F. Scott Fitzgerald's The Great Gatsby is Great F. Scott Fitzgerald, known by some as author of fluffy magazine articles, has shocked us with the recent release of The Great Gatsby. Breaking from his reputation as a cliché reporter (his most recent work was on the latest women’s shoe style) Fitzgerald proves himself a true intellectual with this tremendous novel. Using eloquent prose and a style fresh to today’s literature scene, he captures the essence of modern culture. The lavish parties in Gatsby are perfect illustrations of our social lives that have become overzealous and desperate in light of the controversial prohibition laws. Fitzgerald describes the “floating rounds of cocktails permeat[ing] the garden” and “amusement park” behavior of typical partygoers with unmatchable insight (40). The debonair host, Gatsby, is a man we have all met at some point—significantly wealthy and relentlessly mysterious. Fitzgerald presents brilliantly complex characters whose contrasting life views represent the sentiments of today. Gatsby’s zealous romanticism is praiseworthy in the face of inevitable corruption. He willfully denies that the world is fragile and clings to his romantic aspirations. Fitzgerald counters this romanticism with characters Tom and Jordan—forceful, blunt characters whose realism starkly contrasts Daisy’s flippant responsiveness and Gatsby’s dreamy aura. The intricacy of these characters warrants significant attention to Fitzgerald’s recent accomplishment as a writer. Offering further social commentary, Tom Buchanan blatantly and exaggeratingly points to a common undertone among today’s upper class when he says, “Civilization is going to pieces…it’s up to us, the dominant rac... ... middle of paper ... ... spirit and its resulting absurdity in a bizarre scene where Daisy whispers, “’I’d like to just get one of those pink clouds and put you in it and push you around’” (94). Through such scenes, the author shows us “a satisfactory hint of the unreality of reality, a promise that the rock of the world was founded securely on fairy’s wings”—a brilliantly paradoxical statement unique to Fitzgerald’s work (99). With beautiful language unprecedented by any work up to date, Fitzgerald presents a work thematically and aesthetically profound. His characters are remarkably applicable to modern behavior as they express commonly felt sentiments. Critics are truly astounded at Fitzgerald’s poeticism and metaphorical writing style; we can hardly believe that Gatsby is a work by the disregarded magazine columnist. We hope to see more quality works from Fitzgerald.
In F. Scott Fitzgerald's, The Great Gatsby, the pursuit of the American dream in a corrupt period is a central theme. This theme exemplifies itself in the downfall of Gatsby. In a time of disillusionment the ideals of the American dream are lost. The classic American dream is one of materialism and when Gatsby incorporates Daisy, a human being, into the dream he is doomed to fail.
Gatsby makes many mistakes throughout the novel, all of which Fitzgerald uses these blunders as a part of his thematic deconstruction of the American Dream. However, Fitzgerald does not write Gatsby as a bad person whom 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.
Carraway describes the atmosphere as “spilled with prodigality” (Fitzgerald 44). Gatsby’s fills his parties with wasteful extravagances like alcohol, and his efforts toward love end up as futile. The people, instead of appreciating Gatsby, backhandedly gossip about his past as a German spy, and simply partake in the alcohol being served (Fitzgerald 48). Instead of representing the upper echelon’s of 1920s’ society, in contrast to the poor, the party-goers appear weak, superficial, and unworthy of such acclaim, especially when given their tendency to gossip. With this depiction of the partiers, Fitzgerald showcases the hollow nature of 1920s society, lacking in morality and
The Great Gatsby by F. Scott Fitzgerald focuses on the lifestyle of a group of people who will do anything to accomplish their goals. The characters go through different changes that come to affect their life decisions and will cause them to lie, sacrifice and feel lonely in their lives. They live the American dream and have power but chase a dream that would affect and change their lifestyles. They judge and discriminate against one another not knowing they have a certain symbol in common in their lives. Their desire to accomplish their goals became a type of new life to the characters.
Written during and regarding the 1920s, ‘The Great Gatsby’ by F. Scott Fitzgerald is both a representation of this distinctive social and historical context, and a construction of the composer’s experience of this era. Beliefs and practises of the present also play a crucial role in shaping the text, in particular changing the way in which literary techniques are interpreted. The present-day responder is powerfully influenced by their personal experiences, some of which essentially strengthen Fitzgerald’s themes, while others compete, establishing contemporary interpretations of the novel.
