In this extract from Edith Wharton’s age of innocence, she explores several key themes in American

literature such as the importance of class and Wharton utilises a narrative style with elements of
modernist experimentation in order.

Within the extract, Wharton can be seen exploring the importance of appearances on how her
characters act. Newland Archer’s obsession with “the thing” is compared to “inscrutable totem
terrors” which implies a degree of zealotry on behalf of Archer to what contextually is viewed as
fashionable. Furthermore, the vagueness of the noun phrase “the thing” further reinforces the blind
obedience that Archer follows social conventions which mirrors the religious conventions “of his
forefathers”. Indeed, the importance of appearances is furthered with the press description of a “an
exceptionally brilliant audience” demonstrating that anyone who wished to be viewed as
“exceptionally brilliant” would have to attend. Wharton’s use of pleonasm in the description of the
audience reinforces the important prestige of attending the Opera. This great importance placed on
appearance was characterised of the jazz age of the 1920’s, which was a period of economic
prosperity

Wharton also explores the importance of class and the European influence on American ideas of
culture. Mrs Archer’s “Gothic library” is reminiscent of European aristocracy; however, the grandeur
of the room is undermined by being the only room that she “allowed smoking” which demonstrates
how the room’s purpose is demonstrate the social status of the family rather than for functionality.
Another example of this is Wharton’s extended list explaining how “German texts” are “translated
into Italian for the clearer understanding of English-speaking audiences”, the verbose nature of her
description highlights the absurdity of this “unalterable and unquestioned law” whose primary
purpose is to increase the prestige of the opera rather than any other practical considerations.
Another example of this is Wharton’s comparison between arriving in a Brown Coupe and arriving “in
one’s own carriage”, the contrast between the benign American vehicle and the European “carriage”
is used to highlight the absurdity of the comparison and the obsession with arriving “honourable”
betrays the characters’ fixation on appearances. This characterisation is likely influenced by the
prevalence of conspicuous consumption of this time period, a process wherein people make
purchases in order to demonstrate wealth and social status.

Wharton enhances her exploration of the contemporary issues through her narrative style. Her
third person omniscient narrator allows a level of detachment and critical analysis, as can be seen
through her critical comments that “there was no reason” for Newland Archer to be late the opera.
Her use of the definite and authoritative adjective “no” creates a dominant reading position, where
the reader is encouraged to agree with her interpretation. Another example of this critical narrative
can be seen in her description of the “playful allusions to democratic principles” which juxtaposes
the frivolity of “playful” against the seriousness of “democratic principles” to show the lack of care
given to serious political thought. Wharton’s narrative style is resonant of the former writings styles
such as realism which were characterised with imparting a moral upon the audience but combines it
with a modernist focus on contemporary issues.