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In “The Kiss,” Kate Chopin tactically uses positioning of characters in darkness and light to imply and crystalise the idea of different attitudes towards truth and truthfulness. Through her use of shadows and light, Chopin analyses if it is possible and/or desirable to live “within a shadow” or without knowing the reality. She explores the overpowering and inescapable nature of truth as she questions if it is ever possible to deny the truth entirely.
In “The Kiss” light plays a major role in influencing the scene and giving readers insight into the motives and perspectives of different characters. Light and the avoidance of it allude to a character’s affinity towards finding out the (sometimes uncomfortable) truth and that character’s own truthfulness. Brantain begins the story sitting in a shadow described as “it [the shadow] had overtaken him and he did not mind” (“Text book,” 19). His inclination towards being in the ‘dark’ implies two things: Firstly, Brantain is happy to accept lies to avoid discovering possibly uncomfortable truth about others and their feelings towards him; secondly, choosing to be within the shadow suggests that he is not willing to be scrutinised himself. He is described as being “insignificant and unattractive” (“Text book,” 19) and clearly seems more focused on looking at others instead of being looked at himself. He keeps “his eyes fastened as ardently as he liked upon the girl who sat in the firelight” (“Text Book,” 19). These situations suggest that Brantain wants to hide from the truth to protect himself from discovering uncomfortable things about others and possibly from being discovered or exposed by others.
Chopin lets light and dark metaphorically engage in a battle as she explores how both truth and lies can overpower each other. When Harvy comes into the room, fails to notice Brantain, storms to Nathalie and gives her “an ardent, lingering kiss” (“Text book,” 19), we see the overpowering nature of truth not only as Brantain quickly leaves the room, but also in the powerful nature of light. The passage describes that “it was still quite light out of doors” (“Text book,” 19). As Harvy enters from the outside, light, which symbolises an affinity for truth, enters the room with him. While Brantain may want to continue to be in the shadow and imagine that Harvy never kissed Nathalie in the first place, Chopin demonstrates the overpowering nature of truth. Although this part of the story suggests that truth cannot be denied, Chopin returns to further explore this idea later. When Brantain and Nathalie meet again, Nathalie uses manipulation as she convinces Brantain that he “might have misinterpreted it [the event with the kiss], and believed things” (“Text book,” 20). Her persuasion combined with her seemingly ‘real’ emotional expression --“she was almost weeping” (“Text book,” 20) -- as well as Brantain’s own desire to avoid an uncomfortable truth, returns Brantain to a ‘shadow state.’ Brantain’s own affinity to denying the truth is evident as an “ardent, lingering kiss” (“Text book,” 19) would be very unusual and inappropriate in a brother-sister relationship. However, Brantain’s strong desire to be Nathalie’s choice forces him to accept Nathalie’s obvious lie. While after the incident with the kiss Brantain was exposed to the truth (light), he is now able to deny it, facilitated by Nathalie’s ‘explanation’. He chooses to return to darkness and is once again happy to live protected by a shield of lies from the uncomfortable truth. He would rather have Nathalie as his wife and accept her ‘cousin-like’ relationship with Harvy even after getting married to her, than accept the reality, the open exposure and realization that Nathalie would prefer Harvy were it not for Brantain’s wealth.
The other idea which Chopin explores through the use of the metaphorical meaning of light and darkness is the value of truth. The question she raises by juxtaposing light and dark is whether it is desirable to knowingly deny the truth. Brantain begins the story very literally in the shadows before being exposed to the light of truth. However, unlike the cheerful Harvy who seems to thrive with truth, Brantain finds it very difficult and is described as being “extremely unhappy” (“Text Book,” 20) at the reception when Nathalie meets him again. The truth is too uncomfortable for him to bear. Accepting that someone as attractive as Nathalie would choose Harvy over himself, exposes shortcomings of Brantain to himself (and society). Brantain’s character is not strong enough to handle this exposure and only regains happiness when he returns to the shadows when Nathalie convinces him that he simply misinterpreted the entire event (“Brantain’s face was radiant” (“Text book,” 20)). For Brantain’s character it seems like he is better off living in denial as the truth would be destroying his self-image and the image he wants others to have of him.
Although this supports a viewpoint that it may be desirable to be oblivious and not care about the truth, Chopin again gives us a contrast to this viewpoint with Harvy. Once Harvy finds out Nathalie’s plot, the truth-loving and romantic Harvy decides that, unlike Brantain, he does not want to be a puppet within Nathalie’s play, live in denial and be lied to. For Harvy truth is more desirable -- even if painful -- than living a lie. The characters show different propensities towards light (or truth) depending on how much of their (self-)image relies on lies. Chopin therefore does not seem to suggest that the truth is always desirable, rather that it depends on what a character can bear and needs to maintain their self-image. Possibly the truth would have been too much for Brantain to handle.
In conclusion, Chopin uses the structural element of physical positioning within light and dark to allow the readers to think about greater themes in her work – such as the desirability of oblivion and the overpowering nature of truth. By presenting events which lie on both ends and support both viewpoints of each of these, Chopin shows the individuality of each character, since each character reacts to both themes in different ways. The light and dark enable readers to generalise from the story to their own propensity to deny and possibly to society as a whole.
Works Cited
Chopin, Kate. “The Kiss.” Text Book.