Reading and Translating Kate Chopin's The Awakening
as a Non-Feminist Text

ate Chopin's The Awakening² has a distinguished reputation all over the world. The currently available Chinese translation of this novel in Taiwan was published in 1996 by fembooks publishing house & bookstore which is noted for its support of feminist movement and endorsement of feminism in Taiwan. The establishment of this bookstore is worth mentioning. fembooks was established on April 17, 1994 by the advocators who supported the Awakening Foundation, the first feminist organization founded in Taiwan in 1982. Being the first feminist publisher in Taiwan, its mission is to enhance people's awareness of women's issues and provide a medium for feminist texts and writers to be known by the public. fembooks has created a legacy for women and all the people who believe in women's creativity and gender equality (http://www.fembooks.com.tw/indexaboutus.php?showarea=1_2).

Since Chopin's The Awakening has been received as a feminist text, its popularity and potential readers mostly remain in academia in Taiwan. To make this novel more accessible to the general readership, we take a non-feminist approach to interpreting and translating this novel. In this paper, feminist translation strategies proposed by Françoise Massardier-Kenney are first applied to discuss feminist translation strategies adopted by Yang to render this novel as a feminist text. In order to produce a translation from a non-feminist perspective, we consider Eugene Nida's dynamic equivalence a suitable translation strategy for it advocates a type of free translation that allows any necessary linguistic adjustments. In addition, a non-feminist interpretation is offered: Edna is seen as a sensually awakened woman who suffers increasingly an unbeatable solitude rather than someone struggling for independence and freedom. In order to achieve the effect intended, particular wordings are employed to explicitly accentuate Edna's sensual awakening and to also amplify the unbearable sense of solitude that forces Edna to end her life. Examples for discussion and analysis are provided to explain how we manage to accentuate Edna's sensual awakening and amplify Edna's state of solitude so that readers may perceive Edna as a conscious being who constantly grapple with the meaning of individual existence but fails to achieve a sense of selfhood.

1. Ing-mei Yang's Feminist Approach to Translating The Awakening

Since the 19^th century, translation has been the major access path for women to the world of letters and a way to express their political convictions (Simon 1996:2). Through translation, women gained power and opportunity of writing in the era that being a writer was the exclusive privilege of men. Therefore, translation became a medium for women to express and show their identity, and the foremost goal for the feminist translator was to make the feminine visible in the text. Feminist translators adopt existing translation strategies rather than invent new ones. These strategies are used to represent a woman's particular point of view presented in the source text. In "Towards a Redefinition of Feminist Translation Practice," Françoise Massardier-Kenney divides the feminist translation strategies into two categories: "author-centered" and "translator-centered" strategies, and each strategy is further categorized into six substrategies (see Table 1):

Table 1 "Author-centered" and "Translator-centered" Strategies

The translator adopts author-centered strategies, including "recovery ," "commentary" and "resistance," to make the texts more accessible for readers. The first author-centered strategy, "recovery," is used to "extend the canon through the translation of women authors" (Massardier-Kenney 1997:59). Since women writers have had little exposure in the field of writing over the centuries, there is an abundance of women writers whose works have been excluded, abandoned, and neglected for a long time. It is feminist translator's job to rediscover works by women writers and to make them available to the public through translation. "Commentary" is another author-centered strategy, and the translator adopts this strategy to make explicit the importance and significance of the feminine or women in the text through metadiscourse accompanying the translation. Translation prefaces, afterwords, and reflections are ways of metadiscourse which function to help readers appreciate a text from a feminist perspective. The third author-centered strategy, "resistance," is more appropriate for highly experimental writings in which syntax and lexis already challenge the conventions of the source language. The translator deconstructs the conventional language use in order to produce a translation without fluency so a defamiliarzing effect can be achieved.

The feminist translator can also adopt translator-centered strategies to reconstruct the cultural context by means of "commentary," "parallel texts," and "collaboration." While "commentary" of author-centered translation strategy is used to explore and explain why the feminist text translated is significant and how women play important roles in the text, "commentary" of translator-centered strategy serves a different purpose. The commentary in a translator-centered translation strategy is more like a translator's self-analysis, in which feminist translator reveals how her motive affects the result of translation and explains the difficulties she encounters during translation.

