Kate Chopin's "The Storm" - A Setting Made for Adultery
Kate Chopin's "The Storm" - A Setting Made for Adultery
Written in December 1898, and one of Chopin's last stories, "The Storm" was unpublished until 1969, when Per Seyersted included it in Kate Chopin: A Critical Biography. In fact when Daniel Rankin published Chopin's works in 1932, he chose to "pass it over in silence" (Seyersted 164). The reason, as any reader may determine for him/herself lies in the boldness of the story itself. When considering that this was written in the nineteenth century and follows the adulterous affair of a mother and wife, and reports it without condemnation, one can see that the reading public at the turn of the century was hardly ready for Chopin's almost light-hearted presentation of adultery. In this story, the bonds of matrimony are surprisingly loose; the hidden world of passion is able not only to seep out but to be enjoyed. Chopin even says the main character finds her "birthright" in her adulterous encounter with her old boyfriend, suggesting her affirmation of transgression against marital vows and societal norms and moral codes. A critical reading of this story suggests that all of setting, style, tone and language affirm the incident of adultery from which the story gains its impetus and that even the weather, the storm, conspires to protect the lovers' secret.
The setting appears perfectly suited for adultery. The tumultuous weather of "The Storm" is located both without and within. Bobinot, now a young father with a son, is delayed by a storm; to pacify his wife Calixta, he buys her a can of her favorite shrimp. The relationship between Bobinot and Calixta, as it frames the story at beginning and end, is strange. To some extent, it is true, as Sigmund Skard says, that these "second class Creoles" are depicted with a "jovial and slightly artificial touch" typical of many of Kate Chopin's stories (qtd in Aaron 364). Described rather simplistically, father and son are concerned about worrying Calixta, and about her anger if they dirty their clothes. Bobinot is good to Calixta, and, like other Creole husbands Chopin writes about, he regards her still with deference. It is as if both son and father are her children. It is clear that Calixta runs the household, albeit benignly. Her "Spanish vixen" nature has been re-channelled into the fierce and serious role of housewife. Calixta does what she wants, which is caring for Bobinot, Bibi and their small home. This transformation of Calixta from siren to housewife is plausible. When we first see Calixta, she is dutifully occupied at the sewing machine. Interestingly, Per Seyersted sees this as a foreshadowing, contending that the sewing machine a is "popular metaphor for sexual intercourse" (167). Additionally, Calixta is airing Bobinot's Sunday clothes, which must be gathered in when the rain begins. Bender says the story and its love scene are unconventional, a picture of impulsive behavior, unpremeditated, associated with and sanctioned by larger impulses in nature, the storm of the title (265).
As the storm begins, Alcee Labelliere comes along, seeking shelter on Calixta's porch. Together they rescue her husband's clothes and Seyersted notes that Alcee ""saves the trousers of the man whose privilege he shortly usurps" (167). Calixta faces Alcee with Bobinot's coat in her hands, protected by her husband's clothing as if by the man himself. Alcee is practical and helpful in this situation, grabbing pieces of clothing before they fly off in the wind. Mention is made of Calixta's vivacity; there is also a description of her bedroom, which, with its "white, monumental bed, its closed shutters, look(s) dim and mysterious" (593). Her married life is, indeed, mysterious to Alcee, an area he knows nothing about. There is also a suggestion of fear; something is closed off and is supposed to be hidden from both of them. Calixta hastens to gather the cotton sheeting she has been sewing, reference again to the bedroom.
The rain continues, isolating Calixta and Alcee from the outside world. It is as if they are suddenly taken outside of their lives and all that is familiar to them and find themselves in a vacuum where the rules which provided them with guidance and bearing no longer apply. Certainly, in what follows, neither considers society nor what others may think. In fact, they feel alone and unobserved, more alone together than they were with any other, with the implication being that the outside world their world simply does not exist for them at this time.
When they embrace, Chopin says, "there was nothing for him to do but to gather her lips in a kiss" (594). Alcee reminds Calixta again of Assumption, where they had kissed at length, but now Calixta is no longer the defenceless, inviolate virgin he had to push himself away from. The logic of the situation makes some sense: now that Calixta is married and has experienced passion, it is acceptable for them to make love. But on the other hand, it is peculiar to see no mention of possible arguments against adultery itself. It seems to make little difference to either of them, as noted by Seyersted, who says "when Alcee knew Calixta before, hehad respected her" (165). In fact, Chopin adds that Calixta's "firm elastic flesh was knowing for the first time its birthright," (595) a rather bold affirmation of the rightness of this lovemaking. Bender calls the incident "accidental and innocent," (265) as if it is controlled by mysterious natural forces larger than the individual or marriage itself. Another critic adds that the sexual encounter is "accepted as a natural act arising out of a natural impulse. There is no delusion of permanence and no guilt clouds the aftermath of their adulterous episode" (Clatworthy 158). It is as if Calixta and Alcee are "meant" for each other, separated by class, but joined by sensibility and temperament. Chopin seems to approve, but one can imagine the reaction of her day if the story had been published.
On first reading, the language of the sex scene itself seems awkward and stilted. Bender says the scene is "marred only by wooden (and ironically conventional) diction of one short paragraph in which Alcee possessed her" (265) in lines such as "they seemed to swoon together" (595). Seyersted praises the language employed to describe the scene, however, comparing it to the sensuality and joyfulness of the "Song of Solomon," with such metaphors as "lips moist as a pomegranate seed" and "flesh creamy as a lily" (166).
