's obscure origin. Armand looked into her eyes and did not care. He was reminded that she was nameless. What did it matter about a name when he could give her one of the oldest and proudest in Louisiana? He ordered the corbeille from Paris, and contained himself with what patience he could until it arrived; then they were married.
2
Madame Valmonde had not seen Desiree and the baby for four weeks. When she reached L'Abri she shuddered at the first sight of it, as she always did. It was a sad looking place, which for many years had not known the gentle presence of a mistress, old Monsieur Aubigny having married and buried his wife in France, and she having loved her own land too well ever to leave it. The roof came down steep and black like a cowl, reaching out beyond the wide galleries that encircled the yellow stuccoed house. Big, solemn oaks grew close to it, and their thick-leaved, far-reaching branches shadowed it like a pall. Young Aubigny's rule was a strict one, too, and under it his negroes had forgotten how to be gay, as they had been during the old master's easy-going and indulgent lifetime. The young mother was recovering slowly, and lay full length, in her soft white muslins and laces, upon a couch. The baby was beside her, upon her arm, where he had fallen asleep, at her breast. The yellow nurse woman sat beside a window fanning herself. Madame Valmonde bent her portly figure over Desiree and kissed her, holding her an instant tenderly in her arms. Then she turned to the child. “This is not the baby!” she exclaimed, in startled tones. French was the language spoken at Valmonde in those days. “I knew you would be astonished,” laughed Desiree, “at the way he has grown. The little cochon de lait! Look at his legs, mamma, and his hands and fingernails - real finger-nails. Zandrine had to cut them this morning. Isn't it true, Zandrine?” The woman bowed her turbaned head majestically, “Mais si, Madame.” “And the way he cries,” went on Desiree, “is deafening. Armand heard him the other day as far away as La Blanche's cabin.” Madame Valmonde had never removed her eyes from the child. She lifted it and walked with it over to the window that was lightest. She scanned the baby narrowly, then looked as searchingly at Zandrine, whose face was turned to gaze across the fields. “Yes, the child has grown, has changed,” said Madame Valmonde, slowly, as she replaced it beside its mother. “What does Armand say?” Desiree's face became suffused with a glow that was happiness itself.
3
“Oh, Armand is the proudest father in the parish, I believe, chiefly because it is a boy, to bear his name; though he says not - that he would have loved a girl as well. But I know it isn't true. I know he says that to please me. And mamma,” she added, drawing Madame Valmonde's head down to her, and speaking in a whisper, “he hasn't punished one of them - not one of them - since baby is born. Even Negrillon, who pretended to have burnt his leg that he might rest from work - he only laughed, and said Negrillon was a great scamp. Oh, mamma, I'm so happy; it frightens me.” What Desiree said was true. Marriage, and later the birth of his son had softened Armand Aubigny's imperious and exacting nature greatly. This was what made the gentle Desiree so happy, for she loved him desperately. When he frowned she trembled, but loved him. When he smiled, she asked no greater blessing of God. But Armand's dark, handsome face had not often been disfigured by frowns since the day he fell in love with her. When the baby was about three months old, Desiree awoke one day to the conviction that there was something in the air menacing her peace. It was at first too subtle to grasp. It had only been a disquieting suggestion; an air of mystery among the blacks; unexpected visits from far-off neighbors who could hardly account for their coming. Then a strange, an awful change in her husband's manner, which she dared not ask him to explain. When he spoke to her, it was with averted eyes, from which the old love-light seemed to have gone out. He absented himself from home; and when there, avoided her presence and that of her child, without excuse. And the very spirit of Satan seemed suddenly to take hold of him in his dealings with the slaves. Desiree was miserable enough to die. She sat in her room, one hot afternoon, in her peignoir, listlessly drawing through her fingers the strands of her long, silky brown hair that hung about her shoulders. The baby, half naked, lay asleep upon her own great mahogany bed, that was like a sumptuous throne, with its satin-lined half-canopy. One of La Blanche's little quadroon boys - half naked too - stood fanning the child slowly with a fan of peacock feathers. Desiree's eyes had been fixed absently and sadly upon the baby, while she was striving to penetrate the threatening mist that she felt closing about her. She looked from her child to the boy who stood beside him, and back again; over and over. “Ah!” It was a cry that she could not help; which she was not conscious of having uttered. The blood turned like ice in her veins, and a clammy moisture gathered upon her face.