The second translator-centered strategy is the "use of parallel texts." According to Massardier-Kenney's definition, this strategy means "texts in the target language which have been produced in a situation similar to that in which the source text was produced" (1997:64). Before translating, feminist translators could search for a parallel text in the target language compatible with the source texts so as to target the translation to the domestic cultural constituencies more precisely.

The last strategy used by translators to achieve a feminist translation is "collaboration," which refers to a translator working with other translator(s) or even with the author to produce the translation. Massardier-Kenney believes that by collaboration translators may "avoid the traditional dichotomy between two subjectivities (author/translator) which seek control of the meaning" (1997:65) because translators have to constantly compare their interpretations of the same text with other translators' or the author's. By doing so, feminist translators would be able to produce a more neutral and appropriate translation.

Feminist translation strategies are categorized into author-centered and translator-centered strategies, but these two strategies do not contradict each other. It is found that Yang adopts both strategies at the same time in the process of translation. To begin with, she adopts the first author-centered strategy, "recovery," to familiarize Taiwanese readers with the author Kate Chopin and the feminist sentiments revealed in her novel. Since women's predicament in the traditional family and marriage were the contemporary feminists' two major interests in Taiwan during the eighties, the publication of Yang's translation has incorporated a concern for consciousness-raising at the individual level. Readers who read this novel may emotionally connect to and critically reflect upon women's lives portrayed in the novel.

"Commentary" was the second author-centered strategy adopted by Yang to discuss the importance and significance of the feminine or women by means of a preface. It is worth noting that in Yang's eight-page preface, she mentions first why the novel was once forgotten and rediscovered again in the mid-twentieth century, and then the symbols of the sea, birds and the title of the novel are particularly interpreted from a feminist perspective. For example, Edna's inclination of swimming in the sea discloses her desire for freedom, and her choice of committing suicide implies her determination to preserve selfhood against the smothering pressure of social conventions (Yang 1996:8). As for the birds, they symbolize something in captivity, struggling to come out of the constraints (ibid).

The last strategy of author-centered strategy, "resistance," is more suitably applied to highly experimental writings. Yang does not necessarily adopt this strategy because The Awakening, in essence, is not an experimental writing. Besides, adopting this strategy might result in a translation with less readability.

In addition to author-centered strategies, it is also investigated whether Yang adopts any of the translator-centered strategies. The first translator-centered strategy, "commentary," is used by Yang to describe her motive for translating the text. In the preface, she writes that she has lectured the novel for several years and has always wanted to translate it into Chinese to help promote feminism in Taiwan. Nevertheless, the difficulty of translating this novel is not mentioned.

Another translator-centered strategy, "parallel texts," is not adopted by Yang. Though in preface, she mentions French scholar Cyrille Arnavon's remarks on The Awakening as a text that can match up to the French novelist Gustave Flaubert's Madame Bovary (1856), there is no evidence that Yang used the Chinese translation of Madame Bovary or any other parallel text as a model for her translation of The Awakening.

Lastly, the translator-centered strategy "collaboration" requires translator to work with other translator(s) or even the author. On the cover of the Chinese translation, Yang's name is shown as the exclusive translator. In the preface, although Yang gives acknowledgements to her husband, David Decker, for discussing the source texts with her; her husband here plays the role of consultant and advisor, rather than a translator with whom Yang collaborated.

In short, Yang adopts two of the author-centered strategies, "recovery" and "commentary," and one translator-centered strategy, "commentary." By employing these three strategies, she is able to bring readers closer to the text. By interpreting the symbolic meanings of some specific images presented in the novel from a feminist perspective, she intends to confer a feminist reading to The Awakening. Besides limiting the readers to a restricted feminist interpretation of the novel, particular wordings are employed by Yang to communicate a particular feminist sentiment.

1.2 Endow Edna with a Masculine Image

Besides adopting feminist translation strategies to highlight the novel as a feminist text, Yang uses masculine phrases to characterize Edna's look. In Example 1, Edna's eyes are described as "gewai shenxian" 格外深陷 (especially sunken) and her facial feature as "haomai satuo" 豪邁灑脫 (intrepid and carefree), which all leave readers with the impression that Edna seems to have a stiff and rigid appearance:

The phrase "haomai" 豪邁is also used somewhere to give Edna a manly look:

According to Cambridge Dictionaries Online (http://dictionary.cambridge.org/ 2007), "handsome" means good-looking, attractive and beautiful and can be applied both to men and women. However, "haomai" and "haomai satuo" in Chinese are mainly used to address a man's vibrant and daring personality. Yang's subversive use of this phrase inevitably endows Edna with a masculine image.

