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Essay — «Souls Belated and All the King’s Men» — Analysis [PDF/Videos]

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<span> <a href="#pdf" style="text-decoration: none;"><font color="#301ce2"> "Souls Belated" and <i>All the Kings Men</i> </font></a> - Photo: <a alt="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—" href="http://www.benjaminmadeira.com/search/label/essays" style="text-decoration: none;" target="_blank" title="Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men—"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/TRgsD1] Anne Stanton was "simply a name for a peculiarly complicated piece of mechanism".  _______________________(Warren 311, kindle location 5963).</span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Anne Stanton, http://goo.gl/TRgsD1 the upper-class thin girl, "brown-toned, golden-lighted and quiet-face, big-eyed, goes on to start an affair with Willie Stark, the local governor and womenizer, to keep her societal status (Warren 39, 103, kindle locations 783, 2008); Interdisciplinary Course with Cultural Studies | #Essay #StudyNotes #UniversityStudies #SocialStudies #CulturalStudies #Society </div> <br /><br />

<div class="JBMCode"> In both texts, women's roles are very different, yet there are identical characteristics between Warren's female characters and Wharton's women. Undeniably, beneath their façade of defending moral values lies a deep hypocrisy. </div> <br />

<div class="citajbm"> Jack struggles both against the morality of his ancestors and the present-day morality in a world of moral ambiguity. All this morality struggling becomes Jack's burden. <br /><br />

Lydia, on the other hand, struggles against the document of divorce and the theme of marriage that hung over their head as a sword restrained only by a delicate thread. She struggles against “fossilized sandwiches” (Wharton 83) in a little microcosm full of a ‘certain tone’ (102), a ‘belated society’, gossip old ladies still dragging their feet; she struggles against the limitations of such rigid American society, those "old cats in caps" (Wharton 99-100).<br /><br />

Jack's mother had had at least five men. She was a woman, "who loved merely power over men and the momentary satisfaction to 
vanity or flesh which they could give her" (Warren 433, kindle location 8257)</div> <br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Edith Wharton —Souls Belated— and Robert Penn Warren —All the Kings Men— ; Interdisciplinary Course with Cultural Studies, Benjamin Madeira, <a name="pdf">PDF</a> :: </span></div></H2> 
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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Female characterization in the short story “Souls Belated” and the novel <i>All the King’s Men</i> :: </span></div></H2> 
<div class="citajbm"> The short story "Souls Belated" (1899) and the novel <i>All the King's Men</i> (1946) present very distinct female characters in very different environments. “Souls Belated” depicts women during the turn-of-the-century New York and <i>All the King's Men</i> does the same in post-Great Depression American society. Furthermore, while women's roles are very different, Warren's female characters and Wharton's women share certain characteristics. As will be seen, in both, “Souls Belated” and <i>All the King's Men</i>, female characters are depicted in patriarchal environments. Against a background of puritan, wealthy New Yorkers, social hypocrisy, on one hand, and urban and rural settings, on the other, some female characters seek to preserve their social standards while others oppose the repressive societal norms. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Archetypes in patriarchal history :: </span></div></H2> 
<div class="citajbm"> Both literary works depict women that represent archetypes in patriarchal history. There is an important difference between Edith Wharton’s depiction and Warren’s adaptation of women. Warren's female characters sprang from the mind of a male and are fictional women (Brent vii). Moreover, Wharton's short story centers on authentically human women characters who seek their happiness through socially privileged marriages, and Lydia who considers marriage to be society’s restrictions imposed on women. While Warren searches inside himself to draw a picture of his women, Edith Wharton addresses a social critique on all the benefits that were dampened by the lack of freedom that characterized married women during the Gilded Age.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Point of view :: </span></div></H2> 
<div class="citajbm"> In “Souls Belated,” the narrator-focalizer Edith Wharton utilizes a third-person omniscient which can relate events that secondary characters experience directly while giving access to their thoughts and motivations. While <i>All the King’s Men</i> utilizes first-person narration, the reader has to rely on the protagonist, journalist and researcher, Jack Burden. Jack Burden is the story-telling persona of most of the story in <i>All the King’s Men</i>. A third-person limited is embedded in chapter four and the end of chapter ten, in which Jack is closely followed throughout. The first-person point of view can present certain opportunities, but can also entail particular challenges and limitations. One limitation of first-person narration is giving the readers access to secondary characters’ thoughts and motivations. Another is relating events that the narrator does not experience directly and it can be challenging to show clear primary character development and a self-aware perspective.  </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> In medias res :: </span></div></H2> 
<div class="citajbm"> While Wharton starts her short story as the readers follow Lydia and Ralph Garnett on a train trip which symbolizes their journey in life, Warren's story begins <i>in medias res</i>, somewhere in the middle of the story, and it entails subsequent use of flashback —"a type of ping-pong effect in the novel"— (Robbins-Sponaas, lesson 6) and nonlinear narrative —out of chronological order —. The narration starts full of long sentences of description that become Highway 58 and the readers will start travelling along as active observers (Warren 1, kindle location 28). Social realist Edith Wharton employs remarkably descriptive imagery including metaphors and similes. Lydia and Gannett’s journey through Europe on the train is, in itself, a metaphor of their evolving journey in their life. The female narrator-focalizer observes that “[t]he direction of the road had changed” [...] “[t]heir railway-carriage [which] had been full” becomes empty as it advances (Wharton 83). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> American riches and English aristocrats :: </span></div></H2> 
<div class="citajbm"> In “Souls Belated,” one of the most prevalent themes is turn-of-century New York society’s preoccupation with procuring socially advantageous marriages. Nina Baym in Woman's Fiction observes that “the ethos of money and exploitation [...] is perceived to prevail in American society” (27). In New York aristocratic society, the female characters struggle because of the inadequacy of their respective marriages. Lydia's staying at the Anglo-hotel represents an internal struggle in her opposition to the forces that quell women’s emancipation. Lydia had internalized the repressive societal norms towards women who refuse “the normal conditions of life” (Wharton 125). She behaves as a married woman among American riches and English aristocrats (102-107, 117-118). At the hotel, Lydia has to cope with complications due to her attitude to the ‘institution of marriage’; “marriage” understood by its political nature, rather than a self-chosen relationship (Holmes 113). Lydia went on to start an extra-marital affair with Ralph Gannett who saw her as his equal. Against a background of wealth and social hypocrisy, both lovers flee the stiff regulations and the tedious regularity of New York and enjoy their passionate relationship. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> In accordance with traditional values :: </span></div></H2> 
<div class="citajbm"> An evolving journey is what Lucy Stark, Governor Willie's wife, has not chosen. She lives in accordance with traditional values. Unlike Lydia, Lucy has a special devotion to her marriage and her family; she is depicted as “a dutiful wife and mother” (Robbins-Sponaas, lesson 6). Although, different than Lydia, Lucy Stark abandons her conjugal relationship, leaving Willie to his political and sexual intrigues. In “Souls Belated,” Lydia assumed the responsibility of charting her own path of personal autonomy. Similarly to Lucy Stark, at some point in her trip together with her lover, Lydia felt that marriage still meant something for her, she gained respectability within aristocratic society (Wharton 120). Yet, unlike Lydia, Lucy Stark did not divorce Willie as a divorced woman’s behavior did not conform to social norms. Her last name is the antithesis of her apparent strength of character. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Mrs. Murrell :: </span></div></H2> 
<div class="citajbm"> Considering that all events, situations, interpretations of other characters' dialogue are filtered through the narrator-focalizer, the readers do not see much of Mrs. Murrell’s character since Jack pays far more attention to her appearance. Jack's mother was that "big-eyed thin-faced woman who [had a new] man she got herself" (Warren 40, kindle location 807). Jack's mother, Mrs. Murrell, "a real looker," had had an affair with Judge Irwin, the friend of Jack's family, and there were also "those men who had married [his] mother" (Warren 40-41, kindle location 807, 809). Unlike Mrs. Murrell, Lydia soon realized that she had to be honest with herself. It had become a matter of moral principle, and she was determined to disclose the nature of her affair to others (Wharton 95). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> A highly desirable woman :: </span></div></H2> 
<div class="citajbm"> Anne Stanton is Jack's life-long love, who he still regards as a highly desirable woman until he learns she has become Willie's mistress (Warren 266-269, kindle location 5086-5145). Anne Stanton, however, was waiting for him to find a career in order to secure a stable future. Jack, however, had no ambitions. Thus, in contrast to Anne's highly respected father, former Governor Stanton, and her brother, surgeon Adam, Jack was a poor marriage prospect. Contrary to Anne Stanton, Lydia is determined to condemn that women are conditioned to ‘lead a dependent and abject life,’ which undermines their self-confidence and her self-respect. For Lydia, self-reliance was suppressed by marriage (Holmes 112). </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Anne Stanton went on to pursue an affair :: </span></div></H2> 
<div class="citajbm"> On deciding to oppose the repressive societal norms, Lydia chooses to abandon her marriage to Tillotson, a rich member of upper-class society, although it offered a series of social privileges. While preoccupied with preserving her respected, comfortable life, in <i>All the King’s Men</i>, well-educated, conformist, Anne Stanton went on to pursue an affair with Governor Willie Stark, who had provided her brother with the opportunity to preserve his social status as a surgeon. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Keep her societal status :: </span></div></H2> 
<div class="citajbm"> Considering her marriage with Tillotson, Lydia held the view that her relationship lacked the intimacy that she would wish to have with a man who saw her role as equally valuable. Anne's expectations in a marriage to a high-society man reveals that she was relying on the social privileges marriage offered. Anne relies upon the traditions of her aristocratic upbringing to give her support. The well-educated Anne Stanton overlooks the corruption in Willie Stark and sees only an advantage to keep her societal status. Anne Stanton honors a patriarchal figure in Willie Stark, while Lydia is fleeing the burden of patriarchal relationships. It took a strong conviction from Lydia to demonstrate her dissatisfaction with the conventional social norm, regardless of the benefits that marriage offered. </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> Conclusion :: </span></div></H2> 
<div class="citajbm"> Although in different environments, both Wharton and Warren depict women as willing to preserve their social status despite their freedom. Is evident that, for Warren, marriage represented the final domestication of his heroine, Anne Stanton, who ended up married to Jack. Wharton, however, does not define a self-made woman in terms of marriage but in not providing the readers with an explicit ending, she promotes public debate on women’s self-determination. Wharton had the courage to keep her heroine unmarried under the risk that her short-story was read as a mere story of the frustration of female nature (Baym, 1981, 135). She does not define Lydia by her remarriage with Ralph Gannett but defines her, instead, by her relationship with him, without labeling it as marital relationship. </div> <br />

