Age of Innocence, The

Age of Innocence, The
by Edith Wharton

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Amazon.com
Somewhere in this book, Wharton observes that clever liars always come up with good stories to back up their fabrications, but that really clever liars don't bother to explain anything at all. This is the kind of insight that makes The Age of Innocence so indispensable. Wharton's story of the upper classes of Old New York, and Newland Archer's impossible love for the disgraced Countess Olenska, is a perfectly wrought book about an era when upper-class culture in this country was still a mixture of American and European extracts, and when "society" had rules as rigid as any in history.

From AudioFile
Welcome to the New York of the 1870's, where everyone in the upper crust fits into the mold or is ostracized for nonconformity. In spite of having married the socially suitable May, Weland Archer wishes to be unconventional and sees the Countess Olenska as a role model at the same time that he falls in love with her. Wanda McCaddon is a perfect narrator for this book. Her voice is as cold and sharp as the society she reads about. Through her intonation and phrasing, a stifling Victorian mask drops over each character. As Wharton describes a society long ago, McCaddon brings it to life in a dry, droll, appropriately uncaptivating manner. M.B.K. (c)AudioFile, Portland, Maine

Shari Benstock, University of Miami
Michael Nowlin's edition is an excellent resource...

-- New York Times Book Review, October 17, 1920
"It is one of the best novels of the twentieth century and ... a permanent addition to literature."

Review
"An exquisite delight . . . A consummate work of art. . . . New York society and customs in the seventies are described with an accuracy that is almost uncanny; to read these pages is to live again . . . The love scenes between [Newland] and Ellen are wonderful in their terrible, inarticulate passion; it is curious how much more real they are than the unrestrained detailed descriptions thought by so many writers to be 'realism' . . . So little is said, so little is done, yet one feels the infinite passion in the finite hearts that burn. . . . The appearance of such a book as THE AGE OF INNOCENCE by an American is a matter for public rejoicing. It is one of the best novels of the twentieth century and looks like a permanent addition to literature."
--The New York Times Book Review
October 17, 1920
"THE AGE OF INNOCENCE is a masterly achievement. In lonely contrast to almost all the novelists who write about fashionable New York, [Wharton] knows her world. . . . [Her] triumph is that she had described these rites and surfaces and burdens as familiarly as if she loved them and as lucidly as if she hated them."
--The Nation, November 3, 1920
"Mrs. Wharton opens to life a free and swinging door . . . The 'best people' are, after all, a trite subject for the analyst, but in this novel Mrs. Wharton has shown them to be, for her, a superb subject. She has made of them a clear, composed, rounded work of art . . . She has preserved a given period in her amber--a pale, pure amber that has living light."
--The New Republic, November 17, 1920

Book Description
Cambridge Literature is a series of literary texts edited for study by students aged 14–18 in English-speaking classrooms. It will include novels, poetry, short stories, essays, travel-writing and other non-fiction. The series will be extensive and open-ended and will provide school students with a range of edited texts taken from a wide geographical spread. It will feature writing in English from various genres and differing times.??The Age of Innocence by Edith Wharton is edited by Janet Beer Goodwyn, Senior Lecturer in the Department of English at Roehampton Institute.

Download Description
Newland Archer saw little to envy in the marriages of his friends, yet he prided himself that in May Welland he had found the companion of his needs--tender and impressionable, with equal purity of mind and manners. The engagement was announced discreetly, but all of New York society was soon privy to this most perfect match, a union of families and circumstances cemented by affection. Enter Countess Olenska, a woman of quick wit sharpened by experience, not afraid to flout convention and determined to find freedom in divorce. Against his judgment, Newland is drawn to the socially ostracized Ellen Olenska, who opens his eyes and has the power to make him feel. He knows that in sweet-tempered May, he can expect stability and the steadying comfort of duty. But what new worlds could he discover with Ellen? Written with elegance and wry precision, Edith Wharton's Pulitzer Prize-winning masterpiece is a tragic love story and a powerful homily about the perils of a perfect marriage.

The Merriam-Webster Encyclopedia of Literature
Novel by Edith Wharton, published in 1920. The work presents a picture of upper-class New York society in the late 19th century. The story is presented as a kind of anthropological study of this society through references to the families and their activities as tribal. In the story Newland Archer, though engaged to May Welland, a beautiful and proper fellow member of elite society, is attracted to Ellen Olenska, a former member of their circle who has been living in Europe but who has left her husband under mysterious circumstances and returned to her family's New York milieu. May prevails by subtly adhering to the conventions of that world. The novel was awarded a Pulitzer Prize.

From the Publisher
8 1.5-hour cassettes

Inside Flap Copy
Set in turn-of-the-century New York, Edith Wharton's classic novel The Age of Innocence reveals a society governed by the dictates of taste and form, manners and morals, and intricate social ceremonies. With amazing clarity and sensitivity, Edith Wharton re-creates an atmosphere in which subtle gestures and faint implications bespeak desire and emotion, in which beauty and innocence are valued above truth, and in which disturbing the social order disturbs the very foundations of one's identity.
Newland Archer, soon to marry the lovely May Welland, is a man torn between his respect for tradition and family and his attraction to May's strongly independent cousin, the Countess Ellen Olenska. Plagued by the desire to live in a world where two people can love each other free from condemnation and judgment by the group, Newland views the artful delicacy of the world he lives in as a comforting security one moment, and at another, as an oppressive fiction masking true human nature.
The Age of Innocence is at once a richly drawn portrait of the elegant lifestyles, luxurious brownstones, and fascinating culture of bygone New York society and a compelling look at the conflict between human passions and the social tribe that tries to control them.

From the Back Cover
"An exquisite delight . . . A consummate work of art. . . . New York society and customs in the seventies are described with an accuracy that is almost uncanny; to read these pages is to live again . . . The love scenes between [Newland] and Ellen are wonderful in their terrible, inarticulate passion; it is curious how much more real they are than the unrestrained detailed descriptions thought by so many writers to be 'realism' . . . So little is said, so little is done, yet one feels the infinite passion in the finite hearts that burn. . . . The appearance of such a book as THE AGE OF INNOCENCE by an American is a matter for public rejoicing. It is one of the best novels of the twentieth century and looks like a permanent addition to literature."
--The New York Times Book Review
October 17, 1920
"THE AGE OF INNOCENCE is a masterly achievement. In lonely contrast to almost all the novelists who write about fashionable New York, [Wharton] knows her world. . . . [Her] triumph is that she had described these rites and surfaces and burdens as familiarly as if she loved them and as lucidly as if she hated them."
--The Nation, November 3, 1920
"Mrs. Wharton opens to life a free and swinging door . . . The 'best people' are, after all, a trite subject for the analyst, but in this novel Mrs. Wharton has shown them to be, for her, a superb subject. She has made of them a clear, composed, rounded work of art . . . She has preserved a given period in her amber--a pale, pure amber that has living light."
--The New Republic, November 17, 1920

About the Author

Edith Wharton (1862-1937) was born into a distinguished New York family and was educated privately in the United States and abroad. Among her best-known work is Ethan Frome (1911), which is considered her greatest tragic story, The House of Mirth (1905), and The Age of Innocence (1920), for which she was awarded the Pulitzer Prize.

Book One

Chapter One

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 that Americans 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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