How through the representation of the theme of love in The Age of Innocence

Wharton conveys her criticism of upper-class New York society?

English A Language & Literature

High Level Essay

word count: 1494

 The theme of love is undoubtedly the core of Edith Wharton’s novel „The Age of
Innocence”. The reader is introduced to the setting of 1870s New York of the Gilded Age -
the era of economic and social transformation, which was especially characterized by the
„self-conscious upper-class in New York”1 (p. 233), who positioned on themselves arbitrary
ideology and rituals in order to appear supreme to the rest of the society. There, Newland
Archer, one of the elite and the protagonist, is conflicted between two women. One of them,
May Welland is the perfect product of her times and tribal society, while Countess Olenska,
May’s cousin, after years spent in Europe, has grown independent and free-spirited at heart.
Wharton effectively establishes the dichotomy between the two women’s values and behavior
throughout the novel, as to present them as emblems of two different social viewpoints,
sympathizing with the character of Ellen. Newland Archer is also quickly drawn to her exotic
personality, as she represents the opposite of old-fashioned values which he subconsciously
attempts to escape. However, for a long time, Newland does not believe he has a choice to be
with Ellen, as his mind is trapped in societal conventions of love and marriage. Wharton
focuses her critical outlook on restrictive structures of old New York society that devalue
important merits such as love and personal freedom, which have a direct impact on its
individuals. This essay will focus on the representation of the theme of love - namely, the
dynamics of relationships, and how they work as a tool to represent Wharton’s criticism.

The first way in which Wharton builds her disapproval towards societal conventions is
through the relationship between Newland and May. At the beginning of the novel, they are
engaged due to possible arrangements between their families. May is a daughter of the
Wellands, one of the most influential families in New York’s tribal community, and Newland
is a promising lawyer. Both individuals have a laudatory role in society and are from clannish
families, thus, the couple seems to perfectly fit into societal expectations of „proper
marriage”. Hence, already the beginning of the novel reveals the key problem of their
relationship - it is based only on wealth and status. Yet at first, Archer himself enthuses about
May, however, there is a disturbing sense of conventionality and remoteness in his
admiration. For instance, in chapter III, after announcing their engagement, Archer reflects on
what his life will look like after he marries May: „What a new life it was going to be, with
1
Sterngass, J. (2003). The Rich Getting Richer in the Gilded Age [Review of The Monied Metropolis: New
York City and the Consolidation of the American Bourgeoisie, 1850-1896; The Man Who Made Wall Street:
Anthony J. Drexel and the Rise of Modern Finance, by S. Beckert & D. Rottenberg]. The Journal of the Gilded
Age and Progressive Era, 2(2), 231–236. Retrieved February 6, 2022, from
http://www.jstor.org/stable/25144329.

1
this whiteness, radiance, goodness at one's side!”2. The traits he mentions are all in the
semantic field of innocence. Wharton especially suggests it by „whiteness”, which is the
symbol of it. The trait he enthuses about is in fact the main fabricated feature that is meant to
characterize bridesmaids in society - they are supposed to be pure, innocent, and virgin, and
only after marriage are men supposed to guide them into sexual life. Thus, Newland takes
pleasure in the most socially-acclaimed trait, which underlines his adherence to Old New
York conventions in terms of love. This further implies the remoteness between the newly
engaged, as Archer does not focus on the characteristic for people that are in love traits, but
rather unconsciously appraises May as a perfect product of society. Thus, his true feelings are
not revealed nor probably even evoked by the woman. Simultaneously, the author implies that
despite their close proximity, there is a lack of true connection between them. Through this,
Wharton conveys that entrapment to societal conventions makes people have a mistaken
outlook on love, which leads them to live their lives in insincere relationships that lack
closeness and passion. This in turn, leads them to feel alone and empty. This is illuminated by
Archer’s comment in chapter XXX, when Wharton demonstrates the couple’s dynamics long
after marriage, when Newland has already become disillusioned with his wife: „Catch my
death!" he echoed; and he felt like adding: "But I've caught it already. I AM dead—I've been
dead for months and months."”3. By using the hyperbole and repetition of the word ‘death’,
the author emphasizes how destructive effects such relationships have on individuals'
well-being.