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<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> "All the King's Men" (2006 [featuring: Sean Penn, Jude Law, Antonhy Hopkings, Kate Winslet) || Quality: 480p (High Definition) || original audio [Swedish subtitles] (USA English) :: </span></strong>  </CENTER> <br />
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<div class="citajbm"> 
<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> WORKS CITED —  REFERENCES :  </span> <br /><br />

• [1] Baym, Nina. “Melodramas of Beset Manhood: How Theories of American Fiction Exclude Women Authors.” American Quarterly 33 (1981): 123-139. Web. Retrieved on June 2015 from: http://www.jstor.org/stable/2712312  <br /><br />

______.  Woman's Fiction: A Guide to Novels by and about Women in America, 1820-70. Rev. ed. Urbana: University of Illinois Press, 1993; originally published: Ithica: Cornell University Press, 1978. ISBN-13: 978-0252062858. Print. <br /><br />

• [2] Brent, Martha Schaefer. "Female Characterization in the Novels of Robert Penn Warren: Variations on a Cinderella Theme." A Thesis Presented to the Faculty of the Department of English. Bowling Green, Kentucky: Western Kentucky University, 1995. Web. Retrieved on May 2015 from http://goo.gl/UtHSGZ  <br /><br />

• [3] Holmes, Mary. "Second-wave feminism and the politics of relationships." Women's Studies International Forum 23.2 (2000): 235–246. 2. <br /><br />

• [4] Robbins-Sponaas, Rhonna. "Lesson 10: Warren." ENG6012 Course Website, spring 2015. Take Credit, Trondheim: NTNU. Web. Retrieved on May 2015 from https://goo.gl/p2o1Ow <br /><br />

• [5] Warren, Robert Penn. All the King's Men. 1946. Reprint edition, 1996. Houghton Mifflin Harcourt. Kindle Edition. ISBN-13: 978-0-15-101163-6 <br /> <br />

• [6] Wharton, Edith (1899). <b><a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12TkNKZ1M1Qm12MWc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">"Souls Belated."</font></a> </b> Wharton, Edith. The Greater Inclination. New York: Charles Scribner’s Sons, 1899. 83-130. Print. ISBN: 3 2106 00215 4307 </div><br /> <br />

<CENTER> <strong><span style="font-size:14px; color: #000000; background-color: #FFFF00;"> 2006 - All The King's Men Soundtrack - Based on the Robert Penn Warren novel. The life of populist Southerner Willie Stark, a political creature loosely based on Governor Huey Long of Louisiana :: </span></strong>  </CENTER> <br />
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Essay — «Souls Belated and All the King’s Men» — Analysis [PDF/Videos]

"Souls Belated" and All the Kings Men - Photo: illustration — [http://goo.gl/TRgsD1] Anne Stanton was "sim...

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Essay — «Souls Belated» — "An adulterous affair - female emancipation" — Wharton (PDF)

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<span> <a href="#mp3" style="text-decoration: none;"><font color="#301ce2"> Edith Wharton, “Souls Belated”, protest against sacrificing her freedom to marriage </font></a> - Photo: <a alt="Souls Belated, succumbing to adulterous affairs is equated with female emancipation" href="http://www.benjaminmadeira.com/search/label/study-notes" style="text-decoration: none;" target="_blank" title="Souls Belated, succumbing to adulterous affairs is equated with female emancipation"><font color="#FF4000"> Margaret Atwood/illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/Gpfvek] Detailed ("<a alt="Souls Belated by Edith Wharton, MP3" href="http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html?m=0" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton, MP3"><font color="#FF4000">Souls Belated </font></a>") Project Specifications: 1500-word essay on the short story <a alt="Souls Belated by Edith Wharton, Google Book, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12djFYcU81aEJsQ28/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a> by <a alt="Souls Belated by Edith Wharton, Google Book, PDF" href="https://ia601409.us.archive.org/30/items/greaterinclinati00wharrich/greaterinclinati00wharrich.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Edith Wharton</font></a>: standard five-paragraph essay format, cite your sources in correct MLA format, you may not have more than 10-15% quoted or paraphrased or summarized material; annotated bibliography with five (5) secondary sources: the publication information 
and a 5-10 sentence summary of that particular secondary source. The esssay has to have bibliography list or works cited + 5 secondary sources w/annotated bibliography. The works cited + annotated bibliography are not included in the "1500-word essay." – </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Succumbing to adulterous affairs is equated with female emancipation | "<a alt="Souls Belated by Edith Wharton" href="http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html?m=1" style="text-decoration: none;" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a>", The fight for self-determination, Lydia's emancipation | #SoulsBelated <a alt="Souls Belated by Edith Wharton, Google Book, PDF" href="https://archive.org/download/greaterinclinati00whar/greaterinclinati00whar.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">#EdithWharton</font></a> #feminism #marriage #wedlock #StudyNotes #Literature #UniversityStudies </div> <br /><br />