4
She tried to speak to the little quadroon boy; but no sound would come, at first. When he heard his name uttered, he looked up, and his mistress was pointing to the door. He laid aside the great, soft fan, and obediently stole away, over the polished floor, on his bare tiptoes. She stayed motionless, with gaze riveted upon her child, and her face the picture of fright. Presently her husband entered the room, and without noticing her, went to a table and began to search among some papers which covered it. “Armand,” she called to him, in a voice which must have stabbed him, if he was human. But he did not notice. “Armand,” she said again. Then she rose and tottered towards him. “Armand,” she panted once more, clutching his arm, “look at our child. What does it mean? Tell me.” He coldly but gently loosened her fingers from about his arm and thrust the hand away from him. “Tell me what it means!” she cried despairingly. “It means,” he answered lightly, “that the child is not white; it means that you are not white.” A quick conception of all that this accusation meant for her nerved her with unwonted courage to deny it. “It is a lie; it is not true, I am white! Look at my hair, it is brown; and my eyes are gray, Armand, you know they are gray. And my skin is fair,” seizing his wrist. “Look at my hand; whiter than yours, Armand,” she laughed hysterically. “As white as La Blanche's,” he returned cruelly; and went away leaving her alone with their child. When she could hold a pen in her hand, she sent a despairing letter to Madame Valmonde. “My mother, they tell me I am not white. Armand has told me I am not white. For God's sake tell them it is not true. You must know it is not true. I shall die. I must die. I cannot be so unhappy, and live.” The answer that came was brief: “My own Desiree: Come home to Valmonde; back to your mother who loves you. Come with your child.” When the letter reached Desiree she went with it to her husband's study, and laid it open upon the desk before which he sat. She was like a stone image: silent, white, motionless after she placed it there.
5
In silence he ran his cold eyes over the written words. He said nothing. “Shall I go, Armand?” she asked in tones sharp with agonized suspense. “Yes, go.” “Do you want me to go?” “Yes, I want you to go.” He thought Almighty God had dealt cruelly and unjustly with him; and felt, somehow, that he was paying Him back in kind when he stabbed thus into his wife's soul. Moreover he no longer loved her, because of the unconscious injury she had brought upon his home and his name. She turned away like one stunned by a blow, and walked slowly towards the door, hoping he would call her back. “Good-by, Armand,” she moaned. He did not answer her. That was his last blow at fate. Desiree went in search of her child. Zandrine was pacing the sombre gallery with it. She took the little one from the nurse's arms with no word of explanation, and descending the steps, walked away, under the live-oak branches. It was an October afternoon; the sun was just sinking. Out in the still fields the negroes were picking cotton. Desiree had not changed the thin white garment nor the slippers which she wore. Her hair was uncovered and the sun's rays brought a golden gleam from its brown meshes. She did not take the broad, beaten road which led to the far-off plantation of Valmonde. She walked across a deserted field, where the stubble bruised her tender feet, so delicately shod, and tore her thin gown to shreds. She disappeared among the reeds and willows that grew thick along the banks of the deep, sluggish bayou; and she did not come back again. Some weeks later there was a curious scene enacted at L'Abri. In the centre of the smoothly swept back yard was a great bonfire. Armand Aubigny sat in the wide hallway that commanded a view of the spectacle; and it was he who dealt out to a half dozen negroes the material which kept this fire ablaze. A graceful cradle of willow, with all its dainty furbishings, was laid upon the pyre, which had already been fed with the richness of a priceless layette. Then there were silk gowns, and velvet and satin ones added to these; laces, too, and embroideries; bonnets and gloves; for the corbeille had been of rare quality.
6
The last thing to go was a tiny bundle of letters; innocent little scribblings that Desiree had sent to him during the days of their espousal. There was the remnant of one back in the drawer from which he took them. But it was not Desiree's; it was part of an old letter from his mother to his father. He read it. She was thanking God for the blessing of her husband's love:— “But above all,” she wrote, “night and day, I thank the good God for having so arranged our lives that our dear Armand will never know that his mother, who adores him, belongs to the race that is cursed with the brand of slavery.”
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Frequently Asked Questions about Desiree's Baby
What is "Desiree's Baby" by Kate Chopin about?
"Desiree's Baby" (1893) is set in antebellum Louisiana and tells the story of Desiree, a foundling adopted by the wealthy Valmonde family, who marries Armand Aubigny, the proud scion of another prominent Creole family. When their baby is born with features suggesting African ancestry, Armand accuses Desiree of being Black and banishes her from L'Abri plantation. Devastated, Desiree walks into the bayou with her child and is never seen again. In the story's famous twist ending, Armand discovers a letter from his own mother revealing that he is the one with Black heritage. The story is a searing indictment of racism, hypocrisy, and the destruction wrought by rigid racial hierarchies in the antebellum South.
What is the surprise ending of "Desiree's Baby"?
After driving Desiree away and burning all traces of her and the baby, Armand finds a letter from his mother to his father. In it, she writes: "night and day, I thank the good God for having so arranged our lives that our dear Armand will never know that his mother, who adores him, belongs to the race that is cursed with the brand of slavery." This reveals that Armand himself carries African ancestry, not Desiree. The twist exposes the cruel irony that the person most obsessed with racial purity was the one whose heritage he despised. It is one of the most famous surprise endings in American short fiction.
What are the main themes in "Desiree's Baby"?
