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Theme of ambition in the great gatsby
Williams portrayal of society in streetcar named desire
Williams portrayal of society in streetcar named desire
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In literature, desire can take on any number of roles. In F. Scott Fitzgerald’s The Great Gatsby, the titular character’s “extraordinary gift for hope” gives life to a novel concerning the lost generation of “carless” and “impersonal bodies”. However, the narrator’s own latent desires and the tragic fate of the protagonist undermine this hope as an exaggerated figment of imagination. Similarly, in Tennessee Williams’ A Streetcar Named Desire, the overwhelming decadence that surrounds the setting, both economically and in morality, leads the heroine to escapism in a desperately constructed web of fantasy; her eventual insanity emphasises the fragility of desire, particularly when constructed upon lies. In a progressing sinister order, desire in William Shakespeare’s Othello is the catalyst of numerous calamites: deceit, insanity and murder to name but a few. Nick, unlike Gatsby, is unable to act on desire; instead he consumes his time with “vicarious” experience: “imagining that I, too, was hurrying toward gayety and sharing their intimate excitement". This is reflected by his emotional investment in Gatsby’s dream; Nick does not simply suspend his disbelief – a quality of the Romantic Poetics who favoured emotion over reason – in reconstructing the tale, but actively manipulates his narrative structure in order to present Gatsby’s dream in a positive light. Nick delays Gatsby’s introduction to conjure a mystery surrounding him; this is heightened by a change from present to past tense, and a slow in pace – “a lull in entertainment” – which mark his introduction, implying that the narrative has led up to this point, and reflect Nick’s distortion of chronology, and in extension, his distortion of reality. Additionally, Nick’s fre... ... middle of paper ... ... obstacle to capture. Nick's past, grounded in a sensible Midwestern upbringing, allows him to place his hope in those around him, not things – like Gatsby who places his “infinite capacity for hope” in material items which he believes will impress Daisy. It is this materialistic view of the American Dream that provokes Nick’s scorn. Critic, R.W. Stallman, imagines Gatsby as “a modern Icarus”. Gatsby’s delusional belief that his creation of this ideal character would undoubtedly lead him to his American Dream is in part response for his downfall; it is with the idea of promise where Fitzgerald lays the ultimate blame. This perhaps explains why this “cautionary tale” was initially met with lacklustre sales in the decade of prosperity, the “Roaring 20s”; Fitzgerald criticizes the institutions of government – the essence of Modernism – for installing this false hope.
Identity in Contemporary American Drama – Between Reality and Illusion Tennessee Williams was one of the most important playwrights in the American literature. He is famous for works such as “The Glass Menagerie” (1944), “A Streetcar Named Desire” (1947) or “Cat on a Hot Tin Roof (1955)”. As John S. Bak claims: “Streetcar remains the most intriguing and the most frequently analyzed of Williams’ plays.” In the lines that follow I am going to analyze how the identity of Blanche DuBois, the female character of his play, “A Streetcar Named Desire”, is shaped. Firstly, we learn from an interview he gave, that the character of Blanche has been inspired from a member of his family.
However, Fitzgerald does not write Gatsby as a bad person who embodies all that is wrong with western capitalism. Instead, Fitzgerald portrays Gatsby as a good man who was victim of the qualities ingrained in him by an imperfect ideological system. It is this distinction which makes Fitzgerald’s argument all the more potent, and his audience’s ability to mourn Gatsby as a tragic figure all the more important. Whereas Fitzgerald’s opinion of Gatsby may otherwise have been misconstrued as a negative one, the scene of Gatsby’s funeral clearly conveys the character of Gatsby as a tragic and sorrowful one. The character of Gatsby and Fitzgerald’s commentary on the logical fallacies of the American Dream are closely intertwined, which is why Fitzgerald goes to such great lengths to separate the two.
Nick and Jordan are intrigued to discover who Gatsby was. Unexpectedly, Nick discovers a man who remembered him from WWI was Gatsby. Nick illustrates the idiosyncratic Gatsby’s exquisite appearance, his solitude since he is a non-alcoholic, and his reputation. Nick crafts Gatsby’s description, “His tanned skin was drawn attractively tight on his face and his short hair looked as though it were trimmed every day...the fact that he was not drinking helped to set him off from his guests...no one swooned backward on Gatsby, and no French bob touched Gatsby’s shoulder, and no singing quartets were formed with Gatsby’s head for one link” (Fitzgerald 50). Nick’s fascination for Gatsby is clearly evident during the chapter. Since Nick’s fascination for Gatsby is insatiable and he is neighbors with Gatsby, a bond may be established between each other. Also, Gatsby’s solitude is caused by the misinterpretation of his guests of his true persona and there oblivious of his existence. This solitude is displayed in the gratitude he received from the opportunistic, unloyal women. From the information asserted, Tom and Gatsby’s personalities are clearly
The dawn of the twentieth century beheld changes in almost every aspect of the day-to-day lives of women, from the domestic domain to the public. By the midpoint of the twentieth century, women 's activities and concerns had been recognized by the society in previously male-dominating world. The end of the nineteenth century saw tremendous growth in the suffrage movement in England and the United States, with women struggling to attain political equality. However, this was not to last however, and by the fifties men had reassumed their more dominant role in society. Tennessee Williams wrote A Streetcar Named Desire around the time this reversal was occurring in American society. In this play male dominance is clear. Women are represented as
When discussing the notion that “Love can often lead to the creation of an ‘Outsider’." there are cases in our literary examples that would agree with the statement, and some that would not. Outsiders in Much Ado About Nothing, Pride and Prejudice and A Streetcar Named Desire are created by both love and other themes, whether it be class, power, disinterest or a scandal.
