Ambiguity Killed the Cat?

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Ambiguity Killed the Cat? In Kate Chopin’s The Awakening, Edna Pontellier’s final walk into the sea is seen as an ambiguous point of discussion. Chopin portrays the heroine, Edna, as a conflicted woman, too advanced for the social constraints of the early nineteenth century. I intend to prove that Edna’s suicide was an irrational product of her circumstances. Chopin employs the personification of the sea along with Edna’s motivation from Mademoiselle Reisz and her domestic unhappiness, her physical incapacity, and Robert’s abrupt departure to illustrate how desperation yields impulsive action when Edna performs her final walk into the sea. Edna’s discontent with her motherly role and marital grievances forcibly motivate her to desperation. Prior to Madame Pontellier’s return to New Orleans, she experienced a spiritual awakening in Grande Isle which precipitated her realization she lacked passion for her motherly role and her verbally abusive husband, Lèonce, and concentrated her personal time and attention on Robert. Madame Pontellier’s entanglements to her family were barren compared to that of her romantic foil, Mademoiselle Ratignolle’s, which represent those of the expected subservient, motherly figure. To exemplify this, Edna stated, “I would give up the unessential; I would give my money, I would give my life for my children; but I wouldn't give myself.” Incomprehensibly, Madame Ratignolle responds, “a woman who would give her life for her children could do no more than that” (46). Edna loved her children, but was discontent with the little freedom motherhood offered, and when experiencing an overwhelmed state claimed that her, “children appeared before her like antagonists who had overcome her, who had overpowered and sought to drag her into the soul’s slavery for the rest of her days” (108). Her affections for her husband were reasonably less since
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