Summary

Portrait of Edith Wharton Edith Wharton The Old Maid (The 'Fifties)

Now, as Delia glanced about her at the Léopold Robert lithographs, the family daguerreotypes, the rosewood and mahogany, she understood that she was looking at the walls of her own grave.
The change had come on the day when Charlotte Lovell, cowering on that very lounge, had made her terrible avowal. Then for the first time Delia, with a kind of fearful exaltation, had heard the blind forces of life groping and crying underfoot. But on that day also she had known herself excluded from them, doomed to dwell among shadows. Life had passed her by, and left her with the Ralstons.
Source: Gutenberg

Portrait of Edith Wharton Edith Wharton The Old Maid (The 'Fifties)

The older woman, whose whole life had been shaped and coloured by the faint reflection of a rejected happiness, hung dazzled in the light of bliss accepted. Sometimes, as she watched Tina’s changing face, she felt as though her own blood{166} were beating in it, as though she could read every thought and emotion feeding those tumultuous currents. Tina’s love was a stormy affair, with continual ups and downs of rapture and depression, arrogance and self-abasement; Delia saw displayed before her, with an artless frankness, all the visions, cravings and imaginings of her own stifled youth.
Source: Gutenberg

Portrait of Edith Wharton Edith Wharton The Old Maid (The 'Fifties)

Delia was thinking of this as she sat in the drawing-room (her mother would have called it the parlour) waiting for her husband’s return. She had just had time to smooth her glossy braids, and slip on the black-and-white striped moire with cherry pipings which was his favourite dress. The drawing-room, with its Nottingham lace curtains looped back under florid gilt cornices, its marble centre-table on a carved rosewood foot, and its old-fashioned mahogany armchairs covered with one of the new French silk damasks in a tart shade of apple-green, was one for any young wife to be proud of.
Source: Gutenberg

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