Mrs. Wharton’s stage is occupied by two women—one French by birth, the other by marriage—and an American who at forty is dabbling in the rather unsafe business of aiding one of them in divorce proceedings in order to attain his belated happiness. In transferring her point of observation from a New York to a Paris drawing room, Mrs. Wharton has made the enamel of convention only a little more brilliant, and in suffering it to crack to reveal a shrivelled up heart, only shows that underneath such gloss, life has ceased to ring true to any standards of spontaneity. Family, society, and the church are inexorable Molochs to whom must be sacrificed infant joy, freedom, hope and even courage.
“Now there is much that is admirable and subtle in the story and its treatment. The different points of view of two types of character are set forth with great clearness. The story, however, loses its poignancy owing to the fact that these types are not individualized.”
| + − | Acad. 72: 465. My. 11, ’07. 470w. | |
| + | A. L. A. Bkl. 3: 137. My. ’07. |
“The writing is distinguished by that blend of strength and grace which is characteristic of Mrs. Wharton.”
| + | Ath. 1907, 1: 535. My. 4. 170w. |
“Whether or not in her most recently published novelette Mrs. Wharton gives a just evaluation to the ideals of another race, there can be no two opinions of the story’s literary merits.” Harry James Smith.
| + + | Atlan. 100: 131. Jl. ’07. 550w. |
“Although a miracle of condensation, in matter, in form, and by an unimpeachable distinction of style, Mrs. Wharton has written a short story which stands entirely above criticism.” Mary Moss.
| + + | Bookm. 25: 303. My. ’07. 1000w. |