sciousness, filled her whole being with a vague anguish" (49). At this point she has begun to feel the oppression of the conventional world, but her instincts have not yet led her to rebel against them.A third series of references in the opening chapters symbolizes Edna's conventionality. These are associated with Edna's reluctance to openly acknowledge her own sexuality. We are told that the Creoles' "freedom of expression was at first incomprehensible to her," and that "Never would Edna Pontellier forget the shock with which she heard Madame Ratignolle relating to old Monsieur Farival the harrowing story of one of her accouchements, withholding no intimate detail" (Chopin 53).Similarly, a book of an erotic nature had been going around the summer compound. The others read the book openly, but when it was Edna's turn "She felt moved to read the book in secret and solitude" (Ibid). These incidents are symbolic of Edna's conventionality suppressing her instincts towards free expression and exploration of her own sexuality as a woman.Later in the novel, however, once Edna's instincts have led her to rebel against the stifling conventions of her patriarchal world, sexual imagery abounds. On the night of her final dinner party in Leonce's house, for example, Arobin stays after the others have gone. This entire scene is sensuous. Arobin strokes and caresses Edna, kissing the palm of her hand. By this time she has left conventionality far behind, symbolized here by her willingness to explore a sexual relationship with Arobin. He makes no answer when she bids him good night, "except to continue to caress her. He did not say good night until she had become supple to his gentle, seductive entreaties" (Chopin 150).Further symbolism of Edna's recently awakened sexuality is seen when she meets Robert at the out of the way cafe she frequents. Before Robert arrives she is stroking the old cat owned by the proprietress, suggestive of auto-eroticism. Wh...
