The continuity of reform and resistance to established norms before, during, and after the First World War -- displayed through the manifestation of the New Woman -- coincides with the publication of Wharton’s 1905 The House of Mirth, 1917 Summer, and 1920 The Age of Innocence. As a descendant of an aristocratic New York family, Wharton herself belonged to the exclusive faction of society that perpetrated the elitism and wealth disparity of the late 1800s Gilded Age. In the subsequent turn of the twentieth century, Wharton’s authorship aligned with a drastically evolved America whose primary concern surrounded questioning the essence of elite society and the restrictions forced on individuals through traditional expectations. Wharton’s novels …show more content…
Wharton’s insider knowledge of elite New York and her personal disdain for its “complex set of prescriptions and prohibitions” allows her to critique the limitations placed upon individuality—a struggle she experienced firsthand (Evron 46). The tangible similarities between the characters she writes and Wharton’s personal upbringing further the logic that her novels represent a commentary on her youth during the Gilded Age. In addition to her past experiences, a push in the early 1900s for reassessing traditional ideals, exemplified by the emergence of the New Woman, influences the stifled individuality and critique of social norms that Wharton accentuates throughout her fiction. Amongst two of her most prominent New York works, The House of Mirth and The Age of Innocence, Wharton repeatedly portrays the consequences of existing under dominant societal norms as her characters must sacrifice individual desires to conform to the …show more content…
As with The House of Mirth, The Age of Innocence resembles Wharton’s own family, as the principal characters of both novels belong to an exclusive clan of prominent New Yorkers who hold unofficial yet uncontested social authority over their city. Nevertheless, critics’ meditations on Wharton’s objective with The Age of Innocence vary. While some argue that the novel represents a “nostalgic recreation of a lost social order” considering the aftermath of World War One, others, including Professor of Literature at Colby College Mary Ellis Gibson, oppose this stance (Gibson 67). Gibson’s insight concludes that Wharton offers an “indictment of old New York,” painting it as “impossibly stifling; its very virtues cause [the protagonist] to miss the ‘flower of life'” (67). Although it is impossible to entirely discredit that Wharton held some nostalgia for the elite New York in which she came of age, The Age of Innocence is centered around the restrictions placed upon her characters regardless of their
Despite the common cliché, ?don?t judge a book by its cover,? you never get a second chance to make a first impression, most first impressions are derived from appearance. Edith Wharton harshly juxtaposes the appearances of Mattie and Zeena, to such an extreme that it almost seems bias. From the beginning of the novel, Zeena is depicted as an old and ?repugnant? (46) housewife. Substantial background information is not given, nor causes for her worn out and ?bloodless? (53) demeanor. ?Though she was but seven years her husband?s senior, she was already an old woman.? (53) In harsh comparison, Mattie is portrayed as a youthful, vivacious woman, yet with natural beauty. This drastic juxtaposition is black and white, with no grey areas, just the strong Mattie and the feeble Zeena. However, the colors used to describe Mattie and Zeena are not black and white, they each ...
Edith Wharton’s novel, The House of Mirth, is the story of a girl named Lily Bart trying to find a place for herself in society. Wharton used allusion throughout the book to aid the reader in understanding the events of the narrative. The following essay will highlight three allusions Wharton used, and explain how they helped the reader to understand the corresponding events from the book.
Set in 1881 Starkfield, Massachusetts, Edith Wharton’s Ethan Frome reveals a recurring theme in literature: “the classic war between a passion and responsibility.” In this novel, protagonist Ethan Frome confronts the demands of two private passions: his desire to become an engineer that conflicts with his moral duty to his family and his love for Mattie Silver that conflicts with his obligations to his wife Zeena. Inevitably placing the desires and well-being of his family before his own, Ethan experiences only “‘[s]ickness and trouble’” and “‘that’s what [he’s] had his plate full up with, ever since the very first helping’” (12). The reader understands Ethan’s struggles when he abandons his studies at Worcester, when he considers running
Edith Wharton’s brief, yet tragic novella, Ethan Frome, presents a crippled and lonely man – Ethan Frome – who is trapped in a loveless marriage with a hypochondriacal wife, Zenobia “Zeena” Frome. Set during a harsh, “sluggish” winter in Starkfield, Massachusetts, Ethan and his sickly wife live in a dilapidated and “unusually forlorn and stunted” New-England farmhouse (Wharton 18). Due to Zeena’s numerous complications, they employ her cousin to help around the house, a vivacious young girl – Mattie Silver. With Mattie’s presence, Starkfield seems to emerge from its desolateness, and Ethan’s vacant world seems to be awoken from his discontented life and empty marriage. And so begins Ethan’s love adventure – a desperate desire to have Mattie as his own; however, his morals along with his duty to Zeena and his natural streak of honesty hinder him in his ability to realize his own dreams. Throughout this suspenseful and disastrous novella, Ethan Frome, Edith Wharton effectively employs situational irony enabling readers to experience a sudden shock and an unexpected twist of events that ultimately lead to a final tragedy in a living nightmare.