Besides masculinizing Edna's appearance, Yang also endows Edna with a more masculine physique:

In example 3, "the fine, firm quality and texture of her flesh" connotes the delicacy of Edna's skin. Yang's rendering "jieshi de jirou" 結實的肌肉 (sturdy muscles) is a Chinese expression scarcely used to describe the female body. It seems that Yang intends to endow Edna with a masculine appearance and to turn her into a robust woman.

1.3 Accentuate Edna's Character and Consciousness

In the preface, Yang explains that the "sea" represents a free space, where Edna liberates herself from the bondages imposed upon her. The sea is especially important to Edna because this is where Edna comes to realize that she has the strength and ability to go beyond her limitations as a woman. In example 4, the source text describes the sea as something that keeps seducing the soul to embrace its profundity, but it does not specify whose "soul" it is:

In her translation, Yang directly designates "the soul" as Edna's. Her interpretation tends to personalize the "sea" speaking to Edna, which creates an image of the sea interacting with Edna's soul and builds up a close relation and a strong bond between the two. By linking the sea with Edna, Yang implies to readers that Edna is very attached to freedom.

Yang also uses commas to accentuate the feminine character. Example 5 shows that two commas are used to emphasize Edna's state of being:

This example depicts Edna's feeling when she is free from the responsibilities of motherhood. Yang uses two commas to separate "ta" 她 (she) from the other parts of the sentence. In doing so, "she" becomes recognized and distinguished in the translation where the feminine character stands out.

Besides commas, the use of dash is noticeable in the source text and is very effective in catching readers' attention to the feminine character. In example 6, it is apparent that the original usage of two dashes remains unchanged in Yang's translation:

In practice, the dash is used for further explanation of the previous statement or a sudden change in the manner of speaking. While the use of two dashes in the source text elucidates that Edna's "present self" is intended for comparison with her "other self," Yang's rendering achieves a similar effect, except that Yang tends to explicitate "the other self" as Edna's previous self.

The use of the dash is also noticeable in Yang's translation. While no dash is used in the source text, the use of the dash in Yang's translation exposes the reader to a considerable female consciousness:

Yang's rendering enables readers to recognize that it is Edna's wish to find a space of her own where she can be free of disturbances and the responsibilities of motherhood. Her intentional manipulation and representation of Edna's character and consciousness not only makes the feminine visible but also manifests a particular feminist sentiment.

2. Proposal of a Non-feminist Approach to Translating The Awakening

In our proposal of a translation model, we consider Eugene Nida's dynamic equivalence a suitable translation strategy which pays more attention to the target readers and allows for the necessary linguistic adjustments. Also, our interpretation from a non-feminist perspective sees Edna as a sensually awakened and solitary woman. How we manage to accentuate Edna's sensual awakening and amplify a sense of solitude is illustrated in 2.4 and 2.5.

2.1 Eugene Nida's Dynamic Equivalence Model

Eugene Nida's dynamic equivalence is said to be a type of free translation, which cares about the target readers' response. Depending on the readers for whom the translation is made, dynamic equivalent translations may not be close to the formal structure of the original text (i.e. lexicon or syntax) in that the form can be restructured to preserve the meaning. In his comparative study of Jin Di and Nida's translation theory, Ma Huijuan contends that dynamic equivalence "has some limitations in guiding literary translation. This is simply because Nida's immediate concern is not about literary translation; hence it fails to address the transference of formal structures possessing stylistic values and aesthetic effects" (Ma 2007:106). When applied to literary translation, Nida's dynamic equivalence, which is meaning-oriented, cannot "provide effective means to transfer aesthetic values of a literary work" (Ma 2007:107). As Nida's dynamic equivalence tends to retain the meaning and sacrifice style or spirit of the original when meaning and style cannot be kept at the same time, Ma's point of view that meaning, rather than style, is considered a top priority is very inadequate for literary translation. Ma is thereby in line with Jin Di who considers Nida's translation theory not to be applicable to literary translation practice.

