Lawrence Selden Quotes in The House of Mirth
He was aware that the qualities distinguishing her from the herd of her sex were chiefly external: as though a fine glaze of beauty and fastidiousness had been applied to vulgar clay. Yet the analogy left him unsatisfied, for a coarse texture will not take a high finish; and was it not possible that the material was fine, but that circumstance had fashioned it into a futile shape?
“Ah, there’s the difference—a girl must, a man may if he chooses. […] Your coat’s a little shabby—but who cares? It doesn’t keep people from asking you to dine. If I were shabby no one would have me: a woman is asked out as much for her clothes as for herself. The clothes are the background, the frame, if you like: they don’t make success, but they are a part of it. Who wants a dingy woman? We are expected to be pretty and well-dressed till we drop—and if we can’t keep it up alone, we have to go into partnership.”
There were in her at the moment two beings, one drawing deep breaths of freedom and exhilaration, the other gasping for air in a little black prison-house of fears. But gradually the captive’s gasps grew fainter, or the other paid less heed to them: the horizon expanded, the air grew stronger, and the free spirit quivered for flight. She could not herself have explained the sense of buoyancy which seemed to lift and swing her above the sun-suffused world at her feet. Was it love, she wondered, or a mere fortuitous combination of happy thoughts and sensations?
“[…] your taking a walk with me is only another way of making use of your material. You are an artist, and I happen to be the bit of color you are using today. It’s a part of your cleverness to be able to produce premeditated effects extemporaneously.”
“My idea of success,” he said, “is personal freedom.”
“Freedom? Freedom from worries?”
“From everything—from money, from poverty, from ease and anxiety, from all the material accidents. To keep a kind of republic of the spirit—that’s what I call success.”
“[…] the queer thing about society is that the people who regard it as an end are those who are in it, and not the critics on the fence. It’s just the other way with most shows—the audience may be under the illusion, but the actors know that real life is on the other side of the footlights. The people who take society as an escape from work are putting it to its proper use; but when it becomes the thing worked for it distorts all the relations of life.”
“What a miserable future you foresee for me!”
“Well—have you never foreseen it for yourself?”
The slow color rose to her cheek, not a blush of excitement but drawn from the deep wells of feeling; it was as if the effort of her spirit had produced it.
“Often and often,” she said. “But it looks so much darker when you show it to me!”
When had Lily ever really felt, or pitied, or understood? All she wanted was the taste of new experiences: she seemed like some cruel creature experimenting in a laboratory.
“Sometimes […] I think it’s just flightiness—and sometimes I think it’s because, at heart, she despises the things she’s trying for. And it’s the difficulty of deciding that makes her such an interesting study.”
It was before him again in its completeness—the choice in which she was content to rest: in the stupid costliness of the food and the showy dullness of the talk, in the freedom of speech which never arrived at wit and the freedom of act which never made for romance.
“There is someone I must say goodbye to. Oh, not you—we are sure to see each other again—but the Lily Bart you knew. I have kept her with me all this time, but now we are going to part, and I have brought her back to you—I am going to leave her here. When I go out presently she will not go with me. I shall like to think that she has stayed with you—and she’ll be no trouble, she’ll take up no room.”
As she lay there she said to herself that there was something she must tell Selden, some word she had found that should make life clear between them. She tried to repeat the word, which lingered vague and luminous on the far edge of thought—she was afraid of not remembering it when she woke; and if she could only remember it and say it to him, she felt that everything would be well.
It was this moment of love, this fleeting victory over themselves, which had kept them from atrophy and extinction; which, in her, had reached out to him in every struggle against the influence of her surroundings, and in him, had kept alive the faith that now drew him penitent and reconciled to her side.
He knelt by the bed and bent over her, draining their last moment to its lees; and in the silence there passed between them the word which made all clear.
Lawrence Selden Quotes in The House of Mirth
He was aware that the qualities distinguishing her from the herd of her sex were chiefly external: as though a fine glaze of beauty and fastidiousness had been applied to vulgar clay. Yet the analogy left him unsatisfied, for a coarse texture will not take a high finish; and was it not possible that the material was fine, but that circumstance had fashioned it into a futile shape?
“Ah, there’s the difference—a girl must, a man may if he chooses. […] Your coat’s a little shabby—but who cares? It doesn’t keep people from asking you to dine. If I were shabby no one would have me: a woman is asked out as much for her clothes as for herself. The clothes are the background, the frame, if you like: they don’t make success, but they are a part of it. Who wants a dingy woman? We are expected to be pretty and well-dressed till we drop—and if we can’t keep it up alone, we have to go into partnership.”
There were in her at the moment two beings, one drawing deep breaths of freedom and exhilaration, the other gasping for air in a little black prison-house of fears. But gradually the captive’s gasps grew fainter, or the other paid less heed to them: the horizon expanded, the air grew stronger, and the free spirit quivered for flight. She could not herself have explained the sense of buoyancy which seemed to lift and swing her above the sun-suffused world at her feet. Was it love, she wondered, or a mere fortuitous combination of happy thoughts and sensations?
“[…] your taking a walk with me is only another way of making use of your material. You are an artist, and I happen to be the bit of color you are using today. It’s a part of your cleverness to be able to produce premeditated effects extemporaneously.”
“My idea of success,” he said, “is personal freedom.”
“Freedom? Freedom from worries?”
“From everything—from money, from poverty, from ease and anxiety, from all the material accidents. To keep a kind of republic of the spirit—that’s what I call success.”
“[…] the queer thing about society is that the people who regard it as an end are those who are in it, and not the critics on the fence. It’s just the other way with most shows—the audience may be under the illusion, but the actors know that real life is on the other side of the footlights. The people who take society as an escape from work are putting it to its proper use; but when it becomes the thing worked for it distorts all the relations of life.”
“What a miserable future you foresee for me!”
“Well—have you never foreseen it for yourself?”
The slow color rose to her cheek, not a blush of excitement but drawn from the deep wells of feeling; it was as if the effort of her spirit had produced it.
“Often and often,” she said. “But it looks so much darker when you show it to me!”
When had Lily ever really felt, or pitied, or understood? All she wanted was the taste of new experiences: she seemed like some cruel creature experimenting in a laboratory.
“Sometimes […] I think it’s just flightiness—and sometimes I think it’s because, at heart, she despises the things she’s trying for. And it’s the difficulty of deciding that makes her such an interesting study.”
It was before him again in its completeness—the choice in which she was content to rest: in the stupid costliness of the food and the showy dullness of the talk, in the freedom of speech which never arrived at wit and the freedom of act which never made for romance.
“There is someone I must say goodbye to. Oh, not you—we are sure to see each other again—but the Lily Bart you knew. I have kept her with me all this time, but now we are going to part, and I have brought her back to you—I am going to leave her here. When I go out presently she will not go with me. I shall like to think that she has stayed with you—and she’ll be no trouble, she’ll take up no room.”
As she lay there she said to herself that there was something she must tell Selden, some word she had found that should make life clear between them. She tried to repeat the word, which lingered vague and luminous on the far edge of thought—she was afraid of not remembering it when she woke; and if she could only remember it and say it to him, she felt that everything would be well.
It was this moment of love, this fleeting victory over themselves, which had kept them from atrophy and extinction; which, in her, had reached out to him in every struggle against the influence of her surroundings, and in him, had kept alive the faith that now drew him penitent and reconciled to her side.
He knelt by the bed and bent over her, draining their last moment to its lees; and in the silence there passed between them the word which made all clear.