<div class="comillas"> Although there may be critics who interpret the ending as a mutual surrender to marriage, they share the male's view, and the possible fallacy of Gannett's expectation. Nevertheless, the ending is at least fully open from Lydia's perspective. </div> <br /><br />

<div class="JBMCode"> Had Tillotson or Ralph Gannett been the focal point of the story “<a alt="The Greater Inclination, Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12T2dyT3k4WW9jU1k/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Greater Inclination, Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a>”, published in <a alt="The Greater Inclination by Edith Wharton, MP3" href="https://archive.org/download/greater_inclination_etk_librivox/greater_inclination_etk_librivox_64kb_mp3.zip?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Greater Inclination by Edith Wharton"><font color="#FF4000">The Greater Inclination</font></a>, society would not have cared if they divorced nor had a mistress on the side. Society would have felt that this was acceptable.</div> <br />

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<div class="citajbm"> In her short story, “Souls Belated” (1899), social realist Edith Wharton raises the issue of freedom that women lacked in marriage in American society. Undeniably, Lydia’s marriage to high-society Tillotson offered a series of social privileges. However, all these benefits were dampened by the lack of freedom that characterized married women during the Gilded Age. The dream for freedom, selfhood and independence was the sacred integrity of men, rather than women in the nineteenth- and early twentieth-century. On deciding to oppose marriage, which she considered to be a prison—society’s restrictions imposed on women—, Lydia went on to establish an extra-marital affair with Ralph Gannett who saw her as his equal. Gannett also knew, as the female focalizer exemplifies, that “no ceremony [was] needed to consecrate [their] love for each other” (Wharton 95). <b>The feminist movement criticizes the inequalities within marriage, the latter understood as the confines of a well-defined patriarchal social structure. Lydia’s inevitable choice of abandoning her marriage to Tillotson, a rich member of the upper-class society, is a clear protest against sacrificing her freedom to marriage</b>. </div> <br /><br />

<div class="citajbm"> Feminism, understood in a broader sense, is based on challenging the ‘public sphere’, this is, the political decisions that quell women’s emancipation; politics dictate how men and women will behave in the ‘private sphere,’ the domestic life, including female-male relations. Thus, the male-female union, or the ‘institution of marriage’ is of a political nature, rather than a self-chosen relationship. The feminist struggles in favor of women are encapsulated in the iconic expression that reads: ‘the personal is political’ (Holmes 113). Those serious encroachments on women's freedom is what disturbed Lydia. Both Lydia and Gannett intellectually questioned and rejected the validity of the sexually repressive norms of society (Wharton 96-98), expressed by Lydia in the following terms: "what object can we have in marrying, except [...] to work our way back gradually [...] into the esteem of the people whose conventional morality we have always ridiculed and hated?" (Wharton 96), and yet they re-affirm those repressive norms from which they seem to suffer, because they have inescapably internalized them; Gannett trying to convince Lydia that the easiest way to escape societal judgment was by getting married (Wharton 93-94, 122), and Lydia pretending that she was married by accepting that they were registered at the hotel as Mr. and Mrs. Gannett (Wharton 99), and behaving herself as a married woman among American riches and English aristocrats socially dominated by Lady Susan with whom Lydia and Gannett became quite friendly (Wharton 102-107, 117-118).  </div> <br /><br />

<div class="citajbm"> Although, different than Tillotson in many ways, Gannett had internalized the societal repressive norms towards women, as the male focalizer narrates that he both felt “[a]n immense pity for Lydia [...]” and understood her (Wharton 125, 127). Gannett shared males’ arrogance when judging Lydia’s intellectual thinking as a mere “lucidity in her intuitions that made them appear to be the result of reasoning” (Wharton 125). The sexually repressive norms of society internalized in Gannett made him feel guilty for having detached Lydia “from the normal conditions of life” (Wharton 125), meaning ‘marriage.’ The repressive societal norms made Gannett think that Lydia was a poor soul who needed protection, and therefore she “must turn back to him […] returned to [her] cell” (Wharton 125). </div> <br /><br />

<div class="citajbm"> In "Souls Belated," Wharton employs remarkably descriptive imagery; her imaginative illustration includes metaphors and similes. Their journey through Europe on the train is in itself a metaphor of their evolving journey in their life, “[t]he direction of the road had changed" […] “[t]heir railway-carriage [which] had been full” (Wharton 83), becomes empty as it advances (Wharton 83). The scenery is bleak and dusky, foreshadowing the limitations of such rigid American society, those "old cats in caps" at the Anglo-hotel, where Lydia “must take her place on the hotel register as Mrs. Gannett” (Wharton 99-100). Meanwhile, as the train brings them to the journey’s end at night-fall (Wharton 98), the female focalizer observes: "[...] she was free; and not so much (she had begun to be aware) that freedom had released her from Tillotson as that it had given her to Gannett. This discovery had not been agreeable to her self-esteem" (Wharton 86). As both lovers are fleeing the stiff regulations and the tedious regularity of the social life of New York and enjoying their passionate relationship free from all conventions "like the flight of the outlaws: through Sicily, Dalmatia, Transylvania and Southern Italy" (Wharton 98), Edith Wharton gives readers the feeling of the emptiness and confusion in Lydia and Gannett’s lives by placing in the beginning of the short story fossilized pieces of bread, garlic in a bag, smoke, empty dusty seats, slamming of doors, annoying sellers, silence, and at the end of the tale “the lamp flickered and sank” (Wharton 124). Such figurative language evokes vivid images that reveal characterization and reinforce Wharton's themes; Gannett "feared to speak as much as [Lydia] did" (Wharton 84). They feared to discuss a problem that had become a taboo between them: the word ‘divorce’ “as an impassable barrier” (Wharton 86). Both the document of divorce and the theme of marriage hung over their head as a sword restrained only by a delicate thread. The image of “fossilized sandwiches” (Wharton 83) is appropriate to that little microcosm full of a ‘certain tone’ (Wharton 102), a ‘belated society’, gossip old ladies still dragging their feet, which Lydia and Gannett experienced in the Anglo-hotel after their arrival. Still on the train, readers observe Lydia and her lover, lost in thoughts, against a background of wealth and social hypocrisy in turn of the century New York.  </div> <br /><br />

<div class="citajbm"> The feminist movement condemns that women are conditioned to ‘lead a dependent and abject life’ which undermines their self-confidence and her self-respect. Self-reliance was suppressed by marriage; selfhood was exclusive of men. Feminism promotes that women are treated on equal terms with men. In the feminist dispensation, women are free to choose the roles in which they are to take part. “[...] the state, for all its occasional rhetoric about the sanctity of the family as a haven from public and political life, has had a long history of intervening in how people organize their intimate lives [...] to suit its purposes” (Holmes 112). Feminism is convinced that the basis of oppression that women experience in their relationships is deeply rooted in their sexuality, and by better understanding that oppression, they will achieve the liberation of their sexuality, and thus their total beings (Benkert 1197). In adopting feminism, Lydia adopts the central tenets of anarchism of individual liberty and rejects the established gender hierarchy. This emerges as an opportunity for women who feel that the conventional gender roles restrict them. Their analysis of power and hierarchy is responsible for them being drawn to anarchism as an essential ideology they embrace is the primacy of personal autonomy. Women, as Lydia ultimately remind their male counterparts of their responsibility not to interfere with the liberty of women and reject the patriarchal authority. This is in the view that the female subordination is based on an obsolete system of familial and sexual relationships. Thus, the attacks on marriage and insistence on personal autonomy were critical components of sexual equality (Thomas 3; Wharton 100-101, 118-124). </div> <br /><br />

