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The figure of the critical intellectual first appears in Wharton's short fiction of the 1890s and early 1900s, then in the form of the protagonist of her first important novel, The Valley of Decisions(1902), a historical novel set in the eighteenth century Italy, and finally in Selden of The House of Mirth(1905). Throughout the fiction from 1899 to 1905, Wharton exhibits a preoccupation with the choice of intellectual disengagement over engagement working toward William James's conviction that the authority of the American intellectual resides in strictly observing critical distance from the real world of vested interest.
But Wharton could not retreat from the example of intellectuals without an awareness of the limits detachment conferred on the American intellectual. This awareness culminates in the last scene of The House of Mirth, where Selden shows an understanding at Lily's death-bed of the public hostility for the “fastidiousness” of the intellectual and the intellectual's chronic lack of speed and passion. In “The Pelican” the narrator's quandary involves contributing to or denouncing the spurious culture that passes for genuine on the popular lecture circuit. The narrator of “The Rembrandt” finds his commitment to austere aesthetic standards tested. Odo first glorifies then suppresses the tastes, manners, and rights of the crowd.
All of Wharton's writings on the intellectual address the momentary temptation to intervene, whether on behalf of a woman's plight, as in “The Pelican,” “The Rembrandt,” and The House of Mirth, or in pursuit of power, as in The Valley of Decision. In yielding to interest, Wharton convicts each of these characters of intellectual betrayal.
But Wharton could not retreat from the example of intellectuals without an awareness of the limits detachment conferred on the American intellectual. This awareness culminates in the last scene of The House of Mirth, where Selden shows an understanding at Lily's death-bed of the public hostility for the “fastidiousness” of the intellectual and the intellectual's chronic lack of speed and passion. In “The Pelican” the narrator's quandary involves contributing to or denouncing the spurious culture that passes for genuine on the popular lecture circuit. The narrator of “The Rembrandt” finds his commitment to austere aesthetic standards tested. Odo first glorifies then suppresses the tastes, manners, and rights of the crowd.
All of Wharton's writings on the intellectual address the momentary temptation to intervene, whether on behalf of a woman's plight, as in “The Pelican,” “The Rembrandt,” and The House of Mirth, or in pursuit of power, as in The Valley of Decision. In yielding to interest, Wharton convicts each of these characters of intellectual betrayal.
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