Whether Nida's dynamic equivalence can be successfully applied to literary translation practice depends on the types of literary work translators are dealing with, since versatile literary works can be categorized into different genres and subgenres. Nida's theory of dynamic equivalence may not be suitable for translating highly experimental writings noted for their innovation of language and style where the translator must strive to reproduce the artistic style. By adopting Nida's dynamic equivalence to translate Chopin's The Awakening which originates from the writer's experience rather than experimenting with language itself, we find that the spirit and the style of the original can be retained without distortion or deletion. Furthermore, the dynamic equivalence model, which allows for linguistic adjustments, provides the translator with the maximum level of freedom so that the meaning of a literary work can be re-interpreted.

2.2 Critical Review of The Awakening

Kate Chopin's The Awakening is widely perceived and highly appreciated by modern readers as a feminist text, which advocates the notions that women are entitled to true love, happiness and independence. They also highly value Kate Chopin's The Awakening for it shows the conflicts and struggles a woman goes through while challenging the social norms. On the other hand, some modern critics and reviewers argue otherwise and disapprove of seeing The Awakening as a feminist text. For instance, Nancy Walker in "Feminist or Naturalist?" argues that "Edna's awakening is a realization of her sensual nature, not of her equality of freedom as an individual. Chopin did not intend to write a feminist tract" (Gulley 1994:252). We are in line with this argument. In the novel, Edna at first behaves and considers herself a reserved and inhibited person not accustomed to intimacy. After she develops a relationship with Robert and Arobin, it is her passion for Robert and the sensual stimulation by Arobin that bring her sensual joy and awaken her.

While Edna's rebellion against the social conventions is regarded as a very strong characteristic of feminism that highlights Edna's intense emotional capacity, some authors believe that she is a solitary and a conflicted woman, and it is her desperate loneliness that leads to her death. As Margo Gulley in "Edna Pontellier: 'A Solitary Soul'" notes:

In fact, the novel was originally entitled as "A Solitary Soul" and was renamed as "The Awakening" by the publisher. Thus, it is evident that Chopin took solitude as the central theme of the novel. Interestingly, the word, "alone" occurs twenty nine times, "lonely" twice, and "solitude" seven times throughout the novel. It is safe for us to say that Chopin portrays Edna as a solitary woman who struggles to make up for her loneliness.

In our interpretation of Edna's awakening, we see Edna as a woman who awakens to her sensuality that brings her physical joy. Later on, she awakens once again to realize that she is all alone in the world and can never overcome this state of being. To dispel this intolerable sense of solitude, she chooses to end her life. In "Edna's Suicide," Suzanne Wolkefeld comments on Edna's suicide and contends that "Edna does not possess the strength to live her life alone and is therefore driven to seek the solitary security of death (Gulley 1994:245). Cynthia Griffin Wolf in "Thanatos and Eros" also notes: "Edna's final act of destruction has a quality of uncompromising sensuous fulfillment . . . It is her answer to the inadequacies of life, a literal denial and reversal of the birth trauma she has just witnessed, a stripping away of adulthood, of limitation, of consciousness itself" (Gulley 1994:p.241). In short, Edna first awakens from sensual pleasure followed by the realization of an unbeatable sense of solitude. The goal of conveying this interpretation is what we strive for in the retranslation.

2.3 Womanize Edna's Physical Appearance

Our translation intends to womanize Edna, since in the original she is portrayed as a woman born with delicate features. As shown in Example 8, "shensui"深邃 (deep and profound), a Chinese term to indicate that the eyes are so enchanting, is used to describe "the depth" of Edna's eyes. Unlike Yang who tends to embody Edna with a manly look, "handsome" is translated as "luoluo dafang" 落落大方, which gives Edna a genuine and delightful appearance:

In Example 9, while Yang uses the term, "jianmei" 健美 (well-built), which masculinizes Edna's physical features, we render "robust" as "shencai yiyi" 神采奕奕 (glow and vitalize) to convey her radiating vitality. At the same time, "handsomer" is rendered as "meiyan donggren" 美豔動人 (beautiful and attractive) to enhance Edna's feminine appearance :

Edna is also enchanted by her "fine, firm quality and texture of her flesh" for the first time in example 10. To convey this physical charm, "the fine, firm quality and texture" is rendered as "xizhi jinshi" 細緻緊實 (refined and firm). Unlike Yang's translation that tends to endow Edna with a masculine physique, our translation emphasizes that Edna's delicate body feature has the power of allurement:

In the first half of the novel, Edna behaves and considers herself a reserved person not accustomed to intimacy. Later on, she is sensually awakened. In Example 11, while Yang's rendering of "passion" as "qinggan" 情感 (feelings) is too vague to spell out the feeling that is gnawing her, we interpret "passions" as "qingyu" 情慾 (lust) to specify that Edna's sensual desire is aroused within herself:

In addition, Edna in chapter 6 of the novel feels that the touch of the sea is very seductive, so "tiao dou" 挑逗 (to provoke) is used to intensify the sensual interaction between the sea and Edna. This rendering is very different from Yang's literal translation.