<div class="citajbm"> An aspect that comes out from Lydia’s experiences is the feminists’ recognition of the difficulties that they faced in their relations with the males that they viewed as aggressors. In feminism, the focus of women is in setting their own agenda, which is to be easily achieved independently of men (Holmes 236). In the short story “Souls Belated,” Lydia assumed the responsibility of charting her own path of sexuality rather than follow the societal norms. Being dishonest with her principles, Lydia disguised her adulterous relationship with Gannett because the newly gained respectability within the hotel society still meant something for her (Wharton 120). However, enlightened by Mrs. Linton, alias Mrs. Cope, "like a lamp through a fog" (Wharton 112), Lydia soon realized that she had to be honest with herself; it had become a matter of moral principle for her, and she was determined to take off that self-imposed façade and disclose the nature of her affair to others. The narrator relates to the reader that Lydia: “[s]till keeping her face toward the darkness, she said, "I want you to go and tell Lady Susan—and the others" (Wharton 95).  </div> <br /><br />

<div class="citajbm"> Considering her marriage with Tillotson, Lydia held the view that her marital relationship lacked the intimacy that she would wish to have with a man who saw her role as equally valuable. As the internal focalizer mediates Lydia’s point of view, “[s]he had preferred to think that Tillotson had himself embodied all her reasons for leaving him” (Wharton 86). Unsatisfied with the marriage, Lydia was increasingly at risk of infidelity, which prompted her to rethink the notions of being in a conjugal relationship that lacked libertine existence. This prompted the development of the desire of engaging in an extramarital affair as a response to the unresolved issues that she experienced in Tillotson’s territory and which she felt she could bear no more (Wharton 96-97). She adopted a feminist stance in cuckolding her husband as she found these “outlaws” (Wharton 97) to offer an escape to the boring experiences in her marriage as Wharton advances that, “[b]efore she met Gannett her life had seemed merely dull; his coming made it appear like one of those dismal Cruikshank prints” (Wharton 69). Her cuckolding became a major issue considering the tendency of female infidelity being judged more harshly, according to a 'Victorian' morality, in comparison to male infidelity. Likewise, divorce was deemed shameful in general, although a divorced man was an anecdote, perhaps, but a divorced woman was a pariah, a woman whose behavior does not conform to norms. However, it took a strong conviction from Lydia to demonstrate her dissatisfaction with the conventional social norm, regardless of the benefits that the marriage offered. She remained eager to having an affair with Gannett as she considered it a platform through which she could find happiness and, more importantly, the equality she desired. Aware of the inequalities existing in marriages, her feminist views become apparent as she acknowledged the social norms but was convinced to break them. She argued, “[…] the world should be ruled by conventions but if we believed in them, why did we break through them? And if we don’t believe in them, is it honest to take advantage of the protection they afford?” (Wharton 76). She relied on her feminist stance to defend her resistance to the societal norms on “the indissolubility of marriage” (Wharton 96). </div> <br /><br />

<div class="citajbm"> Although the closure of the female adultery story does not overtly advocate the emancipation of female main character, one can conclude that Lydia’s decision to cuckold her husband demonstrates her feminist stance in seeking freedom. In not providing the reader with an explicit ending, Wharton promotes public debate on women’s self-determination and protests against inequality provided by marriage. In the course of the short story one has followed Lydia’s deliberations: the adulteress and divorcee protagonist remains adamant in her stance against contemporary social attitudes and she is determined to hold on to the adulterous relationship with Gannett, while not intending it to turn into marriage because "marriage won't help it" (Wharton 123, 96-97). Regretting her initial efforts to hide the nature of her ‘transgressive’ relationship with Gannett, Lydia demonstrates her satisfaction with the extra-marital relationship, which represents her displeasure with pressures to be a passive, servile, self-abnegating female in “the abstract 'sacredness' of marriage” (Wharton 95). Lydia had left her husband’s territory as she did not exist to reverentially circumambulate non-empathetic behavior. With Lydia intellectually convincing Gannett to allow her to make decisions, Wharton’s short story, expressing dissenting views on the role of women in contemporary society, demonstrates Lydia as an active, self-possessed woman who does not give in “her claims upon life” (87), imprisoned by the dictates of society. Lydia’s transgressive love is strongly connected with her freedom and intellectual independence.  <br /><br />

— <font color="#301CE2"><strong> <a href="https://plus.google.com/+BenjaminMadeira/about" rel="publisher" target="_blank"> Benjamin Madeira — </a></strong></font> </div> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong>  —  Works Cited - References: </strong> </span> <br /><br />

<strong> Primary sources: </strong> <br /><br />

• [1] Wharton, Edith (1899). <b><a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12dlNkQ3dGMVo1dVk/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated.</font></a> </b> The Greater Inclination. New York: Charles Scribner’s Sons, 1899. 83-130. Book. ISBN: 3 2106 00215 4307 <br /> <br />

<strong> Secondary sources: </strong> <br /><br />

Benkert, Holly. <b><a alt="Liberating insight from a cross-cultural sexuality study about women" href="https://drive.google.com/file/d/0B4kGy0lOHL12aGp2NUFLaXMzZXc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Liberating insight from a cross-cultural sexuality study about women"><font color="#FF4000">"Liberating insight from a cross-cultural sexuality study about women."</font></a> </b> The American Behavioral Scientist 45.8 (2002): 1197-1207. <br /><br />

Holmes, Mary. <b><a alt="Second-wave feminism and the politics of relationships" href="https://drive.google.com/file/d/0B4kGy0lOHL12OHJKMFJ3bkFkWFU/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Second-wave feminism and the politics of relationships"><font color="#FF4000">"Second-wave feminism and the politics of relationships."</font></a> </b> Women's Studies International Forum 23.2 (2000): 235–246. 2. <br /><br />

Thomas, Matthew. <b><a alt="Anarcho-Feminism in late Victorian and Edwardian Britain" href="https://drive.google.com/file/d/0B4kGy0lOHL12R0I3V2xXdlF5NVU/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Anarcho-Feminism in late Victorian and Edwardian Britain"><font color="#FF4000">"Anarcho-Feminism in late Victorian and Edwardian Britain, 1880±1914."</font></a> </b> Internationaal Instituut voor Sociale Geschiedenis (2002): 1-31. <br /><br />

Zahra, Tara. <b><a alt="The feminism gap" href="https://drive.google.com/file/d/0B4kGy0lOHL12Yzd3U0JpQ3dqbGs/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The feminism gap"><font color="#FF4000">"The feminism gap."</font></a> </b> The American Prospect 42 (1999): 20-22.

