In The Awakening, author Kate Chopin offers a story of self-exploration and growth of the protagonist Edna, who finds herself at odds with the distorted society what is its reality. Taking place primarily in the islands of Louisiana, the Gulf of Mexico is perhaps the second most important character in the play. There are countless aquatic descriptions, but they are difficult to analyze as a whole. Depending on one's perspective, the sea can appear predominantly masculine or predominantly feminine. Given the feminist nature of the novel, I choose to adopt the latter point of view. However, this does not necessarily constitute a sufficient limitation. Given the context and Chopin's dedication to regional writing, it is unlikely that she was not influenced by or at least exposed to stories of Louisiana witchcraft or maritime witchcraft. While the sea mother's characterization is more obvious, the witch helps explain the more sexual, phallic, and seductive depictions of water. Both personifications will be explored in this article. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The smell of the sea comes up several times in the book, as does the ocean breeze. Early references to the breeze coincide with the discussion of the sensual aroma of the sea, which might attempt an interpretation of the characterization of sea lovers. Subsequent evidence further suggests the female embodiment of water. “The sun was low in the west and the breeze was gentle and warm” (1262). The gentleness and warmth of the breeze are clearly maternal. The time of day status of the sun could imply a more mystical entity. Twilight is not something the reader would likely associate with the figure of the sea mother, but rather with the sea witch. Then the sea is given a voice, another trait that continually prompts Edna to bathe and distracts her from her domestic obligations. . “His gaze moved away from his face towards the Gulf, whose sonorous murmur reached him like a loving but imperative supplication” (1262). The act of whispering has always seemed more feminine than masculine to me. And historically and culturally, lowering the volume of a whisper would also align more easily with the expected behavior of women. Of course, the varied definitions of “sound” complicate this reading of the sentence a little. Despite this, this sentence is reminiscent of kindergarten, with a caring and important request. The descriptions of the voice continue. “The voice of the sea is seductive; constantly, whispering, shouting, murmuring, inviting the soul to wander for a moment in the abysses of solitude to lose itself in the mazes of interior contemplation” (1263). This quote, which returns at the end of the novel, shows how the seductive properties of the sea – although seen primarily as the sign of a male lover – might be more of a nod to a witch figure. Mermaids, a type of water witch, have almost always been described as seductresses with beautiful voices used to lure sailors to their deaths. There are common qualities in The Awakening. The sea, personified by a seductive voice and features, bears an uncanny resemblance to the classic description of mermaids. Although not a witch per se, the interpretation of the mermaid fits a darker, mystical reading of the feminine sea. As we continue reading, there is another enticing description of the voice of the sea. “The voice of the sea speaks to the soul» (1263). Many of the quotes used in this article have been quite ambiguous in their ability to be interpreted as relating to the male personifications of the Lover, the Mother, and the Ocean Witch. This excerpt seems to align very clearly with the mystical. Something that connects to the soul in a transformative way and is difficult to understand could suggest paranormal power. In the following two excerpts, Chopin depicts the sea as a reflective space and mysterious thing that commands attention. First, “the moon rose and its mystical shimmer cast a million lights on the distant, choppy waters” (1272). This idea is found at the end of the novel: “The water of the Gulf stretched out before her, glistening with millions of sunlight” (1343). This could be interpreted in many ways, although in reality there are only two perspectives that interest me. Firstly, this is simply another way in which Chopin chooses to make the sea more attractive, drawing Edna into his arms, which is quite obvious. However, this focus on the surface of water and its reflective properties, combined with the novel's awareness of personal growth, may not be a coincidence. These two ideas are not mutually exclusive. The author could force Edna's attention to the sea so that the sea could teach her something about itself. The fundamental reason I have difficulty reading Chopin's Sea as strictly maternal is the repeated simile comparing wave crests to snakes. “The sea was calm now and swelled lazily into large waves which melted into each other and only broke on the beach into small foamy crests which coiled like slow white serpents” (1274). This is seen at least twice in the novel. Snakes and serpents are generally menacing and, when described through the gender binary, phallic and therefore masculine. However, snakes often have significance in witchcraft, both in voodoo and other practices. The juxtaposition of the sea and the serpent also reminds me of Hans Christian Andersen's classic, The Little Mermaid. There, the sea witch is assisted and protected by sea serpents. Medusa, an icon from Greek mythology, also shares water and snake images. According to myths, she lived on an island, had snakes for hair and also had wings. Birds and wings are frequently used as metaphorical tools in The Awakening. The penultimate page of the story is disturbing. “All along the white beach, from top to bottom, there was not a single living thing in sight. A bird with a broken wing beat the air above, staggering, fluttering, circling, crippled, all the way to the water” (1343). While this may simply be a tool foreshadowing Edna's fate, the bird's mutilation and attraction to the water, indicating its impending death, again offers a darker, more sinister look at the sea. , birds were frequently used in voodoo practices in southern Louisiana. The simple use of an omen asserts a mystical influence that does not fit the ideal of the sea mother. On the last page of the novel, there are aquatic references that suggest both the characterizations of the witch of the seas and the mother of the seas. Once again, the reader sees the most sinister and mystical images of the snake. “The foamy waves curled up to his white feet and coiled like snakes around his ankles” (1344). This captivating description is followed by more welcoming maternal evocations. After Edna takes off her clothes, there is a large set of.