Введение
Роман Эдит Уортон 1905 года, различные адаптации романа. "Дом радости" – роман американской писательницы Эдит Уортон, опубликованный в 1905 году. Он рассказывает историю Лили Барт, женщины из хорошей семьи, но обедневшей, принадлежащей к высшему обществу Нью-Йорка в конце XIX века. "Дом радости" прослеживает медленное двухлетнее социальное падение Лили от привилегированного положения к одинокому существованию на периферии общества. По мнению одного из исследователей, Уортон использует Лили как атаку на "безответственный, жадный и морально разложившийся высший класс". До публикации в виде книги 14 октября 1905 года "Дом радости" публиковался по частям в журнале "Scribner’s Magazine", начиная с января 1905 года. В ноябре 1905 года Чарльз Скрибнер написал Уортон, что роман демонстрирует "самые высокие продажи среди всех книг, когда-либо издававшихся Scribner". Благодаря коммерческому успеху романа некоторые критики отнесли его к жанровой литературе. Литературные рецензенты и критики того времени определяли его как социальную сатиру и роман нравов. В своем введении к книге Эдит Уортон "Дом радости: сборник материалов" Кэрол Сингли утверждает, что роман "является уникальным сочетанием романтики, реализма и натурализма, [и таким образом] выходит за рамки узкой классификации романа о манерах". "Дом радости" был вторым опубликованным романом Уортон.
1905 novel by Edith Wharton
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
"Мгновенное украшение" отражает то, как Уортон описывает отношения Лили с ее референтной группой – как красивой и воспитанной представительницы общества. Ее ценность сохраняется лишь до тех пор, пока сохраняется ее красота и хорошее положение в этой группе. Сосредоточив повествование вокруг портрета Лили, Уортон смогла напрямую обратиться к социальным ограничениям, с которыми она сталкивалась. К ним относились нравы высшего сословия, к которому Лили принадлежала по рождению, образованию и воспитанию. Окончательное название, которое Уортон выбрала для романа, было "Дом радости" (1905), взятое из Ветхого Завета:
1905 novel by Edith Wharton
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
"Сердце мудрых – в доме скорби, а сердце глупцов – в доме веселья" (Екклесиаст 7:4).
1905 novel by Edith Wharton
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
"Дом радости" подчеркивает важность социального контекста для развития замысла истории, наряду с ролью главной героини. Контраст между "весельем" и "скорбью" также указывает на моральную цель, подчеркивая легкомыслие общества, которое не только поклоняется деньгам, но и демонстративно использует их исключительно для собственного развлечения и возвышения. Во времена, изображенные в романе, старое нью-йоркское высшее общество состояло из чрезвычайно богатых людей, чье мировоззрение формировалось экономическими и социальными изменениями эпохи позолоченного века (1870–1900). Рождение Уортон пришлось на время, предшествующее этой эпохе менее чем на десятилетие. Как член привилегированного общества старого Нью-Йорка, она была в полной мере компетентна, чтобы достоверно его описать. Она также имела право критиковать изменения, произошедшие в нью-йоркском высшем обществе в 1890-х годах, не опасаясь обвинений в зависти, вызванной ее низким социальным положением. Уортон полагала, что никто не писал о нью-йоркском обществе, потому что в нем не было ничего достойного описания. Но это не остановило ее, поскольку она считала, что там можно найти что-то ценное. Если бы только писатель смог достаточно глубоко покопаться под поверхностью, можно было бы обнаружить некоторые "тайны совести". Она открыто заявила:
1905 novel by Edith Wharton
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
"Несмотря на то, что я писала о совершенно незначительных людях и "оформляла" их сложной обстановкой манер, мебели и костюмов, книга все еще жива и теперь удостоилась чести быть включенной в список издательства Оксфордского университета. Такие люди всегда опираются на нереализованный человеческий потенциал, и мне показалось, что судьба людей, воплощающих этот потенциал, должна оправдать мой выбор темы. Введение к изданию 1936 года, "Дом радости" 33. Если бы ее единственной темой были излишества и жизнь богатых и знаменитых, то вряд ли она оставалась бы популярной так долго. "Дом радости" продолжает привлекать читателей более века после первой публикации, возможно, благодаря своей вечной теме. То, что жизнь и смерть Лили Барт важны для современных читателей, говорит о том, что Уортон достигла своей цели: критиковать "общество, столь неустанно материалистичное и эгоистичное, что оно беззаботно разрушает все самое прекрасное и безупречное в нем". Роман содержит серию живых картин, изображенных дюжиной модных дам из их круга, включая мисс Барт. Главным событием этого успешного мероприятия стало изображение миссис Ллойд на знаменитой картине сэра Джошуа Рейнольдса 18 века (1775–1776). На портрете изображена привлекательная женщина, одетая соблазнительно. Когда открывается занавес этой последней сцены, вздох одобрения, услышанный от публики, был вызван не столько блестящей интерпретацией миссис Ллойд Рейнольдсом, сколько красотой самой Лили Барт, – что стало вершиной ее социального успеха, но также и уничтожением остатков ее репутации. К лучшему или к худшему, она перешла от замужней "девушки" к женщине, чья репутация уже не безупречна, подобно Кэрри Фишер. Однако она не