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<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong>  —  Annotated Bibliography: </strong> </span> <br /><br />

<b>Wharton, Edith</b>. <a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12Tkl3ME80RkdVRHM/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">"Souls Belated." Wharton, Edith. The Greater Inclination</font></a>. Charles Scribneits Sons, 1899. 83-130. Book. <br /> <br />
This is the short story under review expressing the experiences of Lydia going through a divorce while being involved in an extramarital affair with another man named Ralph Gannett. In the short story, Lydia is seen to defy the societal norms regarding woman roles in marriages. This is evident from her approach towards her marriage and the resultant relationship she gets into with Gannett. In a journey that they share, Lydia is about to abandon her new partner but suddenly she stops. There is, however, no evidence that another marriage would ensue from the relationship.  Nevertheless, we do not need to share her deliberations, for in the course of the story she has already put into words her belief: “no ceremony is needed to consecrate our love for each other” (Wharton 95). </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Benkert, Holly</b>. "Liberating insight from a cross-cultural sexuality study about women." The American Behavioral Scientist 45.8 (2002): 1197-1207. </strong> </span> <br /><br />

In the journal article, Benkert aims at reflecting on challenges experienced when undertaking cross-cultural qualitative research with attention to the definition of sexual liberation among feminist women. Focus is given to the influence of norms on women’s sexuality and understanding the oppression of women’s sexuality. The study was conducted across numerous differences to be able to establish issues arising because of the differences. The article was able to establish varied feeling and understanding regarding sexuality. In an effort to reinforce the understanding of sexual development, the study examines the traditional cultural practices and experiences and their linkage to sexual liberation. This article is relevant to the study considering the close link between feminism movement and sexual liberation.  </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Hamilton, Susan</b>. Frances Power Cobbe and Victorian feminism, New York: Palgrave MacMillan. 2006. Print. </strong> </span> <br /><br />

This book is relevant to the study considering that it addresses the issue of feminism and how writing and literature works can be used to push the feminism agenda. The author makes it clear that increased involvement of women in literature and mainstream press rather than just feminist press will aid to achieve feminist goals. The author specifically points to Frances Power Cobbe’s main accomplishment of articulating and promoting feminist views in the male-dominated mainstream press as opposed to feminist press. In Edith Wharton’s short story, “Souls Belated,” Lydia identifies marriage and divorce, with all their conventions and rules largely made by a male-dominated society, as tools to control and oppress women. She thus objects the idea of marrying Garnett as a way of expressing her feminist freedom at a time she is being released from the shackles of another marriage. Marrying Garnet would definitely defeat the idea of freedom. Wharton’s ideas thus combine with Hamilton’s to show that female freedom or feminist writing should not be controlled by men by being categorized into a special category, but rather accepted wholly in the mainstream society where women have an equal opportunity to exercise their writing and freedom, not at the whim of men but at their own accord. </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Holmes, Mary</b>. "Second-wave feminism and the politics of relationships." Women's Studies International Forum 23.2 (2000): 235–246. 2. (PII S0277-5395(00)00072-8) </strong> </span> <br /><br />

This article examines the feminists challenging the common stereotypes regarding feminism. In particular, Holmes gives weight to examining sexuality in relation to male-female partnerships. The article further concentrates on the distribution of power between the men and women. Politics, relationships and sexuality are examined to facilitate the recognition of representation of feminists and their interests. This proves critical in an effort to understand the source and development of women’s liberation. This article is relevant to the study considering the insight it offers on women seeking sexual liberation in their relationships.  </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Thomas, Matthew</b>. "Anarcho-Feminism in late Victorian and Edwardian Britain, 1880-1914." Internationaal Instituut voor Sociale Geschiedenis (2002): 1-31. (DOI: 10.1017/S0020859002000463) </strong> </span> <br /><br />

The journal article examines the developments linking anarchism with feminism in the late 19th and early 20th-century British women. Thomas seeks to exhibit the contributions that anarchism made towards the development of feminism. For this to be achieved, the author analyses why female oppression takes place in marriages. The article provides an insight of the roles that genders play to be able to address the concerns of feminism. This article is relevant to this study considering the insight that it gives regarding the feminist movement. </div> <br /><br />

<div class="citajbm"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <strong> <b>Zahra, Tara</b>. "The feminism gap." The American Prospect 42 (1999): 20-22. </strong> </span> <br /><br />

In this article, Zahra is concerned with the differences in the conceptions held by different feminists. The author focuses on instances when feminists have been seen to move away from the prescribed principles. Aware of the challenge that feminism faces from conservatives, the article aims to portray the position held by feminism. Focusing on notable cases, which have posed questions on whether feminists are victims of own rhetoric, the article is keen on women disagreeing in their interpretation of feminist symbols. This article fits in the current study considering the insight provides into the barriers hindering women in achieving equality.  </div> <br /><br />

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<strong> Further Reading: </strong> <br /><br />

• [1] APA (2012). “<a alt="The American Psychological Association" href="http://www2.eit.ac.nz/library/OnlineGuides/2012%20APA%20Referencing%206th%20Edition.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The American Psychological Association"><font color="#FF4000">The American Psychological Association</font></a>.” 6th ed. (<a alt="The American Psychological Association" href="http://www2.indwes.edu/ocls/apa/apa6eguide.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" style="text-decoration: none;" target="_blank" title="The American Psychological Association"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [2] Booth, Wayne C., <a alt="The Craft of Research, 2nd. Edition" href="http://is.cuni.cz/studium/predmety/index.php?do=download&did=53831&kod=JMM003?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Craft of Research, 2nd. Edition"><font color="#FF4000">The Craft of Research</font></a>, 2nd. Edition, 1995, 2003. The University of Chicago.<br />

_____ Booth, Wayne C., <a alt="The Craft of Research, 3rd. Edition" href="http://www.siteations.com/courses/designresearch2014/readings/reference/Booth_CraftofResearch3rd.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Craft of Research, 3rd. Edition"><font color="#FF4000">The Craft of Research</font></a>, 3rd. Edition, 1995, 2003, 2008. The University of Chicago.<br /><br />

The Craft of Research is a book by Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams. The book aims to provide a basic overview of how to research, from the process of selecting a topic and gathering sources to the process of writing results. The book has gone through three editions, and become a standard text in college composition classes. The book is a winner of the 1995-96 Critics' Choice Award. <br /><br />

• [3] CHICAGO Citation Style (2010). “<a alt="The Chicago Citation Style" href="http://lib.trinity.edu/research/citing/Chicago_Author_Date_16th_ed.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="The Chicago Citation Style"><font color="#FF4000">The Chicago Citation Style</font></a>.” 16th ed. (<a alt="The Chicago Citation Style" href="http://www.okanagan.bc.ca/Assets/Departments+%28Administration%29/Library/PDFs/chicago.pdf?origin=http://www.benjaminmadeira.com/2015/02/short-easy-familiar.html" style="text-decoration: none;" target="_blank" title="The Chicago Citation Style"><font color="#FF4000">Publishing and Editing</font></a>)<br /><br />

• [4] MLA (2009). “<a alt="Handbook for Writers of Research Papers" href="http://usc.ac.ir/IPPWebV1C035/TemplateFileFolder/11-20-2012/OriginalFolder/14920c09-d3d0-401e-a88f-3480925f9aa6_Handbook_for_Writers7th_Edition.pdf?origin=http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html" style="text-decoration: none;" target="_blank" title="Handbook for Writers of Research Papers"><font color="#FF4000">Handbook for Writers of Research Papers</font></a>.” 7th ed. (Publishing and Editing) <br />  </div> <br /><br />

<div class="citajbm">
Cite: (APA) Madeira, Benjamin (2015). "Souls Belated by Edith Wharton –an adulterous affair, female emancipation." Retrieved on (place month here) (place date here), (place year here), from http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html <br /><br />

Cite: (MLA) Madeira, Benjamin. "Souls Belated by Edith Wharton –an adulterous affair, female emancipation," 2015. Web. (place month here) (place date here), (place year here) <http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html>. <br /><br />

Cite: (CHICAGO) Madeira, Benjamin, "Souls Belated by Edith Wharton –an adulterous affair, female emancipation," 2015, accessed (place month here) (place date here), (place year here), http://www.benjaminmadeira.com/2015/03/adulterous-affairs.html
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Essay — «Souls Belated» — "An adulterous affair - female emancipation" — Wharton (PDF)

Edith Wharton, “Souls Belated”, protest against sacrificing her freedom to marriage - Photo: Margaret Atwood/illustration ...

