Shyu 1 Jason Shyu Mrs.

Flowers English III (H) October 26, 2011 Age of Furniture Picking any new piece of furniture remains the most tedious of all family tasks that I have experienced to date. Although the indecisive nature of my parents plays a role, the countless requirements each prospective piece has to fulfill to be even considered also add to the considerably lengthy process. The amount of effort involved in simply picking furniture not only demonstrates the specific preferences of my parents but also the meticulous nature of both my parents. In fact, any decision my parents make involving the house repeatedly verifies their systematic and detail oriented dispositions. Beyond a new table or chair, the design and organization of a house as a whole also serves as a symbol of the owners personality and character. Similarly, in Edith Whartons Age of Innocence, Old New York societys emphasis on the importance of appearances both in individual households and society as a whole serves as a tool to reveal the temperaments and dispositions of the upper class. Represented by the obscenely wealthy, the exclusive members of the upper echelons of New York society could afford the highest quality material goods available on and off the market. As a result, without any financial limits, choices of furniture and interior design are able to more closely reflect the true preferences and personalities of each individual. Furthermore, such seemingly innocent choices regarding decoration hold a greater importance in the strict and structured Old New York. Consequently, Wharton reveals interior design to be a manifestation of the repressive nature of New York society and an expression of personalities in a restrictive environment. Despite being one of the most influential members in upper class New York, Manson Mingott can only express her bold character through her unique interior design. By expressing

Shyu 2 herself through unique arrangements and decoration choices, Mingott reveals her true personality without antagonizing the unforgiving structure of upper class New York. In addition to little design details such as her largely foreign furniture and decorations, the windows of the Mingott household, a important structural component of any building, opposed tradition by open[ing] like doors instead of sashes that pushed up (Wharton 9). By having fundamental differences in the basic construction of her home, Manson Mingott expresses her bold nature and the deeply ingrained nature of her differences from typical Old New York. Similarly, her unique household design also provides an unexpected vista of a bedroom from the sitting room on the ground floor of her home (Wharton 19). The easily accessible open door to such an intimate aspect of a womans life stands in stark contrast with the strictly conservative veneer of Old New York. Despite a seemingly controversial blueprint, Mingotts physical condition provides an alibi to arrange her household in a manner that expresses her defiance to the prudish nature of upper class society without committing an unforgivable social faux pas. In addition to her audacious statement, the open nature of her household, especially to such a private part of the home, projects an image of fearlessness in the face of any inquiries into her history. Through Mingotts clever use of interior design, her bold and courageous statements continue to be expressed in spite of the stringent social traditions in Old New York. On the other hand, Ellen Olenska, a complete outsider in the social circles of New York, illustrates her idealistic persona through her first choice of lodging and decorations after arriving in the United States. As an outsider arriving along with scandalous rumors, high class society instinctively criticizes all of her actions. Despite the blatant animosity of Old New York, Ellen Olenska initially maintains her carefree attitude. However, even with her open nature, she is unable to properly express herself to anyone because of New Yorks refusal to hear any

Shyu 3 unpleasant news that would shatter their thinly maintained veneer of innocence. As a result, Ellens home serves as her personal sanctuary and provides the most accurate depiction of her emotional state and personality. The important role of her new home still does not prevent any criticism and serves as another source of ridicule in the unforgiving eyes of Old New York. The majority of the upper class immediately criticizes Olenska for residing in an unfashionable section of New York. Much of the disapproval originates from the stark differences between her chosen residence and the typical mansions and villas of Old New Yorks members. However, Olenskas specific choosing of her lodgings next to small dress-makers, bird-stiffers and people who wrote contributes significantly to the persona she projects to New York society (Wharton 43). Intentionally living in proximity to the common individuals who upper class individuals refuse to associate with, Olenska clearly demonstrates her idealistic nature by refusing to adhere to the exclusive caste system Old New York prides itself in. Furthermore, her choice illustrates her romantic belief in the triviality of the rampant superficiality and materialism expressed by all of New Yorks upper echelons. Among all the typical traditions of Old New York she disregards, Olenskas love of foreign paraphernalia is easily the most expressed in her modest home. The presence of foreign artifacts extends beyond her furniture and paintings to everyday items such as her handless Japanese cups [with] little covered dishes (Wharton 48). Unlike Olenskas extensive collection of common foreign objects, any assortment of fanciful foreign pieces in the hands members of New Yorks high society serves only as a status symbol. On the other hand, Ellen Olenskas overwhelmingly foreign decorations demonstrate her optimistically tolerant and sympathetic nature. In fact, her hiring of Nastasia, an Italian maid, perfectly illustrates her lack of ethnic prejudices blatantly present in the upper class society of New York. Olenskas tolerance is further solidified by her friendly use of my dear

Shyu 4 one when talking to Nastasia (Wharton 102). Ultimately Ellen Olenskas contrasting opinions from the strict and structured New York society manifest themselves in her specific housing choice and decorations. As opposed to the bold Manson Mingott and the romantic Ellen Olenska, Henry and Louisa van der Luyden serve as the social authority in Old New York and consequently reveal their conservative personalities through their esteemed household. Every single aspect of the Van der Luyden residence illustrates and represents the conventional institutions of New Yorks upper echelons. The impressive high-ceilinged white-walled drawing room subscribes to the traditional structure of any intimidating building constructed to impress (Wharton 33). The impressive but hackneyed use of vaulted ceilings and white walls demonstrates the unimaginative and traditional nature of the van der Luydens. Furthermore, the sitting room designed to impress illustrates the typical focus of New York society on appearances. In fact, the pale brocaded armchairs so obviously uncovered for the Archers meeting with the van der Luydens blatantly supports the conventional fixation on appearances (Wharton 33). The apparent effort placed into entertaining guests also reinforces the traditional institution of hospitality. Because the van der Luydens rarely venture into the public or open their doors, their accommodations of guests not only reveals their conservative personalities but also fulfills their role as a reminder of the model of proper social behavior in New Yorks high society. From the impressive structure of the van der Luydens home to the impressive paintings hung from the walls, the entirety of the van der Luyden household reveal the traditional nature of the van der Luydens through a focus on appearances and the necessity of hospitality. Throughout Age of Innocence, Wharton paints a rather unflattering picture of the upper class of Old New York. Among the myriad of individuals she utilizes to create her rendition of

Shyu 5 New York society, Manson Mingott, Ellen Olenska, Henry van der Luyden, and Louisa van der Luyden represent three unique and important aspects of New York during the early 1800s. Manson Mingott characterizes the free thinking and bold members of New York high society, whereas the van der Ludens symbolized the ideal conservative and traditional member of New York upper class society. On the other hand, Ellen Olenska corresponds with the outcasts of high society and the common individuals denied access to the exalted world of the social elite. The blatant classification of all four of these individuals illustrates the stratified and stringent nature of the upper echelons in New York society. Ironically the inflexible and guarded colossus that is New York society operates on such thin deceptive decorative surfaces and politeness (Waid 229). This contrast allows Whartons use of furniture to provide a subtle insight into the truth behind the superficial facade of Old New York. Consequently the strict structure of New York social circles installs furniture as an intuitive expression of personality.

Shyu 6 Works Cited Waid, Candace. A Biographical Note on Edith Wharton. Age of Innocence. Ed. Candace Waid. New York: W. W. Norton and Company, Inc., 2003. Print. Wharton, Edith. Age of Innocence. Ed. Candace Waid. New York: W. W. Norton and Company, Inc., 2003. Print.