At the ’Cadian Ball

“Her eyes—Bobinôt thought of her eyes, and weakened—the bluest, the drowsiest, most tantalizing that ever looked into a man’s; he thought of her flaxen hair that kinked worse than a mulatto’s close to her head; that broad, smiling mouth and tiptilted nose, that full figure; that voice like a rich contralto song, with cadences in it that must have been taught by Satan.”

As seen from Bobinôt’s perspective, Calixta’s beauty is described with a more sensual vocabulary, especially when paired with the description of Clarisse (see next quote). Emphasis is given to her physical appearance, with attention drawn to her full figure, her mouth, and the sound of her voice, but not the words that she says. Calixta’s vixen-like physical description matches her lack of decorum, which is commented on throughout the story. Bobinôt’s attraction to Calixta is clearly unrequited, which is why her beauty causes him to feel “weakened” and he compares her voice to Satan.

“She was worth going a good deal farther than that to see. Dainty as a lily; hardy as a sunflower; slim, tall, graceful, like one of the reeds that grew in the marsh. Cold and kind and cruel by turn, and everything that was aggravating to Alcée.”

Clarisse is presented as a foil character to Calixta. Clarisse is slim and tall while Calixta has a full figure. Clarisse is graceful and dainty as a lily, while Calixta doesn’t shy away from men with her drowsy, tantalizing blue eyes. Clarisse’s physical description is also appropriately matched for her actions, as she keeps company with well-mannered upper-class visitors and initially refuses Alcée’s unrefined romantic advances. Again, we are seeing Clarisse through the eyes of the man who admires her. His attraction to Clarisse moves beyond the physical, as he is also attracted to her cold and kind and cruel demeanor.

“He would have liked to sweep the place of those visitors, often. Of the men, above all, with their ways and their manners; their swaying of fans like women, and dandling about hammocks. He could have pitched them over the levee into the river, if it hadn’t meant murder.”

Alcée’s criticism of the men who visit Clarisse provides further character development for Alcée. While he is from a wealthy, upper-class family, he refuses to act like the gentlemen of his social hierarchy. He is a brute, a farmer with an ironclad constitution. He lacks refinement and has no respect for the modesty and propriety that others of his social class practice.

“But he must have been crazy the day he came in from the rice-field, and, toil-stained as he was, clasped Clarisse by the arms and panted a volley of hot, blistering love-words into her face. No man had ever spoken love to her like that. ‘Monsieur!’ she exclaimed, looking him full in the eyes, without a quiver.”

The sensual description of Alcée’s romantic proposition to Clarisse demonstrates Chopin’s abandonment of traditional decorum in her writing. Intimate interactions between characters, like the one in this quote, had only been braved by a few other female writers. While this passage is not terribly vulgar, Chopin’s later work was criticized for being indecent and sordid.

“He ‘lows, ‘No, I ain’gwine be sick, Bruce.’ Den he square off. He say, ‘I kin mak out to stan’ up an’ gi’ an’ take wid any man I knows, lessen hit’s John L. Sulvun. But w’en God A’mighty an’ a ‘woman jines fo’ces agin me, dat’s one too many fur me.’”

This dialogue from Bruce, Alcée’s servant, provides another layer of local color for the story, demonstrating the manner of speech among the Black people from this region. Bruce’s way of speaking contrasts with the other characters (American Southern-accented English dotted with French) and supplies another local voice. In this quote, Bruce tells Clarisse that Alcée is feeling fed up with the combined blows of the cyclone and Clarisse’s rejection, confirming Clarisse’s suspicion that he’s out looking for a female companion.

“The big, low-ceiled room—they called it a hall—was packed with men and women dancing to the music of three fiddles. There were broad galleries all around it. There was a room at one side where sober-faced men were playing cards. Another, in which babies were sleeping, was called le parc aux petits. Anyone who is white may go to a ’Cadian ball, but he must pay for his lemonade, his coffee and chicken gumbo. And he must behave himself like a ’Cadian.”

The description of the ball sets a clear image of the people attending as well as the merriment in which they participate. Only white people may attend the ball. This statement, along with Alcée’s treatment of his servant and his threats of violence toward another person of color, provide a glimpse of racism in the American South during the Reconstruction Era.

