Kate Chopin's The Awakening: A Sourcebook

By Janet Beer; Elizabeth Nolan | Go to book overview
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Nineteenth-Century Responses

Contemporary Reviews

C.L. Deyo, St Louis Post-Dispatch, 20 May 1899, reprinted in, Margo Culley ed., The Awakening, New York: W.W. Norton & Company, 1994, p. 164

There may be many opinions touching other aspects of Mrs. Chopin's novel 'The Awakening,' but all must concede its flawless art. The delicacy of touch of rare skill in construction, the subtle understanding of motive, the searching vision into the recesses of the heart-these are known to readers of 'Bayou Folk' and 'A Night in Acadie.' But in this new work power appears, power born of confidence. There is no uncertainty in the lines, so surely and firmly drawn. Complete mastery is apparent on every page. Nothing is wanting to make a complete artistic whole. In delicious English, quick with life, never a word too much, simple and pure, the story proceeds with classic severity through a labyrinth of doubt and temptation and dumb despair. It is not a tragedy, for it lacks the high motive of tragedy. The woman, not quite brave enough, declines to a lower plane and does not commit a sin ennobled by love. But it is terribly tragic. Compassion, not pity, is excited, for pity is for those who sin, and Edna Pontellier only offended-weakly, passively, vainly offended.

'The Awakening' is not for the young person; not because the young person would be harmed by reading it, but because the young person wouldn't understand it, and everybody knows that the young person's understanding should be scrupulously respected. It is for seasoned souls, for those who have lived, who have ripened under the gracious or ungracious sun of experience and learned that realities do not show themselves on the outside of things where they can be seen and heard, weighed, measured and valued like the sugar of commerce, but treasured within the heart, hidden away, never to be known perhaps save when exposed by temptation or called out by occasions of great pith and moment. No, the book is not for the young person, nor, indeed, for the old person who has no relish for unpleasant truths. For such there is much that is very improper in it, not to say positively unseemly. A fact, no matter how essential, which we have all agreed shall not be acknowledged, is as good as no fact at all. And it is


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