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Wharton, Edith — «Souls Belated» — "Marriage vs enslavement" - Analysis, comments

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/03/wharton-marriage.html"> <img alt="Study Notes - Official Website - BenjaminMadeira" border="0" height="399px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5o6AUIAW-q9Pe745PgxYZfkeKs0gvc9y6sZDRAUUvIkIWUY_bLhfLkQWczmL8gtd17L82eZF2vIF90h2Ri7D9WCHx7e6IJsMLLFN8sZPBb0bNW9mgERpTRWpp_wFNd6NQSRTUspJU5wyH/s600/marriage-wharton-BenjaminMadeira-com.jpeg" title="Study Notes - Official Website - BenjaminMadeira" width="520px"> </a><br />
<span> <a href="#mp3" style="text-decoration: none;"><font color="#301ce2"> Edith Wharton, “Souls Belated”, marriage vs enslavement </font></a> - Photo: <a alt="Souls Belated, Analysis, Comments" href="http://www.benjaminmadeira.com/search/label/study-notes" style="text-decoration: none;" target="_blank" title="Souls Belated, Analysis, Comments"><font color="#FF4000"> illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/Vr051k] In 1-2 paragraphs, readers comment what the short story "<a alt="Souls Belated by Edith Wharton, MP3" href="http://www.benjaminmadeira.com/2015/01/wharton-marriage.html?m=0" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton, MP3"><font color="#FF4000">Souls Belated </font></a>" is about: what is the story <a alt="Souls Belated by Edith Wharton, Google Book, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12djFYcU81aEJsQ28/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/wharton-marriage.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated </font></a> a study of? How they know (what textual evidence do they have)? What is Wharton's answer to the question (in their opinion), and how do they know (textual evidence)? – </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: Edith Wharton: "[M]arriage is a one long sacrifice" ("The Age of Innocence." 1920.) | 'Authentic love' should build on the shared affirmation of "two liberties." | "<a alt="Souls Belated by Edith Wharton" href="http://www.benjaminmadeira.com/2015/03/wharton-marriage.html?m=1" style="text-decoration: none;" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a>", analysis, comments | #SoulsBelated #EdithWharton #feminism #marriage #wedlock #StudyNotes #Literature #UniversityStudies </div> <br /><br />

<div class="JBMCode"> Had Tillotson or Gannett been the focal point of the story “<a alt="The Greater Inclination, Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12T2dyT3k4WW9jU1k/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/wharton-marriage.html" style="text-decoration: none;" target="_blank" title="The Greater Inclination, Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a>”, published in <a alt="The Greater Inclination by Edith Wharton, MP3" href="https://archive.org/download/greater_inclination_etk_librivox/greater_inclination_etk_librivox_64kb_mp3.zip?origin=http://www.benjaminmadeira.com/2015/03/wharton-marriage.html" style="text-decoration: none;" target="_blank" title="The Greater Inclination by Edith Wharton"><font color="#FF4000">The Greater Inclination</font></a>, society would not have cared if they divorced nor had a mistress on the side. Society would have felt that this was acceptable.</div> <br />

<br />
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<center><strong><span style="font-size:20px; color: #0B610B;"><a name="mp3"> <span itemprop="name"> MP3 — "Souls Belated", 1899 - «Edith Wharton» ::</a></span></span></strong></CENTER><br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <a alt="Sarah Hankins about Souls Belated by Edith Wharton" href="https://www.blogger.com/profile/09495685251572111804?origin=http://www.benjaminmadeira.com/2015/03/wharton-marriage.html" style="text-decoration: none;" target="_blank" title="Sarah Hankins about Souls Belated by Edith Wharton"><font color="#FF4000">Sarah Hankins</font></a>' comment about <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="comillas"> «The author was trying to convey through the text that sometimes, it is necessary to conform to social norms—but that is not necessarily a bad thing. After reading The Awakening by Kate Chopin, it is all too easy for us to maintain the mindset that marriage connotes slavery-like submission to ones spouse, and in a way, the author of Soul’s Belated does convey that in the beginning of the story with mention of Lydia’s failed marriage; however, when we look to the end of the story when Lydia runs back to Gannet and it is assumed they will be married, the author points out an important truth about love and marriage that we seem to overlook. Marriage cannot corrupt true love. The question of the hour is: if marrying someone you love makes you fall out of love, then were you ever truly in love with them in the first place? The answer is no. </div> <br /><br />

<div class="comillas"> Lydia ran back to Gannett because she, for the first time, put complete trust in her love for Gannett and decided that their love was worth the risk because it was true. The author of the text points out the value of marriage—an abstract reward that goes beyond social advantages. </div> <br /><br />

<div class="comillas"> When it came down to Lydia with one foot on the boat and the other on the dock, her body between staying with Gannett for love’s sake and leaving to maintain her social reputation, she stays because she is willing to risk it all for a married life with Gannett. Marriage is not enslavement; it is freedom. As Lydia explains on page 226 as evident through lines such as “I’ve behaved basely, abominably, since we came here: letting these people believe we were married—lying with every breath I drew—,” she has not been able to be her authentic self because of the lies she told them. Perhaps she was lying to herself too, saying that marriage was null and void because of her bad experience with it?» </div> <br /><br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My response/comments about Sarah Hankins' thoughts on <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="citajbm">  A Christian point of view is that 'love' is absolute, that love cannot change. The concept of love [in
the Western world] is complicated as it has been developed into distinct concepts; the nature of romantic love changes through
stages and phases. The concept of love is relative as "it has shifted and changed according to individual inclinations within the context and cultural limitations of time and place" (Andersen: introduction). Generally, when it comes down to marriage one can distinguish between 'caring and concern for the other' and 'fall in love/attraction/being in love.' Asserting that "if marrying someone you love makes you fall out of love, then were you ever truly in love with them in the first place? The answer is no." is like saying: 'Those who were not born, did not care about the world." It is not a deep philosophical reflection. </div> <br /><br />

<div class="citajbm"> Sarah Hankins assumes that the only way women, as Lydia, can be together with a partner is by means of nuptial ceremony. As Andersen explains: "[w]e fall in love and it is a wonderful feeling. It virtually lifts us from our feet and opens the door to exalted being. Irresistibly pulled by its force we eagerly "marry for love" and expect to "live happily ever after," for after all, marriage is "a dance on roses" and "love conquers all." These ideas are all deeply imbedded in our popular culture. But while they suggest that the love a young man and woman feel for each other on the wedding day will last forever, divorce statistics tell a different story" (2). Driven by the desire for freedom in her relationships, even though married legally to Tillotson, Lydia went on to establish an extra-marital affair with Gannett with the conviction of finding the freedom she desperately sought. She remained critical of the lack of freedom in marriages. Marriage "has tended to be a rigid affair with little opportunity for individual freedom and potential" (Andersen 132). </div> <br /><br />

<div class="citajbm"> Now, if you say that "[t]he author [Edith Wharton] was trying to convey through the text that sometimes [...] it is necessary to conform to social norms—but that is not necessarily a bad thing [...]," then you missed the point. The narrator is not relating that Lydia quickly acquitted herself to the lifestyle of a married woman when living with Gannett because she was comfortable with that situation; she adopts their lifestyle because she is afraid of them finding out that they are only lovers, not necessarily because she is comfortable. Lydia is struggling within her about not being honest with herself because "[she has] behaved basely, abominably, since [they] came here" (Wharton 119), "[t]hese people—the very prototypes of the bores you took me away from, with the same fenced−in view of life, the same keep−off−the−grass morality, the same little cautious virtues and the same little frightened vices—well, I've clung to them, I've delighted in them, I've done my best to please them. I've toadied Lady Susan, I've gossiped with Miss Pinsent, I've pretended to be shocked with Mrs. Ainger. Respectability!" (Wharton 120) Then she decides that she has to stop pretending: "Still keeping her face toward the darkness, she said, "I want you to go and tell Lady Susan—and the others."" (Wharton 11) </div> <br /><br />