“But they felt it took a brave homme to stand a blow like that philosophically. One old gentleman, who was in the habit of reading a Paris newspaper and knew things, chuckled gleefully to everybody that Alcée’s conduct was altogether chic, mais chic.”

The manner in which the gentlemen at the ball gossip about Alcée strengthens Alcée’s character development as bold and forward while further enhancing the local color. The characters regularly slip between English and French, as was typical for this region and time. Their bafflement at Alcée’s appearance at a fun social gathering represents the belief common for this time that tragedy should cause people to enter mourning and lay low for a time.

“Bobinôt himself was dull-looking and clumsy […] and it started a clamor of laughter at his expense. He joined good-naturedly. It was better to receive even such notice as that from Calixta than none at all.”

After several pages focused on Alcée’s confidence and intrepidness, this depiction of Bobinôt incites sympathy for the foil character. Bobinôt will accept any attention from Calixta that he can get, even if that makes him the butt of her jokes. Bobinôt lacks self-respect, and he is blinded by his desire for Calixta.

“But Madame Suzonne, sitting in a corner, whispered to her neighbor that if Ozéina were to conduct herself in a like manner, she should immediately be taken out to the mule-cart and driven home. The women did not always approve of Calixta.”

Although the community often turns a blind eye to Calixta’s behavior, it is not completely overlooked. While Calixta is like Alcée in that she does not pay attention to gossipers, Calixta has much less freedom than he does. Her reputation will ultimately affect her marriage prospects and, consequently, her well-being. Her awareness of this fact, after Alcée abandons her outside the ball, may be what drives her to accept Bobinôt’s marriage proposal.

“Calixta’s senses were reeling; and they well-nigh left her when she felt Alcée’s lips brush her ear like the touch of a rose.”

The physical intimacy in this passage demonstrates the ardor and passion between Alcée and Calixta. Their relationship has a natural and consensual chemistry to it, which is lacking in all other relationships. It is also another example of Chopin’s challenge to the literary and social conventions of her time. She invites her readers to witness the physical intimacies of an unmarried couple.

“It was not the negro’s voice this time; but one that went through Alcée’s body like an electric shock, bringing him to his feet […]. There was no need for an imploring note. He would have followed the voice anywhere.”

Alcée’s abrupt decision to leave the party with Clarisse, with nothing to entice him but the sound of her voice, exhibits his respect and love for her. Moving beyond physical attraction and sexual desire, Alcée feels deeply for Clarisse, even if only because she is a sensible match for a man of his social standing. At this point in the text, Alcée still has no idea if Clarisse loves him in return, but he follows her home anyway.

“Alcée swung himself over the low rail and started to follow Clarisse, without a word, without a glance back at the girl. He had forgotten he was leaving her there. But Clarisse whispered something to him, and he turned back to say “Good-night, Calixta,” and offer his hand to press through the railing. She pretended not to see it.”

This passage is the climax of the story, solidifying Alcée and Clarisse’s commitment to each other, while marking a change in Calixta’s seductive disposition. If Calixta had been holding on to any hope of a marriage proposal from Alcée, Clarisse’s arrival makes it clear that the lovers’ relationship is not anything more than physical intimacy. The fact that Alcée forgets about Calixta the moment he hears Clarissa’s voice reveals how his love for one woman overpowers his lust for another.

“I don’ care; it’s got to go in the tub, anyway. You been sayin’ all along you want to marry me, Bobinôt. Well, if you want, yet, I don’ care, me. The glow of a sudden and overwhelming happiness shone out in the brown, rugged face of the young Acadian. He could not speak, for the very joy. It choked him.”

Calixta’s decision to marry Bobinôt seems more like giving in to societal pressure than surrendering to her heart’s desire. She decides to marry Bobinôt while thinking about her laundry, combining the two as if she is creating a mental chore list for herself. Calixta is turning to Bobinôt to achieve a secure life as a farmer’s wife with someone from her social class. While she was hoping to build a more passionate and higher-status life with Alcée, she settles for the man who apparently loves her.