Literary works have always been the mirrors of the society, and many of them have come to critique the subjugation of women. One can take into consideration the literary works, The Awakening, by Kate Chopin and Henrik Ibsen’s A Doll’s House that delve into the influences of the society and the family in oppressing women. The respective narratives would lead to a better comprehension of the intricate influences and experiences that finally pave the way of the emancipation of the characters of Edna and Nora from the shackles of patriarchy and subjugation. A comparative analysis of the respective journeys of the two female characters of the texts would make the pattern of transformation clearer. Moreover, the societal and familial forces triggering the subordination and final subversion can also be ascertained via a scrutiny of the texts. The female protagonists embody the inner spirit of female empowerment that is brought about by the surmounting effect of the patriarchal influences as Edna faces social pressure and Nora faces onus of the family, while their transformation works to symbolize the triumph of the female sex over the male dominance institutionalized by the society and culture.
In the discussion of the seminal literary work, The Awakening, one needs to comprehend that the entire narrative of the story is a vehement expression of feminism. The story voices the need for equality of the sexes and cries foul over the status quo of male dominance through the institutionalized parameters and practice of the society. It has to be reckoned that the character of the female protagonist of this novel, Edna, is someone who is subjugated by the society. The avid readers can very well understand in the course of the narrative how her life and existence is channelized by the societal influences that aim to uphold the patriarchal ideology and make her embrace the passivity that is generally attributed to the females. One needs to understand that the equation between Edna and her husband, Léonce, lacked the warmth and love as he was preoccupied with work leaving her alone in the household taking care of the kids. Under this circumstance of having a marred domestic life, Edna started spending more time with her companion, Adèle Ratignolle. It is due to the influence her friend that Edna comes to earn about freedom of expression drawing a stark contrast to her domestic life of repressed desires and emotions. Thus, the process of her ‘awakening’ from the imposed passivity finds its inception at this juncture of her life.
As Edna comes across Robert, their relationship starts as they spend time with one another. But, with time they come closer to each other- something that makes Edna feel alive as he wishes to live her aspirations and desires with Robert. At one point of time Edna says, ““How many years have I slept?” she inquired. “The whole island seems changed.”” (Chopin 96) This shows how she is bothered by the society and its norms while she finds a difference essence of life in the island. As she learns to swim, she comes to be aware of her sexuality and independence as a female. Although the duo never discuss about their feelings openly, but Edna knows how much she longs to be with Robert. The author pens explicating the emotions of the female protagonist, “She perceived that her will had blazed up, stubborn and resistant. She could not at that moment have done other than denied and resisted. She wondered if her husband had ever spoken to her like that before, and if she had submitted to his command.”(Chopin 40) This realization in itself can be seen as a subversive one on the part of the lady as she was bound by her marriage to be committed to her husband. When she spends time with her husband at night, she becomes depressed- something that points to the emotions of the female protagonist about the marital bond. However, Robert leaves the island to avoid the consummation of their adulterous relationship.
When she comes back to New Orleans, she is a changed woman. She pursues her painting and even ignores her social responsibilities. Her paintings can be seen as symbolic of her emancipated self that is determined to break free from the repressive effect of the society. It needs to be reckoned that there is a continuous friction between Edna’s actions of emancipation and the societal parameters. The actions of Edna cannot be seen to be in congruity with propriety or morality expected of women of the society. It needs to be reckoned that the pursing of painting and music on the part of Edna is a sheer expression of her emancipated thoughts that cannot be bound by any constrictions. Thus, these aesthetic expressions by Edna are in juxtaposition to that of Mademoiselle Reisz for whom it is more of an art. But, just like swimming, Edna sees the expression of her desires, emotions and aspirations through music and painting. Art thus paves the way for rejuvenating her repressed feelings that had been undermined by the societal onus. However, she is influenced by Mademoiselle Reisz who inspires her to listen to her heart and not bow down in front of the patriarchal parameters and the societal expectations from her, she being a married lady. Mademoiselle Reisz makes Edna realize the paramount importance of listening to her heart. Having found the support of this lady, Edna’s views are consolidated as she believes she is on the right path being her own self sans the onus of the society. Thus, Mademoiselle Reisz plays a major role in shaping the perspective of Edna and providing support as well as inspiration.