<div class="citajbm"> Sarah Hankins argues that "when we look to the end of the story when Lydia runs back to Gannet and it is assumed they will be married, the author points out an important truth about love and marriage that we seem to overlook. Marriage cannot corrupt true love." Wait. "Lydia runs back to Gannett"? No. She does not. Let us remind Sarah Hankins how she goes back: "Lydia, with slow steps, was walking toward the garden . . . (Wharton 128)" Lydia was neither running nor heading 'to Gannett.' I agree, it is only assumed that they will get married, but it is only an assumption, after all. Nevertheless, let us assume for a moment that they will get married in Paris. If they do so, it will be because of her own decision, her being independent, not because Gannett stopped her on her way to the boat or because she felt obliged to get married. If they are going to Paris, there are evidence in the story that she will not get married in order to be with her lover, and is evident too that he won’t insist in getting married as he lets her to decide. </div> <br /><br />

<div class="citajbm"> Sarah Hankins keeps on arguing that "[t]he author of the text points out the value of marriage—an abstract reward that goes beyond social advantages. [...] Marriage is not enslavement; it is freedom." Lydia, however, has a strong belief that marriage symbolizes "the secret fear of each that the other may escape" (Wharton 95). "Nineteenth century Victorian marriages idealized family life and conjugal affection [...] To love one another was a social duty and respectability was a key value of the age" (Andersen 126).  Actually, Lydia's adulterous relationship is what is most valuable for her; it means being together with Gannett because she has chosen that <i>modus vivendi</i>, not because the pressure of societal norms that make her think that she has to be engaged in the institution of marriage. It means not to have been pushed to be together because of conventions; the whole point is that her ‘illicit love’ is what she is looking for, it gives her freedom, it means freedom. </div> <br /><br />

<div class="citajbm"> Sarah Hankins makes the following assertion: "Perhaps she was lying to herself [...] that marriage was null and void because of her bad experience with it?" When Lydia says: "We've been too close together—that has been our sin." she is implying that marriage is a covenant that keeps a couple together because they must, not because they want to, and not been married allows them to go from each other whenever they want to, without feeling guilty about that act. </div> <br /><br />

<div class="citajbm"> The closure of the short-story "Souls Belated", portrays Lydia as an autonomous woman. It reflects the changing situation of her male counterpart in the sense that she is shown as self-reliant and having the opportunity of free choice - two characteristics which often brought women in conflict with their environment and the social conventions. </div> <br /><br />

<div class="citajbm"> Lydia is strong-minded, as Gannett thought of her: "she asked so much of life, in ways so complex and immaterial" (Wharton 127). The internal focalizer mediates Lydia’s point of view, "[n]othing is more perplexing to man than the mental process of a woman who reasons her emotions" (Wharton 97). Her lover, Gannett, is struggling within him, he could have stopped her of leaving him, but he would not, thus reaffirming her self-reliance: "If any thought emerged from the tumult of his sensations, it was that he must let her go if she wished it" (Wharton 126). </div> <br /><br />

<div class="citajbm"> Sarah Hankins' opinion is that "[m]arriage cannot corrupt love;" but Lydia's opinion is the opposite: "I only want you to see that marriage won't help it." (Wharton 123). Lydia's attempt to liberate herself has an even greater significance since it constitutes a defiance to the severe obligations of the puritan ethic which exercised restraints not only on women, but also on men, such as Gannett's views. Lydia tells her lover: "We are together to-day because we choose to be— don't let us look any farther than that!" (Wharton 97) For Lydia, being in an adulterous relationship equates with equality, her emancipation. </div> <br /><br />

<div class="citajbm"> Nineteenth century Victorian society was patriarchal; men and women who lived at that time were the 'souls belated.' Lydia and Gannett were way ahead of that patriarchal thought, "it was not until the twentieth century that romantic love between a man and a woman became the acceptable and usually the only ground for marriage" (Andersen 127). <br /><br />

— <font color="#301CE2"><strong> <a href="https://plus.google.com/+BenjaminMadeira/about" rel="publisher" target="_blank"> Benjamin Madeira — </a></strong></font> </div> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  —  REFERENCES | FURTHER READING:  </span> <br /><br />

• [1] Andersen, Dina (1998). <b><a alt="CONCEPTS OF LOVE AND SOME IMPLICATIONS FOR EDUCATION by Dina Andersen" href="http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp02/NQ35099.pdf?origin=http://www.benjaminmadeira.com/2015/03/wharton-marriage.html" style="text-decoration: none;" target="_blank" title="CONCEPTS OF LOVE AND SOME IMPLICATIONS FOR EDUCATION by Dina Andersen"><font color="#FF4000">CONCEPTS OF LOVE AND SOME IMPLICATIONS FOR EDUCATION.</font></a> </b> Thesis. Bibliothèque nationale du Canada. 1998. Print. <br /> <br />

• [2] Wharton, Edith (1899). <b><a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12TkNKZ1M1Qm12MWc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/03/wharton-marriage.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated.</font></a> </b> The Greater Inclination. Charles Scribneits Sons, 1899. 83-130. Book. <br /> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <b> —  Annotated Bibliography: </b>  </span> <br /><br />

<b>Wharton, Edith</b>. "Souls Belated." Wharton, Edith. The Greater Inclination. Charles Scribneits Sons, 1899. 83-130. Book.<br />
This is the short story under review expressing the experiences of Lydia going through a divorce while being involved in an extramarital affair with another man named Ralph Gannett. In the short story, Lydia is seen to defy the societal norms regarding woman roles in marriages. This is evident from her approach towards her marriage and the resultant relationship she gets into with Gannett. In a journey that they share, Lydia is about to abandon her new partner but suddenly she stops. There is, however, no evidence that another marriage would ensue from the relationship.  Nevertheless, we do not need to share her deliberations, for in the course of the story she has already put into words her belief: “no ceremony is needed to consecrate our love for each other” (Wharton 95). </div> <br /><br />

Wharton, Edith — «Souls Belated» — "Marriage vs enslavement" - Analysis, comments

Edith Wharton, “Souls Belated”, marriage vs enslavement - Photo: illustration — [http://goo.gl/Vr051k] In 1-2 paragraphs...

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Wharton, Edith — «Souls Belated» — "Fighting against society" - Analysis, comments

<div itemscope> <div style="text-align: center"> <a class="highlightJBM" href="http://www.benjaminmadeira.com/2015/02/wharton-society.html"> <img alt="Study Notes - Official Website - BenjaminMadeira" border="0" height="399px" itemprop="photo" oncontextmenu="alert('BenjaminMadeira.com - Official Website');return false" oncopy="alert('BenjaminMadeira.com - Official Website');return false" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3hYDy-fuQhoD3tQdq98tLlgx8BFKKL8f1XLb7C1y6MBBt18y3hpsuF3prPfDkf5SPB8sySHZLHXgZPhoxx7DAtHvrU9n-AsFDs6s-tCXZg6ZDAdZmGzgvnU-lxEmH3oLdv_Afl_vA-bj1/s1600/image013.jpg" title="Study Notes - Official Website - BenjaminMadeira" width="520px"> </a><br />
<span> <a href="#mp3" style="text-decoration: none;"><font color="#301ce2"> Edith Wharton, “Souls Belated” (short story), analysis </font></a> - Photo: <a alt="Souls Belated, Analysis, Comments" href="http://www.benjaminmadeira.com/search/label/study-notes" style="text-decoration: none;" target="_blank" title="Souls Belated, Analysis, Comments"><font color="#FF4000"> Essays/illustration </font></a> </span> </div> </div> <br />

