The Age of Innocenceby Edith Wharton, Stephen Orgel
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Edith Wharton's most famous novel, written immediately after the end of the First World War, is a brilliantly realized anatomy of New York society in the 1870s. The charming Newland Archer is content to live within its constraints until he meets Ellen Olenska, whose arrival threatens his impending marriage as well as his comfortable future.
The New York Times Book Review
A handful of Wharton's standards get the "Everyman's Library" upgrade. These are more expensive than paperback alternatives but still reasonably priced, and the hardcover quality is worth the extra bucks if you can afford it.
“From the wide-ranging and expert introduction to the appendices (one of which gives readers Wharton’s plot outlines for the novel), Michael Nowlin’s edition is eminently useful. The book provides us with representative reviews from the time of the initial publication, writings by Wharton and others about ‘feminism,’ Wharton’s letters, and excellent notes for both the text and supplemental materials. No one working on Wharton today places her so accurately as Nowlin.” Linda Wagner-Martin, The University of North Carolina at Chapel-Hill
“The beauty of The Age of Innocence rests in the beauty of Wharton’s language and the precision of her insights into human nature; the supporting reference materials provided here in appendices and notes illuminate the cultural and social history of Old New York, the city in which Newland Archer and the Countess Olenska discover their forbidden love. Michael Nowlin’s edition is an excellent resource.” Shari Benstock, University of Miami
Read an Excerpt
On a January evening of the early seventies, Christine Nilsson was singing in Faust at the Academy of Music in New York.
Though there was already talk of the erection, in remote metropolitan distances "above the Forties," of a new Opera House which should compete in costliness and splendour with those of the great European capitals, the world of fashion was still content to reassemble every winter in the shabby red and gold boxes of the sociable old Academy. Conservatives cherished it for being small and inconvenient, and thus keeping out the it new people" whom New York was beginning to dread and yet be drawn to; and the sentimental clung to it for its historic associations, and the musical for its excellent acoustics, always so problematic a quality in halls built for the hearing of music.
It was Madame Nilsson's first appearance that winter, and what the daily press had already learned to describe as "an exceptionally brilliant audience " had gathered to hear her, transported through the slippery snow streets in private broughams, in the spacious family landau, or in the humbler but more convenient "Brown coupe"' To come to the Opera in a Brown coupe was almost as honourable a way of arriving as in one 's own carriage; and departure by the same means had the immense advantage of enabling one (with a playful allusion to democratic principles) to scramble into the first Brown conveyance in the line, instead of waiting till the cold and--gin congested nose of one's own coachman gleamed under the portico of the Academy. It was one of the great livery-lstableman's most masterly intuitions to have discovered thatAmericans want to get away from amusement even more quickly than they want to get to it.
When Newland Archer opened the door at the back of the club box the curtain had just gone up on the garden scene. There was no reason why the young man should not have come earlier, for he had dined at seven, alone with his mother and sister, and had lingered afterward over a cigar in the Gothic library with glazed black-walnut bookcases and finial-topped chairs which was the only room in the house where Mrs. Archer allowed smoking. But, in the first place, New York was a metropolis, and perfectly aware that in metropolises it was "not the thing" to arrive early at the opera; and what was or was not "the thing" played a part as important in Newland Archer's New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago.
The second reason for his delay was a personal one. He had dawdled over his cigar because he was at heart a dilettante, and thinking over a pleasure tocome often gave him a subtler satisfaction than its realisation. This was especially the case when the pleasure was a delicate one, as his pleasures mostly were; and on this occasion the moment he looked forward to was so rare and exquisite in quality that-well, if he had timed his arrival in accord with the prima donna's stage-manager he could not have entered the Academy at a more significant moment than just as she was singing: "He loves me-he loves me not-he loves me!" and sprinkling the falling daisy petals with notes as clear as dew.
She sang, of course, "Mama!" and not "he loves me," since an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences. This seemed as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver-backed brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (preferably a gardenia) in his buttonhole.
"Mama . . . non mama the prima donna sang, and "Mama!", with a final burst of love triumphant, as she pressed the dishevelled daisy to her lips and lifted her large eyes to the sophisticated countenance of the little brown Faust-Capoul, who was vainly trying, in a tight purple velvet doublet and plumed cap, to look as pure and true as his artless victim.
Newland Archer, leaning against the wall at the back of the club box, turned his eyes from the stage and scanned the opposite side of the house. Directly facing him was the box of old Mrs. Manson Mingott, whose monstrous obesity had long since made it impossible for her to attend the Opera, but who was always represented on fashionable nights by some of the younger members of the family. On this occasion, the front of the box was filled by her daughter-in-law, Mrs. Lovell Mingott, and her niece, Mrs. Welland; and slightly withdrawn behind these brocaded matrons sat a young girl in white with eyes ecstatically fixed on the stagelovers. As Madame Nilsson's "M'ama!" thrilled out above the silent house (the boxes always stopped talking during the Daisy Song) a warm pink mounted to the girl's cheek, mantled her brow to the roots of her fair braids, and suffused the young slope of her breast to the line where it met a modest tulle tucker fastened with a single gardenia. She dropped her eyes to the immense bouquet of lilies of-the-valley on her knee, and Newland Archer saw her white-gloved finger-tips touch the flowers softly. He drew a breath of satisfied vanity and his eyes returned to the stage.
No expense had been spared on the setting, which was acknowledged to be very beautiful even by people who shared his acquaintance with the Opera houses of Paris and Vienna. The foreground, to the footlights, was covered with emerald green cloth.
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Meet the Author
Stephen Orgel is the general editor of the New Pelican Shakespeare, editor of The Tempest and The Winter's Tale for the Oxford Shakeseare in OWC, co-editor with Jonathan Goldberg of Paradise Lost and Milton's Major Works in OWC, and editor of Wharton's The Custom of the Country in OWC.
- Date of Birth:
- January 24, 1862
- Date of Death:
- August 11, 1937
- Place of Birth:
- New York, New York
- Place of Death:
- Saint-Brice-sous-Forêt, France
- Educated privately in New York and Europe
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