Robert teaches Edna how to swim- something that symbolizes her independence from the constrictions of the society. However, the social pressures loom over her life as Robert fails to go against the social norms and be in an adulterous relationship with her, although she is herself ready to be with Robert. When Robert returns to New Orleans to admit his love for Edna, she finds new hope of living her passion. However, Robert reminds her that possibly the two cannot be together as she is already married to someone else. Here, Robert represents the view of the society that demands of a woman that she should be committed to the bond of marriage even if that means repressing her own desires and emotions. Nonetheless, Edna endeavors to convince Robert by letting him know that she has left her family and can be with him. When Robert had made her learn swimming, the author had described how “that night she was like the little tottering, stumbling, clutching child, who of a sudden realizes its powers, and walks for the first time alone, boldly and with over-confidence.” (Chopin 46) However, the act of emancipation via swimming stands in stark contrast to her impediments when Robert gives in to the society. Robert remains stern about the fact that they cannot be in this adulterous relationship. Robert is constricted by the parameters of the society now, while Edna has to face the brunt of it. At this juncture in the course of the narrative of the novel, Adèle and Doctor Mandelet make Edna realize that she has deviated from socially acceptable behavior and her actions rather come across to be very confused in nature. In a conversation it is opined, “The years that are gone seem like dreams—if one might go on sleeping and dreaming—but to wake up and find—oh! well! Perhaps it is better to wake up after all, even to suffer, rather than to remain a dupe to illusions all one’s life.” (Chopin 292) Thus, Edna starts to perceive that he has acted very selfishly being oblivious of her relationships and her responsibilities. It has to be noted that her friend and the doctor work as vehement reminders of the societal norms and the standards of propriety of action expected from a married lady.
Edna’s route to freedom is paved through her suicide. When Edna finally finds out that Robert has left, she comes to realize that Robert has left, she understand that he is unable to break free from the shackles of the society and its parameters. This in turn works as the most devastating awakening for Edna who stands shattered by the surmounting effect of the society on her personal life and emotions. The author portrays how Edna is encompassed by solitude. For her there is only one answer to the inescapable limitations of the patriarchal society. She goes back to Grand Isle and gives herself up to the sea. Robert is the man who had taught her swimming- something that symbolizes the independence of Edna’s body and soul. The author writes, “There was no human being whom she wanted near her except Robert; and she even realized that the day would come when he, too, and the thought of him would melt out of her existence, leaving her alone.” (Chopin 300) Robert had made her learn swimming that symbolized her independence. But now, the same man had left her in fear of the society. It needs to be reckoned that Edna never takes the step backward. She can be described to have reached a stage in her life where she is ready to let go off the shackles of patriarchy that had been socially imposed on her all her life. (Walker 95) As such, Edna refuses to give in to the pressures of the society and decides to swim her way to freedom as she gives herself away to the vast sea. She achieves emancipation from the cruel constrictions of the society by embracing death through swimming. She meets with her demise as she escapes from the brutal clutches of the societal parameters, norms and institutions. As she swims in the sea, she moves away from the constrictions. Swimming thus symbolizes her emancipation from the pressures of the society. It had made her realize the joy of independence, and it is the last act that lets her find her peace of mind. It has to be noted that her struggle embodies the struggle of the women of the society and her emancipation from the repressed desires points to the inner spirit innate in the females against the subjugation and passivity ascribed to them by the society and its institutions. Edna should be seen as a character that has the courage to fight the odds and impositions so as to speak her mind and acknowledge her desires and needs. She is someone who refrains from being conditioned by the society into acting as per the societal role ascribed to her. She can be taken to be the epitome of struggle against the discrimination meted out to the women and the subtle onuses put on the females in a bid to control their actions and psyche.
Again, one can consider one of the most famous plays by Henrik Isben, A Doll’s House that deals with a similar thematic content showing the struggle of the female protagonist against the discriminative parameters of the society. The play explores the the dynamics in a marital relationship through the characters of Torvald and Nora. . She is treated as the other gender in the marital bond. Even Nora accepts the reference as she says, “The squirrel would jump about and play all sorts of tricks if you would only be nice and kind.” (Isben 63) The reference to Nora as animals is a telltale sign of the process of dehumanization and disrespect that is meted out to her by Torvald. The treatment can be seen as the microcosm of the society’s perspective toward the females. However, in spite of all this indignation, Nora does not show signs of subversion. Thus, she is never given the place that she deserves as a partner in the relationship. Rather, the objectification of Nora in the marital relationship points to the fact that she is subordinated and disrespected as a human being. The attitude of Torvald toward his wife is nothing but a vehement reflection of the patriarchal ideologies and practices that were in vague in the society of the times. Isben mirrors the faults of the society’s perspective and practices through the exploration of the marital bond between the two central characters of this play.