Later, the story says "they dared not yield to drowsiness and sleep" (595), an interesting contrast to what it is they dared yield to. Part of what is implied seems to be a sincere desire not to hurt Bobinot; they are not willing to do that nor risk that occurring. Indeed, as communicated through the language used to describe this scene, what Alcee and Calixta have shared seems to have a "consecration" of its own and Arner says that Chopin accepts this (4). To this end, he calls her a "pioneering realist," (4) someone who not only sees what goes on in reality but has the courage to report it.
The tone of the story suggest that within Calixta there has always been a hidden storm of feelings, left untouched and undisturbed by her marriage and family. Before marriage she had revelled in it, flirting about. Now, as a wife and mother, she cares about her family enough to try and repress her flirtatious nature and keep a cap on the emotional storm that lurks within her. She is, however, unable to quell that storm entirely. Indeed, there lies beneath the everyday housewife, Calixta, another woman who can meet Alcee with power and feeling. This is in no way, however, the true face of Calixta as she has multiple personas; she is the lover, the caring wife and mother and the woman who sews and fusses over her son. Readers, however, get a sense that all those personas only represent a part of who she really is but that with Alcee she comes closer to the whole, or entirety of who she really is.
The story is Calixta's but it seems, as Dorys Grover says, to be "dedicated to nature's undying urge" (32). Even with the cuckoldry of her stodgy and upright husband, there is a "kind of cosmic joy and mystery in the fulfilment of the two lovers" (Fluck, 164). The man that Alcee is and the woman that Calixta truly is, encounter one another in this area which exists outside of their ordinary lives and, indeed, in an alternate dimension. Instead of this adulterous incident coming across as an immoral act of betrayal, however, it is portrayed in joyful terms and, quite ironically, because it is expressive of genuine and honest emotions, has a touch of purity to it. According to Anne Jones, "The Storm" makes the assertion that "sex, even outside marriage, can be enjoyed without personal guilt In fact, Chopin implies, freeing sexual passion puts it into its natural place and therefore frees and enriches the lives of every person in the community of the story" (142). The sex between Calixta and Alcee enriches their lives, making them happier and even making happier the lives around them, but only to the extent that it is kept secret. This is still an experience not readily integrated into everyday life; it must stay below the surface. In addition, whatever empowering comes out of the experience, Calixta herself is still Alcee's social inferior. Regardless of the fact that their natural passion for each other has broken out and been gladly expressed, it will never be acknowledged by him outside this small cabin, or by her if she is wise. For a moment, but only a moment, pure pleasure is allowed to triumph as Kate Chopin "describes and implicitly condones in unprecedented detail for the nineteenth century, the passions of a mature woman" (Ladenson 311).
When Bobinot and Bibi return they are "prepared for the worst--the meeting with an over-scrupulous housewife," (595) the role into which Calixta has poured herself. They enter "cautiously" apologies ready, but she expresses "nothing but satisfaction at their safe return" (596). To Bobinot's gift of shrimps she responds expressively, "Oh, Bobinot! You too good fo' anything!" an interesting comment on how she sees her husband. Their family enjoyment that evening is so loud and full of laughter that "anyone might have heard them as far away as Laballiere's" where Alcee himself might have heard the joy and the laughter which overwhelmed in Calixta's home (596). This must have disturbed him somewhat as his response to the incident with Calixta is to write to his wife, Clarisse, to stay longer in Biloxi, and that although he misses her and the babies, "their health and pleasure were the first things to be considered" (596). This is quite hypocritical since, as Skaggs has mentioned, it is assumed that as long as Clarisse stays in Biloxi, Alcee will continue to have sex with Calixta (62). The wellbeing of his wife and children, therefore, is the furthest thing from his mind.
As may be determined from the foregoing and the overall style of the story, Chopin's principle here is that "freedom nourishes" (Bender 265). The encounter has been good for these two characters, and the story's conclusion suggests it is also good for their spouses. Punishment or moral judgment is never forthcoming. As Lewis Leary says, "The Storm is a fleeting glimpse of something which should not have been, but was" (140). Readers anticipate that the lovers will be discovered, that Bobinot will return too soon or Clarisse will suspect. However, within the context of the story, no negative reaction is forthcoming. "The fact that no one pays for the sin would probably have offended critics most of all, for even today some readers find that conclusion unforgivable" (Skaggs 62). The closing sentence, "So the storm passed and everyone was happy" is particularly enigmatic and suggestive; storms do not stay away forever, and neither spouse would be quite so happy if the full story were known.
Bibliography
Aaron, Daniel. "Per Seyersted: Kate Chopin." Edda. 71 (1971): 341-66.
Arner, Robert. "Kate Chopin's Realism in `At the Cadian Ball' and `The Storm'." Markham Review, 2.2 (1970): 1-41.
Clatworthy, Joan M. Kate Chopin: The Inward Life That Questions. NY: New York UP.
Fluck, Winfried. "Tentative Transgressions." Studies in American Fiction. 10.2 (1982): 151-171.
Grover, Dorys C. "Kate Chopin and the Bayou Country." Journal of the American Studies Association of Texas. 15 (1984): 29-34.
Ladenson, Joyce. "The Return of the St. Louis Prodigal Daughter." Mid-America. 2 (1975): 24-34.
Leary, Lewis. "Kate Chopin, Liberationist?" Southern Literary Journal. 3(1970): 138-144.
Seyersted, Per. Kate Chopin: A Critical Biography. Baton Rouge: LA State University Press, 1`969.
Skaggs, Peggy. Kate Chopin. Boston: Twayne, 1985.
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