“For the first time in his life he sees her in a new light: he sees her as no longer the listless creature who had lived at his side in a state of self-absorption, but a mysterious alien presence an evil energy secreted from the long years of silent brooding…” (Wharton 117) Edith Wharton is best known for her books Ethan Frome and The House of Mirth. Wharton was often compared to another writer in her time, Henry James. Even though this occurred, she considered her books one of a kind. She was pleased with her work, but the critics were not. Often, she received poor reviews, but this did not stop her; in fact, she then went on to be the first woman to win The Legion of Honor Medal. Wharton also won the Pulitzer Prize and a gold
The creative writing techniques that Wharton uses within her writing enhance the story and make it worth reading. Wharton is very descriptive in almost every aspect of her story. This gives the reader another element to the story rather than just reading dialogue or general descriptions. A point where Wharton gets descriptive, is when she starts to explain Frome’s house and how “ the image (of itself) presents of a life linked with the soil, and enclosing in itself the chief sources of warmth and nourishment, or whether merely because of the consolatory thought that it enables the dwellers in that harsh climate to get to their mornings’ work without facing the weather, it is certain that the ‘L’ rather the house itself seems to be the center, the actual hearth-stone of the New England farm” (Wharton 11). This shows how detailed Wharton can get. It not only gives the reader a g...
One of the ways to turn a critical lens onto Edith Wharton’s writing would be to approach texts through various modes of reading. Through this approach, critical discourse often assumes that the text offers readings that work in spite of the text itself and that authorial intention does not matter. The premise of these tenets, of course, is that so much of textual analysis is rooted in a separation of text and author and also between text and reader. These distinctions provide a space in which Wharton thrives, particularly in Ethan Frome, whose narratives are multiple and fluid. Indeed, as a story fixed in rural Masachusetts, a town entirely of its own character and yet anonymous enough to serve as any town, Ethan Frome emblematizes an
The setting of a novel aids in the portrayal of the central theme of the work. Without a specific place and social environment, the characters are just there, with no reason behind any of their actions. The Age of Influence centers around the Old New York society during the 1870’s. Most of the characters are wealthy upper class citizens with a strict code to follow. The protagonist, Newland Archer, lives in a constant state of fear of being excluded from society for his actions. Archer’s character is affected by standard New York conventions as well as the pressure to uphold his place in society, both of which add to Wharton’s theme of dissatisfaction.
Edith Wharton, originally named “Edith Newbold Jones”(Cliff Notes), was born on “January 24, 1862 in New York City to George Frederic Jones and Lucretia Stevens Rhinelander Jones and died on August 11, 1937”(Cliff Notes). She was born into a wealthy family and was a “designer, short story writer and American novelist”(Cliff Notes). Wharton descended from the English and Dutch cultures. She had two siblings, one known as “Frederic Rhinelander Jones” (Cliff Notes) who was sixteen years older than her, and “Henry Edward Jones eleven years older”(Cliff Notes). While her brothers attended boarding school, Wharton became “raised as an only child in a brownstone mansion on West Twenty-third Street in New York City”(Cliff
Edith Wharton grew up with a wealthy family who lived in a controlling society which prohibited women to achieve anything a man could. This book, published by Wharton in 1911, is one of the few pieces in her fiction novels
Garcia, Angela. "Edith Wharton’s Ethan Frome." American Writers Classics. Ed. Jay Parini. Vol. 2. New York: Charles Scribner's Sons, 2004. 89-108. Gale Virtual Reference Library. Web. 4 Feb. 2014.
The lives we lead and the type of character we possess are said to be individual decisions. Yet from early stages in our life, our character is shaped by the values, customs and mindsets of those who surround us. The characteristics of this environment affect the way we think and behave ultimately shaping us into a product of the environment we are raised in. Lily Bart, the protagonist in Edith Wharton’s The House of Mirth, is an exceedingly beautiful bachelorette who grows up accustomed to living a life of luxury amongst New York City’s upper-class in the 20th century. When her family goes bankrupt, Lily is left searching for security and stability, both of which, she is taught can be only be attained through a wealthy marriage. Although, Lily is ashamed of her society’s tendencies, she is afraid that the values taught in her upbringing shaped her into “an organism so helpless outside of its narrow range” (Wharton 423). For Lily, it comes down to a choice between two antagonistic forces: the life she desires with a happiness, freedom and love and the life she was cut out to live with wealth, prestige and power. Although, Lily’s upbringing conditioned her to desire wealth and prestige, Lily’s more significant desires happiness, freedom and love ultimately allow her to break free.
Restuccia, F. L. "The Name of the Lily: Edith Wharton's Feminism(s)." The House of Mirth: Case Studies in Contemporary Criticism. Benstock, S. (ed.). New York, Bedford Books, 1994, 404-418.
The characters in the novel get caught up in a frenzy of hate, scandal, and love. Newland Archer is a wealthy societal man who views his wife, May, as the reason for his unhappiness. In addition, Newland Archer get swept into the scandal and falls in love with Ellen, who he sees as a route to independence. Ellen Olenska, the cousin of May, brings a tornado of scandal to New York and becomes the center of criticism in society. In The Age of Innocence by Edith Wharton, Archer and Ellen describe the desire for freedom in order to portray society as an oppressor.
Newland loathes the monotonous conversations with May and repetitiveness of his job. Newland respects and loves May with all his heart, but when she begins to call him original, Newland realizes she was always “going to say the right thing” (Age of Innocence 22) because she was simply giving the replies “instinct and tradition” have taught her (Age of Innocence 72). Cynthia Griffin Wolff, in her article entitled “Edith Wharton”, declares that the small world of New York was “suffocating” and “stifled spontaneous expressions of emotion” (3). Also, Newland lived in a kind of “hieroglyphic world” where what someone actually wanted to say was never said or thought, but just “represented by a set of arbitrary signs” (Age of Innocence 40).