поступает, как Кэрри Фишер, и не принимает потерю своей репутации как цену, которую она должна заплатить за сохранение своего положения в обществе. Как наблюдает за ней Селден в этой элегантной и простой сцене, он видит настоящую Лили Барт, как будто впервые. Когда Селден собирается уходить, его беспокоят замечания Неда Ван Алстайна: ". Боже, сколько красивых женщин; но ни одна из них не может сравниться с моей маленькой кузиной. Я не знал до сегодняшнего вечера, какой у Лили силуэт". Лили умоляет свою тетю помочь ей расплатиться с долгами и признается в своей страсти к азартным играм. Джулия чувствует себя обманутой и отказывается помогать ей, за исключением оплаты счетов за ее одежду и аксессуары. Чувствуя себя в ловушке и опозоренной, она обращается к Селдену как к своему спасителю и передумывает по поводу него, предвкушая его следующий визит в четыре часа. Вместо этого ее посещает Саймон Розедейл, который, восхищенный ее появлением в живой картине, предлагает брак, который был бы взаимовыгодным. Учитывая то, что Розедейл о ней знает, она умело просит время, чтобы обдумать его предложение. Лили умело говорит: "Но было бы эгоистично и неблагодарно с моей стороны, если бы я сделала [беспечность в отношении денег и беспокойство о счетах] причиной принятия всего, что вы предлагаете, не предлагая взамен ничего, кроме желания избавиться от своих тревог. Вы должны дать мне время – время, чтобы подумать о вашей доброте – и о том, что я могу дать вам взамен" (176). Уортон изображает Лили как имеющую эстетическую цель в жизни – быть прекрасным образцом для созерцания и восхищения. Ее необычайная красота должна была послужить ей хорошей службой, чтобы найти богатого мужа с соответствующим социальным статусом, который бы обеспечил ей место в высшем обществе Нью-Йорка. Однако ее внутреннее стремление освободиться от социальных условностей своего общества, ее чувство справедливости и ее желание любви, а также денег и статуса сорвали ее успех, несмотря на множество подходящих поклонников за десять лет, которые она провела на брачном рынке. Препятствиями для ее успеха являются ее возраст – ей 29 лет, когда начинается роман, – потеря богатства ее отца и смерть ее родителей, которые оставили ее сиротой без заботливого защитника, ее постоянные усилия "не отставать от Джонсонов" (4). Сингли сообщает, что мать Эдит Уортон, Лукреция Райнеландер Джонс, имела такие высокие социальные амбиции, что это дало начало выражению "не отставать от Джонсонов". Публикация романа вызвала письма редактору "New York Times Saturday Review of Books", в которых обсуждались достоинства истории, в которых говорилось, что роман является правдивым и верным портретом нью-йоркской знати, в то время как критики утверждали, что он порочит характер социальной элиты города как бессердечной и...
1905 novel by Edith Wharton
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
the various adaptations of the novel
The House of Mirth is a 1905 novel by American author Edith Wharton. It tells the story of Lily Bart, a well born but impoverished woman belonging to New York City's high society around the end of the 19th century. The House of Mirth traces Lily's slow two year social descent from privilege to a lonely existence on the margins of society. In the words of one scholar, Wharton uses Lily as an attack on "an irresponsible, grasping and morally corrupt upper class." Before publication as a book on October 14, 1905, The House of Mirth was serialized in Scribner's Magazine beginning in January 1905. Charles Scribner wrote Wharton in November 1905 that the novel was showing "the most rapid sale of any book ever published by Scribner." Because of the novel's commercial success, some critics classified it as a genre novel. Literary reviewers and critics at the time categorized it as both a social satire and novel of manners. When describing it in her introduction to Edith Wharton's The House of Mirth: A Case Book, Carol Singley states that the novel "is a unique blend of romance, realism, and naturalism, [and thus] transcends the narrow classification of a novel of manners." The House of Mirth was Wharton's second published novel,
"A moment's ornament" represents the way Wharton describes Lily's relationship to her reference group as a beautiful and well bred socialite. Her value lasts only as long as her beauty and good standing with the group is maintained. By centering the story around a portrait of Lily, Wharton was able to address directly the social limitations imposed upon her. These included the mores of the upper crust social class to which Lily belonged by birth, education, and breeding. The final title Wharton chose for the novel was The House of Mirth (1905), taken from the Old Testament:
The heart of the wise is in the house of mourning; but the heart of fools is in the house of mirth.|Ecclesiastes 7:4
