To ensure that the comparisons between the mother-women, specifically Adele, and the Madonna are not lost on the reader, Chopin describes Adele as a Madonna multiple times. Initially this occurs when the narrator notes, Pontellier liked to sit and gaze at her fair “Mrs. companion as she might look upon a her companion being Adele. faultless Madonna”, identity is one entirely subject to the wants and needs of her children and Adele’s husband, a feature fundamental to the mother-women and to the Madonna archetype. Chopin does not allow any scene with Adele to pass without establishing the obligations and character limitations imposed by her maternal role, however Adele is always noted to enjoy and gain a strong sense of identity from these outward responsibilities. The first scene in which the reader views Adele as inseparable from her maternal role is when Adele and Edna away one “went morning to the had prevailed upon Madame Ratignolle to leave the beach together….Edna children behind, though she could not induce her to relinquish a diminutive roll of needlework, which Adele begged to be allowed to slip into the depths of her it is noted that pocket”. Later Adele very however was keeping up her music on account of the “played [piano] well” “she children, she said; because she and her husband both considered it a means of brightening the home and making it Adele only develops herself in ways that will allow her to further attractive”. fulfill her role as a mother and homemaker. Edna expresses to Adele her feelings of dissatisfaction regarding her maternal and domestic role, a conversation in which Adele can be interpreted as serving as a representation of the way in which society would respond to such remarks, further reinforcing her as the Madonna or ideal woman of the society in the novel. The conversation that takes places is a pivotal one where Edna details for the reader her understanding of an independent self, as
To ensure that the comparisons between the mother-women, specifically Adele, and the Madonna are not lost on the reader, Chopin describes Adele as a Madonna multiple times. Initially this occurs when the narrator notes, “Mrs. Pontellier liked to sit and gaze at her fair companion as she might look upon a faultless Madonna”, her companion being Adele. Adele’s identity is one entirely subject to the wants and needs of her children and husband, a feature fundamental to the mother-women and to the Madonna archetype. Chopin does not allow any scene with Adele to pass without establishing the obligations and character limitations imposed by her maternal role, however Adele is always noted to enjoy and gain a strong sense of identity from these outward responsibilities. The first scene in which the reader views Adele as inseparable from her maternal role is when Adele and Edna “went away one morning to the beach together….Edna had prevailed upon Madame Ratignolle to leave the children behind, though she could not induce her to relinquish a diminutive roll of needlework, which Adele begged to be allowed to slip into the depths of her pocket”. Later it is noted that Adele “played [piano] very well” however “she was keeping up her music on account of the children, she said; because she and her husband both considered it a means of brightening the home and making it attractive”. Adele only develops herself in ways that will allow her to further fulfill her role as a mother and homemaker. Edna expresses to Adele her feelings of dissatisfaction regarding her maternal and domestic role, a conversation in which Adele can be interpreted as serving as a representation of the way in which society would respond to such remarks, further reinforcing her as the Madonna or ideal woman of the society in the novel. The conversation that takes places is a pivotal one where Edna details for the reader her understanding of an independent self, as
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