There are several instances in the play that can be cited to establish the fact that Nora did not even the due respect as one of the guardians or parents to her kids. The kids play with her in the course of the narrative and never respect her as an elder. Also, they see their father as the guardian-figure for them, while Nora is simply a playmate in their eyes. Nora says to Mrs. Linde at a point of time, “Just fancy, my husband has been made manager of the Bank!” (Isben 9) Nora finds bliss and satisfaction in the success of her husband. She is not bothered about her own aspirations. It needs to be comprehended that Nora is someone who gets subordinated by her husband in the marriage. It becomes clear in the course of the play that Nora is not respected by her spouse and is even objectified. Torvald sees Nora as a trophy wife, and is attracted to her only due to her beauty and no other skill or personality trait. This comes to show the innate nature of power hierarchy in the societal institution of marriage where the female counterpart of the relationship is perceived to be subordinate or less important. Indeed, the way Nora follows the will of her husband shows how she embraces the life of subordination and passivity in the marriage. She does everything to make her husband happy. One can understand that her actions are guided by her wish to please Torvald. She even relies on him for all the decisions of her life. As such, the playwright shows that the female is always placed in the secondary position in the power hierarchy of relationship in a marital bond. It has to be reckoned that the play works to portray Nora as the prototypical character representing the subordination of women of the society in general in the social institution of marriage. Isben’s aim is to show how marriage as a social institution is in itself oppressive in nature. The patriarchal set up of the society ascribes the role of passivity and Nora is a perfect example of how a female is treated by the partner as well as the society. (Templeton 30-32)
As the narrative of this play progresses, Nora finally dares to break free from the shackles of familial bondage. She comes across to be exasperated by her subordinate status and the disrespect. She knows very well that she has the capacity to be on her own as an independent lady sans the oppressive and subjugating presence of her spouse. Indeed, she goes on to take one of the biggest decisions of her life as she leaves her household. All through the marriage she has been pacified and her repressed desires and aspirations had crowded her heart. But, by the end of the narrative she reaches a stage when she is not ready to embrace passivity any more. She tells Torvald, “I have waited so patiently all these eight years; for of course, I saw clearly enough that miracles do not happen every day.” (Isben 134) She realizes that the responsibilities on her shoulders are all imposed by the patriarchal ideology of the nuclear family structure. She decides to leave all of those onuses behind to be free in the truest sense of the word. It is very intriguing to see how the playwright shows the character basking in the newfound independence away from the claustrophobic restrictions of family life. One might critique the radical decision taken by Nora to leave even her kids behind. But, the years of oppression and subordination that she has faced at the hands of her husband have to be taken into account to comprehend the state of mind of the female protagonist of this play.
It is very astonishing to find how Nora is also called by the names of animals by her husband, Torvald. This is not only shocking, but it also points to the fact that Torvald views Nora to be someone who is very much inferior to him. Nora is, thus, denied the very right to equality and is disrespected as a human. Although it becomes clear that she has a mind of her own and can manipulate her husband, she never shows the sign of going against Torvald and the societal norms toward the beginning of this play. It needs to be reckoned that just like the novel by Chopin, Isben too focuses on how the females of the society had to give in to the might of the societal norms and practices. While Chopin explores the influence of the society, Isben delves into the oppressive dynamics of the family and the marital bond. In comparison to the character of Nora, Chopin shows her female protagonist in a totally subversive disposition. The subversion of the two characters, however, has commonality to an extent as both leave their respective families to live life on their own not caring about the societal norms or judgments. Both Edna and Nora are epitomes of strength as they show the valor to go against the established norms of the patriarchal society. The characters embody the true free spirit of the female folks of the world society. Nora and Edna portray how the repressed aspirations and desires should come to the surface in the course of life sans any weariness about the social pressures, thereby representing the entire female community of the world.
The emancipation of the central female character of the play from the brutal clutches of patriarchy goes on to portray the essence of feminism in the thematic content of this literary work by Isben. Nora transforms into an independent woman after being subjugated for long. The final stand of Nora goes on to subvert the patriarchal family structure of the society. However, in comparison, Chopin’s protagonist fails to find emancipation and it is only through her suicide that she escapes from the clutches of patriarchy. It is very important to read both these texts with utmost importance as they are perfect sociological documents exposing the ills of the patriarchal society. In spite of being fictional pieces, the stories mirror the grave truth of the society that pressurizes and subjugates the females. However, while both the literary works deal with the thematic content of gender discrimination, societal bias toward females and female subjugation, the two authors have two different approaches toward the matter in context. Kate Chopin focuses on the influences of the society, while Isben shows the oppressive nature of marriage as an institution in the society. Nonetheless, these two literary works are deemed to be the best expressions are feminism in literary history owing to the affective appeal and quintessential portrayal by the respective creative artists. These works can very well be described as seminal literary pieces that have been immortalized in the minds of the critics as well as the readers all over the world.
Works Cited
Chopin, Kate. The Awakening. New York: Herbert S. Stone & Company, 1899. Print.
Isben, Henrik. A Doll’s House. New York: Sheba Blake Publishing, 2013. Print.
Templeton, Joan. “The Doll House Backlash: Criticism, Feminism, and Ibsen.” PMLA
104.1 (1989): 28-40.
Walker, Nancy. “Feminist or Naturalist: "The Social Context of Kate Chopin's The
Awakening"” Southern Quarterly 17.2 (1979): 95.