During early times men were regarded as superior to women. In Tennessee William’s play, “A Streetcar Named Desire”, Stanley Kowalski, the work’s imposing antagonist, thrives on power. He embodies the traits found in a world of old fashioned ideals where men were meant to be dominant figures. This is evident in Stanley’s relationship with Stella, his behavior towards Blanche, and his attitude towards women in general. He enjoys judging women and playing with their feelings as well.
In many ways, the journeys of Gatsby and Nick are parallel to one another, but in the end it’s Nick’s initiation into the real world that wins out. The maturation of Nick begins with his description of his time leading to his arrival in West Egg, “I graduated from New Haven in 1915, just a quarter of a century after my father, and a little later I participated in that delayed Teutonic migration known as the Great War” (Fitzgerald, 3). The protagonist comes into the story having not lived much of his life in the normal world that he desires to successfully conquer. He goes directly from schooling into the war, where he finds heroic satisfaction. Yet, somehow, Nick is able to keep part of himself innocent and pure despite being in the horrors of war.
Gatsby is quintessentially presented to us as a paradoxical enigma. As the novel progresses this sense of mystery shrouding him is heightened. We see Gatsby through the looking glass, we catch frequent glimpses of him, yet only through Nick’s trained eye. We are, to a certain extent, unable to judge him for ourselves. Even so Nick is eager to depict Gatsby as a multi-faceted character, one who hides behind his own self concocted images of himself. Is this the ‘indiscernible barbed wire’? Is Gatsby himself the ‘foul dust that floated in the wake of’ his own ‘dreams’?
Everyone has experienced a situation in life where it's like a rug has been pulled out from under them. Well, T. Williams’ novel A Streetcar Named Desire portrays a similar situation of three unconventional characters whose reality is not the American Dream that they are striving for. Blanche, Stella, and Stanley approach life hoping for different outcomes in their lives. But what is the American Dream they were striving for? Simply put, by looking at the principles of America, the primary dream for everyone is to have a well-lived life. For some people this includes a family, success, happiness, independence, money, and love. If these are T. Williams’ constructs of the American Dream, then Stella and Stanley Kowalski may never find their
The 1920’s was a time of great change to both the country lived in as well as the goals and ambitions that were sought after by the average person. During this time, priorities shifted from family and religion to success and spontaneous living. The American dream, itself, changed into a self centered and ongoing personal goal that was the leading priority in most people’s lives. This new age of carelessness and naivety encompasses much of what this earlier period is remembered for. In addition, this revolution transformed many of the great writers and authors of the time as well as their various works. The Great Gatsby, written by F. Scott Fitzgerald, perfectly symbolizes many emergent trends of the 1920’s. More importantly the character of Jay Gatsby is depicted as a man amongst his American dream and the trials he faces in the pursuit of its complete achievement. His drive for acquiring the girl of his dreams, Daisy Buchanan, through gaining status and wealth shows many aspects of the authors view on the American dream. Through this, one can hope to disassemble the complex picture that is Fitzgerald’s view of this through the novel. Fitzgerald believes, through his experiences during the 1920’s, that only fractions of the American Dream are attainable, and he demonstrates this through three distinct images in The Great Gastby.
With attention to, The Great Gatsby Fitzgerald uses complex characters to enhance and enrich his 1920’s novel. For many one only thinks about the “American Dream,” this including Nick Carraway (the narrator and a main character of the novel). For some, however, striving for and realizing that dream corrupted them, as they acquired wealth only to pursue pleasure. Even though the characters in F. Scott Fitzgerald’s The Great Gatsby appear to relish the freedom of the 1920s, their lives demonstrate the emptiness that results when wealth and pleasure become ends in themselves. Specifically, the empty lives of three characters from this novel—George Wilson, Jay Gatsby, and Daisy Buchanan—show that chasing hollow dreams results only in misery.
Deteriorating moralities and optimistic beliefs of overnight wealth replaced strict traditional views on religion, family structure, and work ethics. In an era of such high optimism, the pioneering spirit of the American Dream was revitalized. The nouveaux riches often clashed with the established wealth, as evident throughout F. Scott Fitzgerald’s The Great Gatsby. Fitzgerald’s narrator, Nick Carraway, suddenly finds himself submerged in the paper-thin morals, and shallow values of upper-class New York after migrating from the Western interior. Throughout the novel, Nick is highly cynical of American society. Thus, The Great Gatsby is Fitzgerald’s means of criticizing the worsening family structure of American society, the newfound materialistic lifestyles of Americans, an American society governed by corruption, and ultimately, the paradox of the American Dream.
In addition, his sympathy towards the individuals in the city who cannot even fantasize, due to their necessity of work, shows his pensiveness, somewhat contradicting many characters in the novel. The world he has had a taste of, Gatsby’s world, is out of contact with the world which Nick is interacting with now. Gatsby’s experience is residing in West Egg, while the people surrounding Nick right now may never even see West Egg. Herein lies Nick’s thoughtfulness and observational
Bewley, Marius. "Scott Fitzgerald's Criticism of America." Twentieth Century Interpretations of The Great Gatsby. Ed. Ernest Lockridge. Englewood Cliffs: Prentice-Hall, Inc., 1968. 37-53.
Gatsby’s obsession of his love for Daisy and wealth prove his dream as unattainable. Throughout the novel, he consumes himself into lies to cheat his way into people’s minds convincing them he is this wealthy and prosperous man. Gatsby tries to win Daisy’s love through his illusion of success and relive the past, but fails to comprehend his mind as too hopeful for something impossible. In the end, Nick is the only one to truly understand Gatsby’s hopeful aspirations he set out for himself but ultimately could not obtain. In the novel, F. Scott Fitzgerald is able to parallel many themes of the roaring twenties to current society. The ideas of high expectations and obsession of the material world are noticeable throughout the history and is evident in many lives of people today.