
One of Wharton's earliest descriptions of her heroine, in the library of her bachelor friend and sometime suitor Lawrence Selden, indicates that she appears "as though she were a captured dryad subdued to the conventions of the drawing room." Indeed, herein lies Lily's problem. She has, we're told, "been brought up to be ornamental," and yet her spirit is larger than what this ancillary role requires. By today's standards she would be nothing more than a mild rebel, but in the era into which Wharton drops her unmercifully, this tiny spark of character, combined with numerous assaults by vicious society women and bad luck, ultimately renders Lily persona non grata. Her own ambivalence about her position serves to open the door to disaster: several times she is on the verge of "good" marriage and squanders it at the last moment, unwilling to play by the rules of a society that produces, as she calls them, "poor, miserable, marriageable girls. |
The upper stratum of New York society into which Edith Wharton
was born in 1862 provided her with an abundance of material as a
novelist but did not encourage her growth as an artist. Educated by
tutors and governesses, she was raised for only one career:
marriage. But her marriage, in 1885, to Edward Wharton was an
emotional disappointment, if not a disaster. She suffered the first
of a series of nervous breakdowns in 1894. In spite of the strain
of her marriage, or perhaps because of it, she began to write
fiction and published her first story in 1889. |
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