<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  — [http://goo.gl/kWNUh7] In 1-2 paragraphs, readers comment what the short story "<a alt="Souls Belated by Edith Wharton, MP3" href="http://www.benjaminmadeira.com/2015/01/wharton-society.html?m=0" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton, MP3"><font color="#FF4000">Souls Belated </font></a>" is about: what is the story <a alt="Souls Belated by Edith Wharton, Google Book, PDF" href="https://drive.google.com/file/d/0B4kGy0lOHL12djFYcU81aEJsQ28/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated </font></a> a study of? How they know (what textual evidence do they have)? What is Wharton's answer to the question (in their opinion), and how do they know (textual evidence)? – </span></div></H2> <br /><br />

<div class="citajbm"> :: RT: "<a alt="Souls Belated by Edith Wharton" href="http://www.benjaminmadeira.com/2015/02/wharton-society.html?m=1" style="text-decoration: none;" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a>", analysis, comments | #SoulsBelated #EdithWharton #feminism #marriage #wedlock #StudyNotes #Literature #UniversityStudies </div> <br /><br />

<div class="JBMCode"> Had Tillotson or Gannett been the focal point of the story “<a alt="The Greater Inclination, Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12T2dyT3k4WW9jU1k/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="The Greater Inclination, Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated</font></a>”, published in <a alt="The Greater Inclination by Edith Wharton, MP3" href="https://archive.org/download/greater_inclination_etk_librivox/greater_inclination_etk_librivox_64kb_mp3.zip?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="The Greater Inclination by Edith Wharton"><font color="#FF4000">The Greater Inclination</font></a>, society would not have cared if they divorced nor had a mistress on the side. Society would have felt that this was acceptable.</div> <br />

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<center><strong><span style="font-size:20px; color: #0B610B;"><a name="mp3"> <span itemprop="name"> MP3 — "Souls Belated" - «Edith Wharton» ::</a></span></span></strong></CENTER><br />

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> <a alt="Jamie about Souls Belated by Edith Wharton" href="https://www.blogger.com/profile/08203364111623280459?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="Jamie about Souls Belated by Edith Wharton"><font color="#FF4000">Jamie</font></a>'s comment about <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="citajbm"> «I felt the text was about someone who kept fighting against society and eventually grew tired, gave up the fight and conformed to what society asked of her: to be with Gannett. The story is a study of whether an individual remains free, and independent if he/she gets married. The reader sees this study explored when Gannett and Lydia continuously hold each other back. For instance, Gannett mentions to Lydia how since they've been together he "...shall have to get at (his) work again some day" (211) because he hasn't "written a line since they had been together" (216). <br /><br />

Lydia has been holding Gannett back by distracting him from his writing, which is evident because the author mentions "Gannett, before they met, had made himself known as a successful writer...Lydia interfered with the fulfillment of his promise" (213). However Gannett is also holding Lydia back by trying to marry her. Lydia tries to explain how "...if marriage is sacred in itself and the individual must always be sacrificed to the family-then there can be no real marriage between [them]" (213). Lydia loves her independence and marrying him will force her to sacrifice that. If marriage forces her to sacrifice her independence than she won't ever be free again. For that reason, I think Wharton's conclusion from this study is that an individual loses their freedom once they get married.»

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<H2> <div style="text-align: center"> <span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;"> My response/comments about Jamie's thoughts on <i>Souls Belated</i>.</span></div></H2> <br /><br />

<div class="JBMCode"> "[...] someone (Lydia) who kept fighting against society and eventually grew tired, gave up the fight and conformed to what society asked of her: to be with Gannett." <br /><br />

Where in the short story do we find that she grew up tired and gave up the fight? These are only speculations! What textual evidence do you have? If the end of the story were explicit about them getting married and she confessing that she accepted, then it would be giving up... <br /><br />

Short story writers expect their readers to be familiar with the economic, social, and emotional implications of an adulterous affair in contemporary society, so that they can restrict the amount of explanatory information to a minimum. Short story writers “have to assume considerable background on the part of the reader, a background that may or may not be present in a particular individual at a particular time” (Pasco, 447). <br /><br />

Nineteenth- and early twentieth-century female adultery short story writers worked on the assumption that their readers were entirely familiar with transgressive love and its social, economic and moral implications, either through personal experience, or because they had read or gossiped about it. Contemporary newspaper reports on divorce cases and sensation novels were extremely popular reading, and female adultery was a not uncommon topic in the literary classics and, of course, the Bible. Readers and writers therefore built on a shared knowledge and understanding. Writers could start assuming that their readers had sufficient background to understand what was at stake when a married woman had a transgressive love affair. <br /><br />

In the conventional nineteenth-century novel which centred on a love interest, writers generally resorted to a traditional ending: the marriage of the protagonists or, alternatively, the death of the hero, but more often the heroine. The novel of female adultery had its own tradition, which usually entailed the punishment of the adulteress, not seldom in the form of her premature death. Whether or not such a judgemental ending reflected the ideology of the author, the novel required a definite resolution. The short story gave writers greater flexibility with regard to closure. They could opt for a variety of endings that have come to characterize the short story genre, such as the epiphanic moment, the open ending, or the sudden twist. It offered writers the possibility to imply plot resolutions that could not be made explicit and allowed them to intimate moral judgements which did not reflect the accepted moral judgements of contemporary society, but instead more subversive, alternative ideas. <br /><br />

In Wharton’s short stories, the adulterous affair of the wife never results in a happy ending. <br /><br />

Jamie is reading the story as if it were a romance novel, but it is in fact a female adultery short-story that seeks to create debate on women's emancipation. <br /><br />

— <font color="#301CE2"><strong> <a href="https://plus.google.com/+BenjaminMadeira/about" rel="publisher" target="_blank"> Benjamin Madeira — </a></strong></font> </div> <br />

<span style="color: rgb(180, 95, 6); font-family: Arial,Helvetica,sans-serif;">  —  REFERENCES | FURTHER READING:  </span> <br /><br />

• [1] Pasco, Allan H. <b><a alt="The Short Story" href="http://www.ucs.br/ucs/tplSiget/extensao/agenda/eventos/vsiget/portugues/anais/textos_autor/arquivos/the_short_short_story_the_problem_of_literary_genre.pdf?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="The Short Story"><font color="#FF4000">“The Short Story: The Short of It.”</font></a></b>. Style 27.3 (1993): 442-451. <br /><br />

• [2] Wharton, Edith (1899). <b><a alt="Souls Belated by Edith Wharton" href="https://drive.google.com/file/d/0B4kGy0lOHL12TkNKZ1M1Qm12MWc/view?usp=sharing?origin=http://www.benjaminmadeira.com/2015/02/wharton-society.html" style="text-decoration: none;" target="_blank" title="Souls Belated by Edith Wharton"><font color="#FF4000">Souls Belated.</font></a> </b> The Greater Inclination. Charles Scribneits Sons, 1899. 83-130. Book. <br /> <br />

<b>Annotated Bibliography:</b> <br /> <br />

Wharton, Edith. "Souls Belated." Wharton, Edith. The Greater Inclination. Charles Scribneits Sons, 1899. 83-130. Book.<br />
This is the short story under review expressing the experiences of Lydia going through a divorce while being involved in an extramarital affair with another man named Ralph Gannett. In the short story, Lydia is seen to defy the societal norms regarding woman roles in marriages. This is evident from her approach towards her marriage and the resultant relationship she gets into with Gannett. In a journey that they share, Lydia is about to abandon her new partner but suddenly she stops. There is, however, no evidence that another marriage would ensue from the relationship.  Nevertheless, we do not need to share her deliberations, for in the course of the story she has already put into words her belief: “no ceremony is needed to consecrate our love for each other” (Wharton 95).

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