"Madame Ratignolle, more careful of her complexion, had twined a gauze veil This advice proves that Madame Ratignolle and Edna have a close relationship. Edna distances herself from the trap her marriage has become. Ulitmately, her affair with Robert Lebrun and friendship with Adèle Ratignolle. Edna's relationship with Adèle begins Edna's process of “awakening” and as Edna comes to know Robert Lebrun, the elder, single son of Madame Lebrun. Léonce heeds the doctor's advice, allowing Edna to remain home alone while he .
Edna's Relationships in Kate Chopin's The Awakening - SchoolWorkHelper
Mademoiselle Ratignolle as the ideal Grand Isle woman, a home-loving mother and a good wife, and Mademoiselle Reisz as the old, unmarried, childless, musician who devoted her life to music, rather than a man. Kate Chopin carefully, though subtly, establishes that Edna does not neglect her children, but only her mother-woman image.
Pontellier was not a mother-woman. Edna tries on one occasion to explain to Adele how she feels about her children and how she feels about herself, which greatly differs from the mother-woman image. Although Edna loves her children she does not confuse her own life with theirs.
Edna never adhered to the societies definition, even at the beginning of the novel. Pontellier was the best husband in the world.
That she married him not because there are none better, but because there are also none worse. By moving to her own residence, Edna takes a colossal step towards autonomy, a direct violation of the mother-woman image. Throughout The Awakening, Edna increasingly distances herself from the image of the mother-woman, until her suicide, which serves as the total opposite of the mother-woman image. Adele Ratignolle and Mademoiselle Reisz, the two important female subsidary characters, provide the two different identities Edna associates with.
Chapter 9 contrasts Madame Ratignolle with Mademoiselle Reisz. Both play piano, but Madame Ratignolle plays as "a means of brightening the home and making it attractive. In stark contrast, Mademoiselle Reisz is disliked by and dislikes almost everyone, lacking interpersonal skills, fashion sense, and physical attractiveness. Yet her performance is that of a master, stirring everyone within earshot with the power of music. Edna is particularly affected by the music, which "sent a keen tremor" down her spine.
Note the connection between music and the sea: Her visceral reaction is an indication of her awakening desire to experience some great passion in her life; "her being was tempered to take an impress of the abiding truth" for the first time.
In Chapter 10, the mock romance Robert has been indulging in with Edna begins to assume a genuine air. In response to Madame Ratignolle's advice, he has been avoiding Edna some days, causing her to miss him "just as one misses the sun on a cloudy day without having thought much about the sun when it was shining" — hardly a passionate state to begin with. Yet Edna experiences in Chapter 10 a breakthrough in her ability to swim, which symbolizes the blossoming of her desire to leave behind social constraints, "to swim far out, where no woman had swum before.
After her initial bold progress into the Gulf, she soon finds that she has swum farther out than she can actually swim back — she has made more progress than she can handle. Again her death is foreshadowed when she is struck by "a quick vision of death" that terrifies her.6 Signs He Doesn't Want A Relationship With You - Dating Advice For Women by Mat Boggs
Edna's childlike aspect is emphasized in the description of her as a "little tottering, stumbling, clutching child, who of a sudden realizes its powers, and walks for the first time alone, boldly and with over-confidence.
Chapter 10 ends with the beginning of Edna's deeper entanglement with Robert.
When he tells her the tale of the Gulf spirit whom she has captivated, he is also referring to himself. After the powerful music and the liberating swim, Edna is primed for further emotional stimulation and Robert is there to further his romantic interests with the one woman who may take him seriously in that regard.
Chapter 11 demonstrates Edna's potential for defiance.
When she insists that she will remain in the hammock as long as she likes, his response is calm and methodical: His cigar-smoking presence is stifling to Edna's rebellious mood. In fact, he outdoes her when he remains on the porch after she herself yields to the physical need for sleep and goes inside to bed.