Howells’ novel illustrates the exclusive nature of social classes and reconstructs our notions of wealth. Class, as demonstrated by the title character, is not strictly defined by monetary resources and income, but also by cultural capital and performance. To be upper-class, one must have an understanding of affluent culture, mannerisms, commodities, and social norms, in addition to upper-class finances.
Silas Lapham is demonstrative of a new American “type,” the upwardly-mobile businessman. He no longer belongs in the class category of his farming, working-class relatives as the mineral paint business allows him to harvest a fortune. However, Lapham’s change in socioeconomic status underlines distinct issues in American class stratification. The Lapham family’s integration into the world of the upper-class depicts the difficulty of social mobility, especially in a time where “old money” is in conflict with “new money.” Wealth had associations of cultural capital, of generational inheritance—not merely monetarily, but also inheriting a certain type of knowledge. As the Laphams progress into this affluent society, it becomes evident that they lack the necessary social knowledge to fully assimilate into upper-class culture.
Chelsea’s blog highlights how the Lapham family feels the need to feign their possession of cultural capital. This is most salient in the building of their new house. In their Nankeen Square home, the Laphams had bought excessive luxuries, spending recklessly with no heed for fashionable items or clothing. Their lack of understanding for upper-class society is shown when the family only realizes they live in an unfashionable neighborhood after being told so. “With all [Silas’] prosperity,” the novel notes, the Laphams “had not had a social life” (25). Their abundant and aimless spending was for the benefit of none but themselves, not recognizing the customs of dinners and guests. Silas Lapham begins to acknowledge the values and norms of upper-class society when speaking with the architect to build his new house, on the water-side of notable Beacon Street. As Chelsea explored, the bookcases serve as one example of the necessary cultural capital to integrate into higher class. Whereas the Lapham daughters borrow books from the library, the expectation for the wealthy is a value for literature, demonstrated in owning one’s own books and a conversational understanding of well-known literature. Secondly, the architect convinces Silas to build a music room, regardless of the fact that neither seem to have musical inclination or interest.
Silas Lapham’s inability to truly assimilate into upper-class culture is solidified at the Corey’s dinner party. The Coreys, anatomizing the “old money” construct, have both the wealth and cultural capital to justify their class position; their family is an enactment of generational riches, holds a sense of entitlement to their societal role, and masters the performative act of wealth. In preparation for said dinner, the Laphams are extremely conscious of their lack of cultural capital. In an effort to appear deserving of their social class, the Laphams analyze the necessary behaviors, dress, and appearance. Mrs. Lapham and Irene purchase new gowns, while Silas studies a book of etiquette and agonizes over wearing gloves, powdering his hands, and the color of his waistcoat. Such anxiety is later justified, as Silas embarrasses himself by entering with gloves and—after many drinks—commits the ultimate social faux-pas of betraying the affluent’s appreciation for stoicism, revealing too many details about his life and throwing off his carefully-fabricated façade.
The Lapham family experiences the contradiction of social class, realizing that monetary wealth does not assure class status. Silas, in his efforts to assimilate into the upper-class, recognizes that wealth is an impression, and he is not part of the world in the way he thinks he is. The Laphams cannot do the aesthetic social performance necessary to be upper-class, and therefore, are caught between the cultural capital of their past social position and the wealth that—according to Silas—should dictate their class.
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