In Example 12 below, Chopin uses a very strong word "effrontery" to indicate Arobin's dissolute manner as he flirts with Edna. It is Arobin's sexual stimulation that triggers Edna's sensuality. Comparing with Yang's translation "jiongjiong de" 炯炯的 (glaring), our rendering "haose de" 好色的 (lustful) fairly conveys the connotative meaning of "effrontery":

In order to echo with the title and theme of the novel, "the awakening," and to let readers sense that Edna first awakens from sensuality, "awakening sensuousness" is translated as "juexing zhong de qingyu" 覺醒中的情慾 (the awakening sensuous desire). Unlike Yang who renders this phrase as "su xing zhi zhong de gan xing" 甦醒之中的感性 (awakening sensibility), we intend to accentuate Edna's sensual awakening by rendering "sensuousness" as "qingyu" 情慾 to emphasize Edna's sensual longing for male stimulation and seduction.

Example 13 is a passage that demonstrates Edna's sexual awakening. Kissing Arobin provokes Edna's sexual desire, and she responds by kissing back. Yang's rendering of "her nature" as "benxing" 本性 (real nature) seems to imply that Edna is inherently sexually oriented. In our translation, "her nature" is rendered as "benneng" 本能 (physical instinct) to imply Edna's yearning for sexual fulfillment, and what makes her lose control of herself is part of human nature:

To make this connotation more explicit, "desire" is translated as "xingyu" 性慾 (sexual desire). If "desire" were merely translated as "yuwang" 慾望 (see Yang's translation), this rendering would be vague for the connotative meaning of "desire."

Edna's sensuality is transparently presented in Example 14. "Sensuality" literally means the hidden desire for sensual pleasure. There is no convenient equivalent phrase in Chinese to perfectly express this intense feeling. Yang's translation of "sensuality" as "yunian"慾念 (desire) is not explicit enough to express the intensity of this feeling. In our translation, we render it as "jiqing"激情 (ardor) to convey Edna's corporeal excitement and to also highlight Edna's sensual awakening:

The other key phrase in the original sentence is "nature's requirements," which is rendered by Yang as "neixin de xuqiu" 內心的需求 (inner need). We translate it as "yuanshi de yuqiu" 原始的慾求 (primitive desire) to put emphasis on Edna's craving for intimacy.

2.5 Amplify Edna's Solitude

The other important theme of the novel is Edna's ultimate awakening to realize that she is in fact all alone in the world. The fulfillment and joy she experiences from her sensual awakening cannot compensate for or defeat the immense solitude within her. Her loneliness explains all her deviant behavior. Thus it is considerably crucial to convey Edna's sense of solitude in our translation. Example 15 describes the very first stage Edna begins to recognize the state of her existence:

"An individual" here does not simply mean "geren" 個人 (a person) but a single and complete human being. We render "an individual" as "duli de geti" 獨立的個體 (an independent individual) to manifest that Edna at this juncture realizes that she exists as an autonomous individual. This realization also brings Edna a sense of solitude.

Whether Edna is a daughter, a wife, a mother or a woman, she has to endure an unbearable loneliness. To make explicit Edna's solitude in the retranslation is what we aim at next. If Edna's feeling of loneliness does not carry over, the "hopelessness" she feels might seem incomprehensible to readers. Example 16 describes Edna's desolation is even greater when she is in the crowd. While Yang renders "hopelessness" as "wuwang zhi gan" 無望之感 (a desolated feeling), readers would not be in sympathy with Edna's condition. In our translation, "hopelessness" is amplified as "guku juewang" 孤苦絕望 (forlorn and desperate) to convey Edna's lonely desperation:

