Wharton, Edith: The House of Mirth

Using Edith Wharton's 1905 novel The House of Mirth as a case study, this article revisits the issue of speech representation in narrative fiction by drawing on recent socio-linguistic and discourse-analytic research on style. Wharton's novel features a broad range of social styles, with style-shifts both indexing and helping to precipitate conflicts pertaining to class as well as gender. Wharton's speech representations thus reveal a mutually constitutive relationship between style and identity, patterns of usage and contexts of use, undermining the commonsensical idea that one selects from among various available styles to communicate who and what one is. Rather, her text suggests that it is by communicating, by stylizing, that interlocutors take on a role as selves, or centres of subjectivity. In particular, Wharton's novel shows that discordant communicative norms, far from being secondary conflicts that are parasitic on some primary, prelinguistic division between those already equipped with a masculine or a feminine gender, do much to account for the antagonistic role relationships lived out by men and women from day to day.

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‘A Construction in the Void’, Formal Architecture in the Novels of Edith Wharton

10.26686/wgtn.17150873 ◽

2021 ◽

Author(s):

◽

Isabel Parker

Keyword(s):

Real World ◽

Edith Wharton ◽

Literary Form ◽

Great War ◽

Interior Architecture ◽

Aesthetic Form ◽

Post War ◽

The Great War ◽

The House Of Mirth ◽

Aesthetic Forms

<p>Edith Wharton has been persistently framed as an author detached from the ‘modern’ twentieth century literary world she inhabited. Intellectually compromised by critical conceptions of her as the “last Victorian”, and Henry James’s “heiress”, Wharton’s attentiveness to modernism’s fractured worldview and her original employment of literary form to redress this perspective have been largely overlooked. This thesis seeks to re-evaluate Wharton’s ‘old-fashioned’ authorial persona. Instead of reading her commitment to a past perspective as evidence of her literary obsolescence, this thesis argues that her adherence to a bygone worldview serves as a means of managing the disorientation and disorder of the modern, incomprehensible present. Following Wharton’s evolving conception of stylised aesthetic form across pre-war and post-war worlds, I suggest that Wharton’s literature evidences a tension between two opposing literary aspirations. On the one hand, her texts reveal a desire to abandon aesthetic enclosures and realise an unbounded, authentic interior reality. Yet on the other hand, Wharton’s works underscore the poignant sense of fulfillment acquired within a life bound by such aesthetic architecture. Chapter One outlines Wharton’s critical stance in relation to both realism and modernism. It discusses the way in which the outbreak of the Great War motivated Wharton’s implementation of a critical ‘interior architecture’, in which a modernist interiority is held in play alongside an encompassing realist reality. Chapter Two assesses the stunted nature of stylised aesthetic forms in the pre-war world as evinced in The House of Mirth (1905). There, Wharton demonstrates how a lack of grounding in reality renders such aesthetics devoid of an internal anchorage that clarifies their purposeful relation to the world around them. Vacant of real-world relation, such forms abstract, disintegrating into formlessness. In Chapter Three, I reveal how Wharton moves from scorning to celebrating the artificial nature of aesthetic form in the wake of the Great War. In The Age of Innocence (1920), aesthetic forms deemed arbitrary and artificial in The House of Mirth are reevaluated and revealed as possessing an invisible, intrinsic real-world purpose. From denying realism, stylised aesthetics are redeemed in their attempt to frame individuals in relation to a formless world. Though such forms are inherently fictitious, Wharton asserts that their provision of an illusion of structure aids in the preservation of interpersonal and intergenerational connection. These forms thus cultivate an interior architecture within which society can shelter against an intrinsically unstable reality.</p>

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Reading Democratically: Pedagogies of Difference and Practices of Listening in The House of Mirth and Passing

American Literature ◽

10.1215/00029831-2009-003 ◽

2009 ◽

Vol 81 (2) ◽

pp. 281-303

Author(s):

N. Bromell

Keyword(s):

The House Of Mirth

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Rereading the Future

PMLA ◽

10.1632/pmla.2018.133.3.640 ◽

2018 ◽

Vol 133 (3) ◽

pp. 640-646

Author(s):

Cynthia Port

Keyword(s):

Graduate School ◽

The Novel ◽

High Expectations ◽

Opening Scene ◽

Love Story ◽

Dynamic Relation ◽

The Future ◽

Central Station ◽

The Way ◽

The House Of Mirth

I noticed the dynamic relation between age and narrative the second time i read edith wharton's the house of mirth. on my first experience of reading the novel, as an undergraduate of eighteen, I was engaged by its thwarted love story and saddened by Lily Bart's tragic but honorable end. When I reread the novel in graduate school, however, I was about to turn twenty-nine, the age at which Lily's marriage prospects and high expectations for the future begin to fade. Although Lily is widely admired for her remarkable beauty, readers are alerted in the novel's opening pages to the incipient erosion of that beauty. Even as Lawrence Selden finds his eyes “refreshed” when he catches a glimpse of Lily at Grand Central Station, remarking that “he had never seen her more radiant” (37), he credits this impression to the way her dark hat and veil have temporarily restored “the girlish smoothness, the purity of tint, that she was beginning to lose after eleven years of late hours and indefatigable dancing” (38). While Selden silently muses about her age (“here was nothing new about Lily Bart. … [H]ad she indeed reached the nine-and-twentieth birthday with which her rivals credited her?” [37–38]), Lily declares that she's “as old as the hills” (38); she perceives that “people are getting tired” of her and saying she “ought to marry” (42). Lily is ambivalent about marriage as her “vocation” (as Selden puts it [43]) but undertakes this quest. By the end of the novel, having lost her social and economic standing and failed to secure a husband—and thereby a future—she puts her affairs in order and overdoses on chloral (43). Her age is certainly not the only factor contributing to her decline: Selden's continuing fascination with Lily affirms that she has remained dis-tractingly attractive (even if, perhaps, “ever so slightly brightened by art” [39]), and the novel attributes her social descent more directly to her financial circumstances than to her age. Nevertheless, the opening scene of The House of Mirth emphatically establishes twenty-nine as a precipice over which Lily Bart falls to her doom.

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