The-Great-Gatsby

The Great Gatsby: characters and characterization photo

The Great Gatsby: characters and characterization

by · Lecture: 12 minutes
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In the Great Gatsby, characters are not introduced in a traditional way. They are not described in any detail and cannot be studied separately. Thanks to his “ideographic” method of character-portrayal, Fitzgerald suggests one idea through an attitude, a gesture but does not provide a final explanation. It is up to the reader to reconstruct the pieces of the puzzle into a coherent whole.

The author’s technique is close to the Joycean “signature” when the character is broken down into its separate parts, and one or two of the parts are made to stand for the whole. Thus, Gatsby’s presence for example is signalled by his indescribable smile (54, III) or by his colourful suits, his hollow-eyed stare or Wolfshiem’s by his hairy nostrils. This is a stylized method of presentation, a virtual iconography of character whereby the soul of a being is shown forth through one exterior element.

This study will fall into parts: in the first one, we will see how characters are gradually characterized by the readers from a few signs and in the second one, we will demonstrate that characters must be understood through their relationships with objects.

A stylized technique of characterization

Ambiguous signs

Instead of the over-detailed description of 19th century novelists, we find in the case of each character a few signs that may be contradictory. It is often a material or a physical detail that points to a moral dimension of the character, as with Hawthorne and Melville.

Daisy’s voice is alluded to several times in the novel. It is because of this voice that Gatsby falls madly in love with Daisy: “I think that the voice held him most – that voice was a deathless song” (end of chapter V, p. 103). Yet, Nick realizes on the first he visits the Carraways that Daisy’s voice lacks sincerity, and that it gives away Daisy’s duplicity: “the instant her voice broke off… I felt the basic insincerity of what she has said” (p.24).

From these two contradictory signs, the magic power of the voice and and the insincerity of that same voice an interpretation is suggested. The meaning is finally made explicit by none other than Gatsby during the night of the accident. The latter, thinking back to his past, recalls his first date with the woman whom he was to love so much ever after. It so happened that Daisy had caught a cold so that her voice was huskier (VIII, 155). At that point in time Gatsby realized that the charm and youth of that voice was very much a matter of wealth. Daisy’s melodious voice was not so much due to genuine passion as to the glamour of money (VIII, 126).

From an opposition between two signs the reader is left to infer meaning. For instance, Wilson the garage-owner is first seen as a passive, ghastly silhouette “a blond, spiritless man, anaemic, and faintly handsome” (II, 31), but this lack of presence is contradicted by the end (chapter VII, VIII) when he turns out to be a destructive force bent on taking vengeance on his wife’s killer. Our first impression of the man is therefore not borne out by the story’s denouement.

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The Great Gatsby : the Romantic Quest photo

The Great Gatsby: the Romantic Quest

by · Lecture: 13 minutes

The term quest immediately calls up the fairy tale motif or the German Märchen (Tieck; Grimm). The quest has been studied by Propp in Morphology of the Folktale.

In a tale, the hero attempts to escape from his humble origins to claim a higher ascendency or a royal lineage.

James Gatz from North Dakota had never really accepted his parents who were shiftless and unsuccessful farm people : “his imagination had never really accepted them as his parents at all”. James Gatz denies his social as well as biological parentage to aspire to a more glittering and glamorous future.

He, therefore, creates an exalted image of himself: he yearns to become a demi-god (“he was a son of God”). So James Gatz’s quest consists in proving to the world and possibly to himself that he is mighty and powerful. Now, this may only be achieved through personal enrichment.

The quest pattern is also closely bound up with the romantic desire to transcend the limitations of the Self. The aim of such a quest is therefore to assert the primacy of the imagination over reason in a materialistic and philistine world.

Fitzgerald often recalled his great admiration for the poet Keats and he went as far as to claim that he intended to “write prose on the same lines as Keats’ poetry” (Sheilah Graham, College of One, Harmondsworth, 1969).

So even if the novel’s action is steeped in the hedonistic, pleasure-seeking America of the Jazz Age, it is nonetheless imbued with Romantic idealism. In a way, The Great Gatsby may be interpreted as a downright rejection of everything that is earthbound, mundane, and devoid of spiritual lift.

“Real time” versus timeless ideality

Time is the real enemy in the Romantic World. Keats, whose influence should never be underestimated, is constantly striving to attain a transitory moment of vision which will defeat time, even if he never loses sight of the chronological succession of events altogether.