The separation from her children deepens Edna's inner solitude. In example 17, "she was again alone" in the original emphasizes the enduring loneliness Edna suffers from over and over again. Not only the state of being alone but also the isolation she feels is amplified. By translating this sentence as "ta yo shi gulingling de yige ren" 她又是孤零零的一個人 (She became lonely again by herself), we tend to amplify "alone" to convey Edna's solitude. In Chinese, "gulingling" means being alone. Yang translates "alone" as "duzi" 獨自 (on her own), which barely conveys the sense of loneliness experienced by Edna:

Example 18 depicts Edna's second and ultimate awakening before she ends her life. At this juncture Edna comes to understand that nothing and no one in the world can help her conquer this unbeatable solitude. She also realizes that all the passion and joy she seeks to make up for her solitude seem to be in vain, and nothing but death can end this solitude:

While Yang's rendering of "leaving her alone" as "li ta er qu" 離她而去 (to leave her) may not convey this subtle implication, our use of the Chinese idiom "xing dan yin zhi" 形單影隻 deliberately shows readers that Edna is always left alone.

Concluding Remarks

From the above discussion and analysis, it is apparent that Yang employs feminist translation strategies when translating Chopin's The Awakening. She adopts two of the author-centered strategies, recovery and commentary, and one of the translator-centered strategies, commentary, to promote this novel as a feminist text. In addition, Yang tends to embody Edna with a masculine image so Edna appears to be neither fragile nor vulnerable. At the same time she makes use of punctuation marks such as comma and dash to manifest Edna's feminine character, through which Edna's consciousness is also conveyed to communicate a feminist sentiment.

In order to produce a translation that can attract the attention of a broader range of Taiwanese readers, we propose a non-feminist approach to translating this novel. Edna's awakening is not viewed as her struggle for personal independence and emotional freedom. Instead, it is interpreted as her recognition of sensuality that can temporarily fill the emptiness felt within and awareness of an unconquerable sense of solitude that she can never overcome with sensual pleasure. To dispel this sense of emptiness and solitude that causes more anguish than despair, she chooses to end her life rather than deal with her mental frustration. In the task of retranslation, we employ particular wordings to convey the enjoyment Edna experiences in her sensual awakening and the solitude that makes Edna descend into despair. By adopting this non-feminist approach to translating this novel, we hope to provide readers with a different reading and appreciation of Kate Chopin's The Awakening.

Notes

¹ The first version of this article was presented as a report at the NCYU 2008 International Conference on Applied Linguistics. Chiayi, Taiwan: National Chiayi University.

² The Awakening was published in the late 19^th century at a time when sexuality was not a topic for open discussion in Louisiana. The novel was not accepted by her contemporary readers. Due to furious criticism, The Awakening was once banned and then out of print shortly after its debut in 1899. Afterwards, few of her stories were published before she died in 1904. It was not until a French scholar, Cyrille Arnavon, translated the novel into French in 1952 and a Norwegian professor, Per Seyersted, published The Complete Works of Kate Chopin and Kate Chopin: A Critical Biography in 1969, was this long-neglected work finally viewed with great literary value in the 20^th century. Although it took nearly half a century to be valued and appreciated, The Awakening remains one of the significant novels in the 21^st century.

³ Born in 1952, Ing-mei Yang received her M.A. in Comparative Literature from University of Washington, USA, and she is now a lecturer at the Department of Foreign Languages and Literature of Tunghai University in Taichung, Taiwan. She has translated and edited short stories by other women writers in addition to The Awakening. For example, Nanjie zhi yuan (難解之緣, literally means incomprehensible relationship), published by Linkingbooks in 1999, is a collection of nine famous feminist writers, including Kate Chopin, Virginia Woolf (1882-1941), Katherine Mansfield (1888-1923), Sara Orne Jewett (1849-1909), Edith Wharton (1862-1937), Ellen Glasgow (1874-1945), Susan Glaspell (1882-1948), Marry Wilkins Freeman (1852-1930), and F. M. Mayor (1872-1932).

Chopin, K. (1994). The awakening. New York: Harper-Collins.

Yang, Ing-mei. (1996). Juexing. Taipei: fembooks Publishing House.

Wolkenfeld, S. (1994). Edna's suicide: The problem of the one and the many. The Awakening: An authoritative text, biographical and historical contexts criticism (pp.241-247). M. Gulley (Ed). New York: W. W. Norton & Company.