Edna Pontellier's "awakening" can be seen as a transformation of herself using two women in the book as symbols. Edna has many similarities to Adele Ratignolle at the beginning of the novel. Madame Ratignolle symbolizes the typical Creole house-wife in the Victorian age which the novel takes place. On the opposite side of the awakening, is Mademoiselle Reisz. She represents a person not held down by society's chains, but a free soul, an artist. Madame Ratignolle represents what Edna is, while Mademoiselle Reisz represents what Edna Pontellier is to become.
             Adele Ratignolle has all the characteristics of stereotypical Creole Catholic wife living in the late 18th century. She is a mother of five children, the ideal wife for her husband, and follows the rules that her surroundings have put upon her. Adele represents Edna's "life-long, stupid dream" (626), by being everything a perfect woman for society. Adele warns Robert Lebrun to stay away from Edna ("I only ask for one; let Mrs. Pontellier alone") (556). Edna is a married woman, and any type of romantic affair would be scandalous. This ideal woman, Adele, is trapped in her routine based on the rules of society, and she cares not to seek out what Edna desires, an awakening from her "dream life".
             Mademoiselle Reisz being quite the excellent and respected pianist can be considered an artist in her own respect. The Creole society in New Orleans views Mademoiselle Reisz as a grouchy old rebellious hag. But she plays by her own rules, not what people think of her ("the most disagreeable and unpopular woman who ever live in Bienville Street") (587). Mademoiselle Reisz's apartment sits at the top of her building, representing solitude and freedom. When Edna visits the Mademoiselle at her apartment, it gives her a sense of openness, like she can express what is truly on her mind. Reisz inspires Edna ...