Summary

Portrait of Edith Wharton Edith Wharton,  The Greater Inclination

“ The cloud-muffled hills across the lake were reflected in its surface as in a tarnished mirror. In the garden, the birds were beginning to shake the drops from the motionless laurustinus-boughs.
An immense pity for Lydia filled Gannett’s soul. Her seeming intellectual independence had blinded him for a time to the feminine cast of her mind. He had never thought of her as a woman who wept and clung: there was a lucidity in her intuitions that made them appear to be the result of reasoning. Now he saw the cruelty he had committed in detaching her from the normal conditions of life
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Source: Gutenberg

Portrait of Edith Wharton Edith Wharton,  The Greater Inclination

“ If there’s one positive trait in a negative whole he brings it out in spite of himself; if it isn’t a nice trait, so much the worse for the sitter; it isn’t Lillo’s fault: he’s no more to blame than a mirror. Your other painters do the surface—he does the depths; they paint the ripples on the pond, he drags the bottom. He makes flesh seem as fortuitous as clothes. When I look at his portraits of fine ladies in pearls and velvet I seem to see a little naked cowering wisp of a soul sitting beside the big splendid body, like a poor relation in the darkest corner of an opera-box. ”
Source: Gutenberg

Portrait of Edith Wharton Edith Wharton,  The Greater Inclination

“ Before she met Gannett her life had seemed merely dull: his coming made it appear like one of those dismal Cruikshank prints in which the people are all ugly and all engaged in occupations that are either vulgar or stupid.
It was natural that Tillotson should be the chief sufferer from this readjustment of focus. Gannett’s nearness had made her husband ridiculous, and a part of the ridicule had been reflected on herself. Her tolerance laid her open to a suspicion of obtuseness from which she must, at all costs, clear herself in Gannett’s eyes.
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Source: Gutenberg

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