Gatsby’s self-creation and transcendentalism

James Gatz refuses the constraints and limitations of his social milieu. He spurns the historical determinism that results from being born in a rather destitute family. By turning down his tie with his biological father, Jay Gatz lays claim to an existence outside history, that is outside time. His first romantic aspiration is to prove he is not in any way bound by the fetters/shackles of time.

In fact, James Gatz will be who he chooses to be, he will be his self-creation, a byronic Romantic rebel who hates anything that excludes the imagination. The emphasis on the power of the imagination probably owes something to the transcendentalists (Ralph Waldo Emerson and David Henri Thoreau). The latter rejected Calvinism and the materialism of society.

Emerson and Thoreau asserted their beliefs in the possibility of spiritual communion with nature. They also insisted on each individual’s capacity to fulfil his own potential by relying on the force of his intuition.

Transcendentalism praised self-reliance, that is to say a liberation from habits, conformism and traditions in order to create one’s true self.

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The Great Gatsby: an American novel photo

The Great Gatsby: an American novel

by · Lecture: 9 minutes

A refracted vision of America

The Great Gatsby is like a mirror of the America of the 1920’s. America in the Great Gatsby is a fundamental notion and the novel cannot be studied without the historical context of the time.

The novel reflects the Jazz Age or the Roaring Twenties and the opposition between East and West.

The Great Gatsby emphasizes the strange association between materialism and spiritualism, which is crucial to the Puritan ethic. Gatsby is seeking wealth because he is pursuing an idealistic vision.

A corrupted vision

The Crack Up (1937) is a collection of short stories by F.S. Fitzgerald where he tried to catch the mood prevailing in the 1920’s.

The mood was characterised by hedonism, the search for pleasure: “America was going on the greatest gaudiest spree in history”. Spending money in order to be part of the show means society is more based on appearance than substance.

The time of the action is the summer of 1922. America, after World War 1, has become the most prosperous and thriving nation in the world. It is the period of the Golden Boom (America has sold weapons and has become rich) and widespread corruption is at its apogee.

Bribery was a frequent practise. It has been shown by historians that after the Civil War, corruption was nothing compared to the Roaring Twenties. Even if 1850’s carpetbaggers took advantage of the situation of that time, it was far less important than in the 1920’s.

Corruption also marks the weakening of spiritual and moral values. After the butchery of World War I, disillusion had set in and therefore isolationism was striking rich.

In the 1920’s, political circles were also corrupted. Warren Harding, president from 1921 to 1923, was marked by a series of scandals. In the summer of 1923, the president died in mysterious circumstances.

The 18th Amendment of the Constitution, voted in January 1920, laid down that producing and selling alcohol would be forbidden. The Prohibition, also known as “the noble experiment”, triggered an increase in delinquency.

Al Capone belonged to that context. In people’s collective mind, the image of the bootlegger was worshipped and admired because the bootlegger was the man who dared to resist, to rise against the law.

The historical background

The Great Gatsby is based on a series of events published in the newspapers. F.S. Fitzgerald did not invent all the facts : he shows to shape and create a character who was emblematic of his time.

In The Great Gatsby, apart from Gatsby, we find characters based on real figures such as Meyer Wolfshiem, who is actually Arnold Rothstein, a master of the New York underworld.

In Chapter 4, at the metropole, the guy shot down was based on reality, it actually happened before the novel was written: he was gunned down because he had ratted on Becker, the corrupt NYPD chief.

The results of the 1919 baseball championships were fixed. In the text, Meyer Wolfshiem is responsible for tampering with the results while in reality, it is all Arnold Rothstein.

In chapter 4, we learn that Wolfshiem lives above the laws : “they can’t get him old sport. He’s a smart man”. Arnold Rothstein was nicknamed “the brain”, “the bankroll”, “the Morgan of the Underworld”. A Morgan is a magnate, a nabob, a tycoon in the capitalist 19th century.

Gatsby’s models in real life

One of Fitzgerald models for Gatsby came from a trial that took place in New York: the Fuller-McGee case. Edward M. Fuller, one of the two men, had been a neighbour of Fitzgerald’s in Long Island.

The Fuller-McGee case concerned illegal speculation. They both had been partners in a brokerage firm. Yet, it was soon discovered that they had cheated people. Later on, it was proved that Fuller and McGee were acting for Rothstein, the head of the New York underworld.

We can suspect Fitzgerald is to Fuller what Nick Carraway is to Gatsby.

Gatsby has earned a lot of money very quickly, more or less illicitly. He also polished his manners: “it took me three years”.

