The Awakening

ome people contended that the reason Mademoiselle Reisz always chose
apartments up under the roof was to discourage the approach of beggars,
peddlars and callers. There were plenty of windows in her little front
room. They were for the most part dingy, but as they were nearly always
open it did not make so much difference. They often admitted into the
room a good deal of smoke and soot; but at the same time all the light
and air that there was came through them. From her windows could be
seen the crescent of the river, the masts of ships and the big chimneys
of the Mississippi steamers. A magnificent piano crowded the apartment.
In the next room she slept, and in the third and last she harbored a
gasoline stove on which she cooked her meals when disinclined to
descend to the neighboring restaurant. It was there also that she ate,
keeping her belongings in a rare old buffet, dingy and battered from a
hundred years of use.

When Edna knocked at Mademoiselle Reisz’s front room door and entered,
she discovered that person standing beside the window, engaged in
mending or patching an old prunella gaiter. The little musician laughed
all over when she saw Edna. Her laugh consisted of a contortion of the
face and all the muscles of the body. She seemed strikingly homely,
standing there in the afternoon light. She still wore the shabby lace
and the artificial bunch of violets on the side of her head.

“So you remembered me at last,” said Mademoiselle. “I had said to
myself, ‘Ah, bah! she will never come.’”

“Did you want me to come?” asked Edna with a smile.

“I had not thought much about it,” answered Mademoiselle. The two had
seated themselves on a little bumpy sofa which stood against the wall.
“I am glad, however, that you came. I have the water boiling back
there, and was just about to make some coffee. You will drink a cup
with me. And how is la belle dame? Always handsome! always healthy!
always contented!” She took Edna’s hand between her strong wiry
fingers, holding it loosely without warmth, and executing a sort of
double theme upon the back and palm.

“Yes,” she went on; “I sometimes thought: ‘She will never come. She
promised as those women in society always do, without meaning it. She
will not come.’ For I really don’t believe you like me, Mrs.
Pontellier.”

“I don’t know whether I like you or not,” replied Edna, gazing down at
the little woman with a quizzical look.

The candor of Mrs. Pontellier’s admission greatly pleased Mademoiselle
Reisz. She expressed her gratification by repairing forthwith to the
region of the gasoline stove and rewarding her guest with the promised
cup of coffee. The coffee and the biscuit accompanying it proved very
acceptable to Edna, who had declined refreshment at Madame Lebrun’s and
was now beginning to feel hungry. Mademoiselle set the tray which she
brought in upon a small table near at hand, and seated herself once
again on the lumpy sofa.

“I have had a letter from your friend,” she remarked, as she poured a
little cream into Edna’s cup and handed it to her.

“My friend?”

“Yes, your friend Robert. He wrote to me from the City of Mexico.”

“Wrote to you?” repeated Edna in amazement, stirring her coffee
absently.

“Yes, to me. Why not? Don’t stir all the warmth out of your coffee;
drink it. Though the letter might as well have been sent to you; it was
nothing but Mrs. Pontellier from beginning to end.”

“Let me see it,” requested the young woman, entreatingly.

“No; a letter concerns no one but the person who writes it and the one
to whom it is written.”

“Haven’t you just said it concerned me from beginning to end?”

“It was written about you, not to you. ‘Have you seen Mrs. Pontellier?
How is she looking?’ he asks. ‘As Mrs. Pontellier says,’ or ‘as Mrs.
Pontellier once said.’ ‘If Mrs. Pontellier should call upon you, play
for her that Impromptu of Chopin’s, my favorite. I heard it here a day
or two ago, but not as you play it. I should like to know how it
affects her,’ and so on, as if he supposed we were constantly in each
other’s society.”

“Let me see the letter.”

“Oh, no.”

“Have you answered it?”

“No.”

“Let me see the letter.”

“No, and again, no.”

“Then play the Impromptu for me.”

“It is growing late; what time do you have to be home?”

“Time doesn’t concern me. Your question seems a little rude. Play the
Impromptu.”

“But you have told me nothing of yourself. What are you doing?”

“Painting!” laughed Edna. “I am becoming an artist. Think of it!”

“Ah! an artist! You have pretensions, Madame.”

“Why pretensions? Do you think I could not become an artist?”

“I do not know you well enough to say. I do not know your talent or
your temperament. To be an artist includes much; one must possess many
gifts—absolute gifts—which have not been acquired by one’s own effort.
And, moreover, to succeed, the artist must possess the courageous
soul.”

“What do you mean by the courageous soul?”

“Courageous, ma foi! The brave soul. The soul that dares and defies.”

“Show me the letter and play for me the Impromptu. You see that I have
persistence. Does that quality count for anything in art?”

“It counts with a foolish old woman whom you have captivated,” replied
Mademoiselle, with her wriggling laugh.

The letter was right there at hand in the drawer of the little table
upon which Edna had just placed her coffee cup. Mademoiselle opened the
drawer and drew forth the letter, the topmost one. She placed it in
Edna’s hands, and without further comment arose and went to the piano.

Mademoiselle played a soft interlude. It was an improvisation. She sat
low at the instrument, and the lines of her body settled into
ungraceful curves and angles that gave it an appearance of deformity.
Gradually and imperceptibly the interlude melted into the soft opening
minor chords of the Chopin Impromptu.

Edna did not know when the Impromptu began or ended. She sat in the
sofa corner reading Robert’s letter by the fading light. Mademoiselle
had glided from the Chopin into the quivering love notes of Isolde’s
song, and back again to the Impromptu with its soulful and poignant
longing.

The shadows deepened in the little room. The music grew strange and
fantastic—turbulent, insistent, plaintive and soft with entreaty. The
shadows grew deeper. The music filled the room. It floated out upon the
night, over the housetops, the crescent of the river, losing itself in
the silence of the upper air.

Edna was sobbing, just as she had wept one midnight at Grand Isle when
strange, new voices awoke in her. She arose in some agitation to take
her departure. “May I come again, Mademoiselle?” she asked at the
threshold.

“Come whenever you feel like it. Be careful; the stairs and landings
are dark; don’t stumble.”

Mademoiselle reentered and lit a candle. Robert’s letter was on the
floor. She stooped and picked it up. It was crumpled and damp with
tears. Mademoiselle smoothed the letter out, restored it to the
envelope, and replaced it in the table drawer.