By positioning Ellen Olenska in the story as Archer’s other love interest in the novel,
Wharton contrasts an artificial relationship with a genuine one. Wharton utilizes emotive
language to emphasize the intensity of feelings Ellen evokes in Archer. This is clearly visible
in chapter XV, when Archer visits Ellen at Skuytercliff, and they're having a turbulent
conversation. Wharton writes „the answer smote him like a blow”4, and shortly after „his
spirits, which had dropped at her last words, rose with an irrational leap”5. What can be
noticed, Ellen’s every action provides him with emotional rise and fall, which is for instance
implied by the use of hyperbole, „smote him like a blow”. This is in contrast to May, whom
Archer admires as she is an embodiment of old-fashioned values that he was taught to merit

2
Wharton, E. (2019). The Age Of Innocence (Reissued ed., p. 20). Vintage Classics.
3
Ibidem., p. 252.
4
Ibidem., p. 112.
5
Ibidem., p. 113.

2
throughout his life, yet not in such an emotional way. Despite the genuine feelings of love and
desire he experiences only with Olenska, Newland feels obliged to May, which is emphasized
by Wharton’s repeated use of the word ‘duty’, when referring to their relationship. For
instance, in chapter XXI, Wharton thus describes May „she had represented peace, stability,
comradeship and the steadying sense of an inescapable duty”6. This leads the protagonist to
feelings of confusion and an internal conflict, which symbolizes the fight between the sense
of social responsibility and the need to follow one's own heart. Because of that, Archer
constantly changes his mind - at first, he begs May to accelerate the wedding, only to later
make a decision to break off their engagement to be with Ellen. Through such a portrayal of
Archer’s internal conflict, Wharton provides another example of how society, by
indoctrinating and putting pressure on individuals, makes them discredit the sense of personal
fulfillment and happiness, as they consider social duty more important.

Ultimately, Archer ends up with May Welland, as in the face of the social circumstance,
the protagonist believes he has no other choice. This clearly manifests itself in chapter XVIII,
when after revealing his feelings to Ellen, he adds: „I have never made love to you, [...] and I
never shall. But you are the woman I would have married if it had been possible for either of
us”7. At that moment, Archer is not even married to May yet, but he already believes that
there is no chance for him and Countess Olenska. By this, Wharton conveys that the
enslavement to the societal morals and restrictions concerning marriage introduces a sense of
lack of control over one's life. She further emphasizes the message by employing an elliptical
narrative. There are two large ellipses, and they occur at the crucial stages of Newland's
decision-making process. The most important one occurs between the transition from Book 1
to Book 2, when Archer receives a telegram from May announcing her agreement on moving
the wedding until an earlier date, which her family had previously refused to agree to.
Ironically, the telegram is delivered right after the protagonist’s ultimate decision to pursue
his true feelings, which meant breaking the engagement with her. After reading through the
telegram, Archer throws „back his head with a long laugh”8, but immediately afterwards, the
reader is immediately thrown into the day of Newland’s and May’s wedding. There is no
further reflection from the protagonist regarding this turn of events, although his laugh at the
end of Book 1 signifies his realization of the irony of his situation and hysterical despair.

6
Ibidem., p. 177.
7
Ibidem., p. 143.
8
Ibidem., p. 149.

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Through ellipsis, Wharton emphasizes how regardless of Newland’s internal conflict, the
situation would in any case have ended the same, as his learned belief in the importance of
marital vows and social pressure is too strong to suppress.

By implementing a contrast between May and Ellen’s relationship with Newland,

followed by elliptical gaps, the author presents the theme of love as tragic - Newland’s
choices highlight the enslavement to societal conventions of love and marriage. He is unable
to understand that he lives for himself. Yet, Wharton does not entirely blame Archer for this,
as she points to the essential role of social pressure - Old New York is a close-knit
community, where any minor deviation from the norm is judged and leaves an individual
marginalized for life, making them too afraid to act freely. However, even in such a restrictive
society, Archer’s situation was not always the case - men could have multiple mistresses,
while still managing to maintain social status by providing something to the community. This
is seen in the example of Larry Lefferts, who is an archetypal adulterer, however, he covers it
up by providing men with assistance on gentlemanly conduct and social etiquette. The
protagonist’s situation is therefore exaggerated, yet was necessary to reinforce the message
about the power of society and its negative impact on the individual.

Works cited:

Wharton, E. (2019). The Age of Innocence (Reissued ed.). Vintage Classics.

Sterngass, J. (2003). The Rich Getting Richer in the Gilded Age [Review of The Monied
Metropolis: New York City and the Consolidation of the American Bourgeoisie, 1850-1896;
The Man Who Made Wall Street: Anthony J. Drexel and the Rise of Modern Finance, by S.
Beckert & D. Rottenberg]. The Journal of the Gilded Age and Progressive Era, 2(2),
231–236. Retrieved February 6, 2022, from http://www.jstor.org/stable/25144329.