The House of Mirth spotlights social context as equally important to the development of the story's purpose, as the heroine. "Mirth" contrasted with "mourning" also bespeaks a moral purpose as it underscores the frivolity of a social set that not only worships money, but also uses it ostentatiously solely for its own amusement and aggrandizement. At the time the novel takes place, Old New York high society was peopled by the extraordinarily wealthy who were conditioned by the economic and social changes the Gilded Age (1870–1900) wrought. Wharton's birth around the time of the Civil War predates that period by a little less than a decade. As a member of the privileged Old New York society, she was eminently qualified to describe it authentically. She also had license to criticize the ways New York high society of the 1890s had changed without being vulnerable to accusations of envy motivated by coming from a lower social caste. Wharton figured that no one had written about New York society because it offered nothing worth writing about. But that did not deter her as she thought something of value could be mined there. If only the writer could dig deeply enough below the surface, some "stuff o' the conscience" could be found. She went on to declare unabashedly that:
Blockquote|[I]n spite of the fact I wrote about totally insignificant people, and 'dated' them by an elaborate stage setting of manners, furniture and costume, the book still lives and has now attained the honour of figuring on the list of the Oxford University Press. . Such people always rest on an underpinning of wasted human possibilities and it seemed to me the fate of the persons embodying these possibilities ought to redeem my subject from insignificance.|Introduction to 1936 Edition, The House of Mirth 33 If its sole subject had been the excesses and lives of the rich and famous, by themselves, it is doubtful it would have remained popular for as long as it has. The House of Mirth continues to attract readers over a century after its first publication, possibly due to its timeless theme. That the life and death of Lily Bart matters to modern readers suggests that Wharton succeeded in her purpose: to critique "a society so relentlessly materialistic and self serving that it casually destroys what is most beautiful and blameless within it." featuring a series of tableaux vivants portrayed by a dozen fashionable women in their set, including Miss Bart. The pièce de résistance of this highly successful event turns out to be the portrayal of Mrs. Lloyd in Sir Joshua Reynolds' famous 18th century painting (1775–1776). The portrait shows an attractive woman suggestively clad. As the curtain opens on this last scene, the gasp of approval heard from the audience was not so much for Reynolds’ brilliant interpretation of Mrs. Lloyd as it was for the loveliness of Lily Bart herself — marking the pinnacle of her social success but also the annihilation of whatever reputation is left to her. For better or for worse, she has transitioned from a marriageable "girl" to a not quite reputable woman similar to Carry Fisher. Yet she does not do as Carry Fisher does and accept the loss of her respectability as the price, she must pay to maintain a position in society. As Selden observes her in this elegantly simple tableau, he sees the real Lily Bart as if for the first time As Selden gathers his coat to leave, he is disturbed by Ned Van Alstyne's remarks, ". . Gad, what a show of good looking women; but not one of 'em could touch that little cousin of mine. . I never knew till tonight what an outline Lily has." Lily pleads with her aunt to help settle her debts and confesses her addiction to gambling. Julia feels taken advantage of and refuses to help her, except to cover the bill for her clothes and accessories. Feeling trapped and disgraced, she turns to thoughts of Selden as her savior and has a change of heart towards him as she looks forward to his next visit at four o'clock. Instead, her visitor turns out to be Simon Rosedale who, so smitten by her appearance in the tableau vivant, proposes a marriage that would be mutually beneficial. Considering what Rosedale knows about her, she skillfully pleads for time to consider his offer efn|name="Rosedale proposal"|Lily skillfully says, "But I should be selfish and ungrateful if I made [carelessness about money and worry about bills] a reason for accepting all you offer, with no better return to make than the desire to be free of my anxieties. You must give me time—time to think of your kindness—and of what I can give you in return for it—" (176) Wharton depicts Lily as having an aesthetic purpose in life—a fine specimen to be looked at and admired. Her extraordinary beauty should have served her well to find a wealthy husband with the requisite social status that would have secured her place in upper class New York society. However, her inner longing to become free of her society's social conventions, her sense of what is right, and her desire for love as well as money and status have thwarted her success in spite of a number of eligible admirers over the ten years she has been on the marriage market. Challenges to her success are her advancing age—she is 29 as the novel begins—the loss of her father's wealth, and the death of her parents which has left her orphaned without a caring protector, her constant efforts to "keep up with the Joneses"(4),efn|name=Jonses|Singley reports that Edith Wharton's mother, Lucretia Rhinelander Jones, had such high social aspirations, it gave rise to the expression "keeping up with the Joneses." The publication of the novel prompted letters to the editor of the "New York Times Saturday Review of Books" which argued the merits of the story, saying that the novel was a faithful and true portrait of the New York City gentry, while detractors said that it impugned the character of the city's social élite as a heartless and materialist leisure class.
