San Diego: Greenhaven, 1998. Higgins, John A. F. Scott Fitzgerald: A Study of the Stories. New York: St. John's UP, 1971. Hindus, Milton. F. Scott Fitzgerald: An Introduction and Interpretation.
The Novels of F. Scott Fitzgerald. London: Macmillan/New York: St Martin's P, 1989. deKoster, Katie, ed. Readings on "The Great Gatsby." San Diego: Greenhaven, 1998. Fitzgerald, F. Scott.
Trask, David F. "The End of the American Dream," Fitzgerald's The Great Gatsby: The Novel, The Critics, The Background. Ed. Henry D. Piper. Charles Schribner's Sons, New York: 1970. Trilling, Lionel.
Boston: Twayne Publishers, 1990. Piper, Henry Dan. ed. Fitzgerald's The Great Gatsby: The Novel, the Critics, the Background. New York: Charles Scribner's Sons, 1970
New York: Anchor Books, 1977. Greenfield, Stanley B.. “The Finn Episode and its Parallet.” In Beowulf: The Donaldson Translation, edited by Joseph F. Tuso. New York, W.W.Norton and Co.: 1975. Tripp, Raymond P. “Digressive Revaluation(s).” In Beowulf – Modern Critical Interpretations, edited by Harold Bloom. New York: Chelsea House Publishers, 1987.
Modern Critical Views F. Scott Fitzgerald. New York: Chelsea House Publishers. 1985. p. 41. Fitzgerald, F. Scott. The Great Gatsby.
In literature, a hero is fundamentally a paragon of moral strength while a villain is a challenger of virtue. As the protagonist of Charlotte Brontë’s Wuthering Heights, Heathcliff fulfills the broadest definition of a literary hero but this only thinly veils his dark delight in causing torment that places him squarely in the realms of villainy. His only trace of humanity is revealed by the transcendent love he shares with Catherine. It is this value that evokes sympathy from the audience and mitigates his immorality, rendering him an antihero rather than a villain. Brontë’s choice to portray Heathcliff so heinously allows vengeance to overwhelm love as the salient theme of the novel and therefore elucidates the darkest and most destructive motivations of mankind.
Nick of F. Scott Fitzgerald's The Great Gatsby claims to be a narrator with the greatest form of objectivity, though throughout the book he proves himself by his blind eye and blatant praise of Gatsby and his chastisement for others. The reader has barely begun the book and almost immediately Nick provides the reader with a most flattering description of the man who lends his name to the novel itself. Nick begins with warning us that Gatsby is not a righteous man, for he scorns Gatsby, but then promptly segues into telling us of his inner beauty despite his aforementioned flaws.We are then treated to a description of Jay Gatsby’s “extraordinary gift for hope, [his] romantic readiness such as [Nick] has never found in any other person and which it is unlikely [he] shall ever find again.” (2) We still have yet to meet Gatsby and here we are bombarded with praises for his “heightened sensitivity to promises of life” (2) and so on. Nick is attempting to teach the reader to condemn the “foul dust” that “floated in the wake of [Gatsby’s] dreams” (2) but still love and admire everything that he represents to Nick. Through doing so, our narrator is setting us up for developing predisposed notions about the character when Nick has just described to us how glad he is that he is “inclined to reserve all judgments” (2) until he is sure of what are that known facts.
A wrong is unredressed when retribution overtakes it redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.” (Luciano 68) becomes the driving force throughout the story. Critique Bill Delaney offers an eloquent analysis of the piece. He argues that the central theme of the story be that of closure and writes that” the story proceeds from cold fury to peace of mind” (40). The story captures the essence of revenge in a gothic yet effective way.
In the beginning of the novel, Nick Carraway finds himself injected into the lives of Jay Gatsby, and Daisy and Tom Buchanan. As Nick becomes familiar with the company of the Buchanans and Gatsby, he goes against his principles. Early on, Nick tells us that he is “one of the few honest people that I have ever known” (Fitzgerald 170). He may be the most ethical character, but by implying that his story is truly objective is incorrect. Nick comes into their lives as a naïve visitor from the West and leaves with contempt for the people he once called his frien... ... middle of paper ... ...olved character and is not completely neutral, but at the same time this makes him the most ideal narrator.