The major themes include: Racism and racial identity — the story exposes how the social construct of race in the antebellum South could destroy lives and families. Hypocrisy and self-deception — Armand's fanatical racial pride conceals his own mixed-race heritage. Gender and powerlessness — Desiree's identity and worth are entirely dependent on her husband's acceptance. Love vs. pride — Armand's passion for Desiree evaporates the moment his social standing is threatened. Identity and belonging — as an adopted foundling, Desiree's unknown origins make her vulnerable to accusations she cannot disprove.
What literary devices does Kate Chopin use in "Desiree's Baby"?
Chopin employs several powerful literary devices: Situational irony — the man who accuses his wife of being Black is himself of African descent. Foreshadowing — details like Armand's dark complexion and his mother being buried in France hint at the truth. Symbolism — L'Abri ("the shelter") is described as dark and foreboding, reflecting Armand's hidden nature; the bonfire symbolizes his attempt to erase the truth; the stone pillar where Desiree was found represents her rootlessness. Simile — Armand's love strikes "like a pistol shot" and sweeps "like a prairie fire," foreshadowing its destructive potential. Dramatic irony — the reader senses something Desiree cannot when Madame Valmonde exclaims, "This is not the baby!"
Who are the main characters in "Desiree's Baby"?
The main characters are: Desiree — the protagonist, a gentle and loving woman of unknown origin adopted by the Valmondes, whose identity is entirely defined through her relationships with others. Armand Aubigny — Desiree's husband, a proud and imperious plantation owner whose passionate love turns to cold cruelty when he believes his family's racial purity is threatened. Madame Valmonde — Desiree's adoptive mother, who loves her unconditionally and is the first to notice something different about the baby. Supporting characters include Zandrine, the nurse; La Blanche, an enslaved woman whose quadroon son serves as a visual comparison to the baby; and old Monsieur Aubigny, Armand's father, who knew the family secret.
What is the significance of the setting of "Desiree's Baby"?
The story is set on two Louisiana Creole plantations in the antebellum South. Valmonde is a warm, welcoming place associated with Madame Valmonde's unconditional love. L'Abri (French for "the shelter") is ironically anything but sheltering — Chopin describes it as dark and foreboding, with a steep black roof "like a cowl" and solemn oaks that shadow it "like a pall." This Gothic atmosphere mirrors Armand's oppressive rule and foreshadows the tragedy to come. The plantation setting is essential to the story's examination of the slave system, racial hierarchy, and the one-drop rule that could define and destroy a person's entire identity.
What does the bonfire symbolize in "Desiree's Baby"?
After Desiree disappears into the bayou, Armand orders enslaved workers to build a great bonfire in the backyard of L'Abri. He burns the baby's cradle, layette, Desiree's silk and satin gowns, and her love letters — systematically destroying every trace of his wife and child. The bonfire symbolizes Armand's attempt to erase an identity he finds shameful, much as the slave system tried to erase the humanity of Black people. It also represents the destructive nature of his pride and racism. Ironically, the fire leads him to discover his mother's letter, revealing that the heritage he is trying to destroy is his own. Fire appears earlier in the story as a metaphor for his passionate love, making the bonfire a symbol of that love's complete inversion into hatred.
Why does Desiree walk into the bayou at the end of the story?
When Armand tells Desiree he wants her to leave, she does not take the road back to her mother's plantation at Valmonde. Instead, she walks across a deserted field and disappears "among the reeds and willows that grew thick along the banks of the deep, sluggish bayou; and she did not come back again." Chopin strongly implies that Desiree drowns herself and her baby. In a society where a woman's identity depended entirely on her husband and family name, Armand's rejection stripped Desiree of everything. Her unknown origins, which once did not matter, now made her an outcast with nowhere to belong — despite Madame Valmonde's plea to come home. Her tragic choice reflects the devastating psychological toll of the racial caste system on its victims.
What role does race play in "Desiree's Baby"?
Race is the central force driving the story's conflict and tragedy. In the antebellum South's rigid racial hierarchy, even the suspicion of African ancestry could destroy a person's social standing, marriage, and life. The story dramatizes the one-drop rule — the belief that any African heritage made a person Black regardless of appearance. Chopin exposes the absurdity and cruelty of this system: Desiree is physically white with brown hair and gray eyes, yet is cast out on suspicion alone. Meanwhile, Armand, whose "dark, handsome face" is mentioned repeatedly, is the one with Black ancestry. The story reveals race in the antebellum South as a social construction used to maintain power, not a biological reality — and shows how it destroys everyone it touches, including those who wield it as a weapon.
When was "Desiree's Baby" written and why is it important?
"Desiree's Baby" was written by and first published in Vogue magazine on January 14, 1893. It was later included in her 1894 collection Bayou Folk. The story is considered one of the finest examples of American short fiction and is widely anthologized in literature courses. Its importance lies in its unflinching examination of race, gender, and identity in the antebellum South, compressed into a brief narrative with extraordinary power. Chopin's masterful use of irony and her willingness to confront the hypocrisy of racial prejudice were remarkable for the 1890s. The story remains relevant for its insight into how systems of oppression harm everyone within them, making it one of the most studied short stories in American literature.
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