Адаптации
Роман "Дом радости" (1905) был адаптирован для радио, театра и кино. Пьеса по роману "Дом радости" (1906) Эдит Уортон и Клайда Фитча. "La Maison du Brouillard" (1918), режиссёр Альберт Капеллани, с Кэтрин Харрис Бэрримор в роли Лили Барт; французский немой фильм. "Дом радости" был представлен в радиопередаче "Театральная гильдия" 14 декабря 1952 года. В часовой адаптации снялись Джоан Фонтейн и Франшо Тоун. "Дом радости" (1956), режиссёр Джон Дрю Бэрримор. "Театр утренних представлений": 2 сезон, эпизод 56 (4 декабря 1956). "Дом радости" (1981), режиссёр Адриан Холл. Телевизионный фильм для Public Broadcasting System в США. "Дом радости" Эдит Уортон (1995), адаптированный для сцены Доун Килер. Спектакль был поставлен Кембриджской театральной компанией в Королевском театре в Винчестере, Англия. После премьерного показа пьеса гастролировала по Англии в течение девяти недель. Эта современная адаптация предлагает интерпретацию истории Лили Барт в духе конца двадцатого века, акцентируя внимание на свободе, отношениях и трагедии. Композитор Гарт Бакстер написал оперу "Лили" по мотивам "Дома радости" с либретто Лизы ВанОкен. "Лили" – это двухчастная опера в романтической традиции с исполнением полного оркестра. Арии из оперы вошли в два альбома: "Katherine Keem Sings Songs and Arias" Гарта Бакстера, выпущенный Centaur Records, и "Ask The Moon", музыка для голоса и фортепиано Гарта Бакстера, выпущенный Navona Records.
The novel The House of Mirth (1905) has been adapted to radio, the stage and the cinema. The Play of the novel The House of Mirth (1906), by Edith Wharton and Clyde Fitch. La Maison du Brouillard (1918), directed by Albert Capellani, featured Katherine Harris Barrymore as Lily Bart; a French silent film. The House of Mirth was presented on radio's Theatre Guild on the Air December 14, 1952. The one hour adaptation starred Joan Fontaine and Franchot Tone. The House of Mirth (1956), directed by John Drew Barrymore. Matinee Theatre: Season 2, Episode 56. (4 December 1956)
The House of Mirth (1981), directed by Adrian Hall. A television film for the Public Broadcasting System in the U. S.
Edith Wharton's The House of Mirth (1995) adapted for the stage by Dawn Keeler. The play was performed by the Cambridge Theatre Company at the Theatre Royal in Winchester, England. After the initial production, the play toured England for nine weeks. This modern adaptation offers a late twentieth century interpretation of Lily Bart's story that emphasizes freedom, relationships, and tragedy. Composer Garth Baxter has written the opera Lily based upon The House of Mirth, with a libretto by Lisa VanAuken. Lily is a two act opera in the romantic tradition with full orchestra. Arias from the opera have been featured in two albums: Katherine Keem Sings Songs and Arias by Garth Baxter, from Centaur Records, and ASK THE MOON, music for voice and piano by Garth Baxter from Navona Records.
The House of Mirth (1981), directed by Adrian Hall. A television film for the Public Broadcasting System in the U. S.
Edith Wharton's The House of Mirth (1995) adapted for the stage by Dawn Keeler. The play was performed by the Cambridge Theatre Company at the Theatre Royal in Winchester, England. After the initial production, the play toured England for nine weeks. This modern adaptation offers a late twentieth century interpretation of Lily Bart's story that emphasizes freedom, relationships, and tragedy. Composer Garth Baxter has written the opera Lily based upon The House of Mirth, with a libretto by Lisa VanAuken. Lily is a two act opera in the romantic tradition with full orchestra. Arias from the opera have been featured in two albums: Katherine Keem Sings Songs and Arias by Garth Baxter, from Centaur Records, and ASK THE MOON, music for voice and piano by Garth Baxter from Navona Records.
Отзывы
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Kornasky, L. (2014). "Edith Wharton in context". Studies in American Naturalism, 9(1), 107. Preston, C. (2004). "The critical reception of Edith Wharton". The Yearbook of English Studies, 34(1) Nineteenth Century Travel Writing,336 338. Accessed: 01 04 2016 03:52 UTC. DOI: 10.2307/3509561
Singley, C., & Moseley, A. (2007). "Wharton and Cather". American Literary Scholarship, 2007(1), 139 168. Wharton, Edith. (1905). "Mr. Sturgis's Belchamber", Bookman, 21(May), 309 310.
Singley, C., & Moseley, A. (2007). "Wharton and Cather". American Literary Scholarship, 2007(1), 139 168. Wharton, Edith. (1905). "Mr. Sturgis's Belchamber", Bookman, 21(May), 309 310.