F. Scott Fitzgerald’s The Great Gatsby is an absurd story, whether considered as romance, melodrama, or plain record of New York high life. The occasional insights into character stand out as very green oases on an arid desert of waste paper. Throughout the first half of the book the author shadows his leading character in mystery, but when in the latter part he unfolds his life story it is difficult to find the brains, the cleverness, and the glamour that one might expect of a main character.
In the novel The Great Gatsby, Fitzgerald uses tone, diction, syntax and imagery to voice Nick's perception of the world around him. In this passage his use of language is used repetitively to convey Jordan Baker, Daisy and Tom Buchanan's lives. On the outside it may look like they all are living a perfect and ideal life, however Fitzgerald's illuminating use of language highlights how far from perfect their lives truly are.
Several individuals mark Gatsby to be a man of great wealth, with a beautiful estate, and an abundance of friends. To illustrate, parties that are hosted at Gatsby’s house are magnificent, filled with professional entertainment, music and dancers, and guests varying from politicians to movie stars. Fitzgerald paints the picture of the parties at Gatsby’s house in great detail in this passage “The bar is in full swing and floating rounds of cocktails permeate the garden outside until the air is alive with chatter and laughter and casual innuendo and introductions forgotten on the spot and enthusiastic meetings between women who never knew each other’s names.” (Fitzgerald 44). It can be seen that these were extravagant parties filled with lust and alcohol. The evidence shows that no ordinary man would be throwing parties of this form, only a man with great wealth and resources would pull of such a feat. Furthermore, this was the prohibition era, which meant that alcohol and the consumption of alcohol was illegal. After this brief look into Gatsby’s life, one can understand why he was considered “great”, but to truly understand Gatsby’s greatness, one must look into his
Daisy Buchanan, in reality, is unable to live up the illusory Daisy that Gatsby has invented in his fantasy. After Daisy and Tom Buchanan leave another one of Gatsby’s splendid parties, Fitzgerald gives the reader a glimpse into what Gatsby’s expectations are. Fitzgerald claims that “he wanted nothing less of Daisy than that she should go to Tom and say: ‘I never loved you.’” (109). Here it is revealed that Gatsby’s one main desire is for Daisy to go willingly...
Trilling, Lionel. "F. Scott Fitzgerald." Critical Essays on Scott Fitzgerald's "Great Gatsby." Ed. Scott Donaldson. Boston: Hall, 1984. 13-20.
Trilling, Lionel. "F. Scott Fitzgerald." Critical Essays on Scott Fitzgerald's "Great Gatsby." Ed. Scott Donaldson. Boston: Hall, 1984. 13-20.
Trilling, Lionel. "F. Scott Fitzgerald." Critical Essays on Scott Fitzgerald's "Great Gatsby." Ed. Scott Donaldson. Boston: Hall, 1984. 13-20.
Sutton, Brian. "Fitzgerald's The Great Gatsby." Explicator 59.1 (Fall 2000): 37-39. Rpt. in Twentieth-Century Literary Criticism. Ed. Linda Pavlovski. Vol. 157. Detroit: Gale, 2005. Literature Resource Center. Web. 24 Feb. 2011.
Sutton, Brian. "Fitzgerald's The Great Gatsby." Explicator 59.1 (Fall 2000): 37-39. Rpt. in Twentieth-Century Literary Criticism. Ed. Linda Pavlovski. Vol. 157. Detroit: Gale, 2005. Literature Resources from Gale. Web. 15 Jan. 2014.
H. L Mencken, in his review of The Great Gatsby by F. Scott Fitzgerald, claims that the diction and syntax are impressive, deserving some credit. Mencken supports his claim by elaborating on the shallowness of Fitzgerald’s novel while acknowledging the careful, brilliant, and intelligent writing. The author’s purpose is to juxtapose Fitzgerald’s storyline with with his rhetorical genius, Mencken writes in a opinionated tone for the readers of the 1925 Baltimore newspaper, Evening Sun. Mencken building his creditability with specific detail from Fitzgerald’s work and employing a change of tone to reveal his opinions.