Gatsby is said to have had a hand in “the drug business” and in “the oil business” : there is no precision and his business remains quite vague.

The clue to the truth is that Gatsby must have earned a lot of money through shady dealings and illegal transactions. This is spelt out at the end of the book, after Gatsby’s death, when Nick answers the phone call: “Young… in trouble. They picked him up when he handed the bonds over the counter”.

We can therefore conclude that Gatsby has been involved in the trafficking of bonds.

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Introduction to The Great Gatsby by Francis Scott Fitzgerald : from the Lost Prairies to the Realist Jungle photo

Introduction to The Great Gatsby by Francis Scott Fitzgerald: from the Lost Prairies to the Realist Jungle

by · Lecture: 8 minutes

Both the novel and the American society correspond to the beginning of a modern era. America is a direct consequence of the age of reason (18th century).

Indeed, the first settlers intended to escape the tyrannical power of absolute monarchs.

The novel is also the result of a revolution :

  • social revolution: when the middle-class asserted its cultural autonomy
  • idealogical change that put the single individual at the centre of the world

Yet, there are profound contradictions:

  • America did not offer favourable conditions for the birth of the novel. The notion of class, and love and marriage are central to the novel.
  • the 18th century and 19th century novels are about chasing a husband.
  • the European novel favours a plot with a domestic story and marriage E.g.: Pride and Prejudice, Madame Bovary.
  • the American novel avoids treating passionate relationships, focuses on male characters, and turns away from Society to Nature. E.g. Moby Dick, The Last of the Mohicans.

American novels dream of the innocence with the first settlers bu Puritanism and the notion of guilt proved to be fundamental in American literature. This feeling of guilt included the rape of nature and the exploitation of the Natives.

The Lost Prairie

The early 19th century can be described as an American Epic. James Fenimore Cooper’s The Leatherstocking Tales gave America legend and myth.

The two main themes are:

  • the settlement: how pioneers got used to a new life in the American wilderness;
  • the frontier, which can be described as an ideal boundary between two cultures: the “civilized and cultivated” society, and “wild and lawless” tribes. The frontier is also a limit pushed further westward.

Settlers and trappers and the Great Prairies

The central character found in Cooper’s Tales is a trapper surviving by catching small animals: Natti Bumppo. He’s a white man who has lived with the Natives and respects them. He’s suspicious of progress. He’s a typical American hero – a poor lonesome trapper.

The notion of solitude is significant. According to Alexis de Tocqueville’s De la Démocratie en Amérique, democracy is about a world of lonesome men owing their allegiance to no none, men who are neither servants nor bondsmen. Self-reliance is key although man is constantly watched by God’s invisible eye (puritan view and the sense of guilt).

The Frontier is a virgin land, the New Eden, the biblical Promised Land. The utopian territory is soiled and tarnished, corrupted: by invading those new virgin lands, the conquerors brought along their greed for money, their lust for power, and their selfish appetite.

As a consequence, their adventures are bound to damage what they most cherish, respect, and admire.

The land is turned into a battlefield opposing white men against themselves and against Native populations. The dream of purity and innocence turns into a sanguinary and bloody battlefield.

East and West, North and South

The East represents industrialisation, urbanisation, corruption, and sin while the West represents the last rampart against encroaching civilisation, the last space of innocence and purity.

The North is Yankee, modern and industrial while the South is Dixieland, with the colonial south, agricultural and colonial area with the cotton fields There is a clash between conservative (South) and modern/liberal (North).

We can see these oppositions in very famous pairs of characters: Cooper’s Natty and Chingachgook, Melville’s Ishmael and Qeequeg, and Twain’s Huck and Jim.

The Prairie’s posterity

Novels have often recounted a flight or escape towards a mystic and idealised West. In Grapes of Wrath, a bunch of dislocated farmers is making the same journey as their ancestors, their eldorado being California.

In the 1920s-1930s, America had become a modern country and the far west was still very much synonymous with freedom and anarchy. American novelists are like their books, escaping their familiar environment (Huck escapes with a runaway slave for instance).

In the 1920s, American writers left America for Europe, they were the writers of the “Lost Generation”: Ernest Hemingway, Henry Miller, Francis Scott Fitzgerald, and Gertrude Stein all came to France to write about America.

In the 1950s, the writers of the “Beat Generation”, such as Jack Kerouac, went to California: San Francisco was then identified as the ideal of freedom.

Yet, the journey is not always physical. It can be symbolic, a retreat from society by getting isolated: Emerson went to Concord, Thoreau went to Walden, at the fringe of society.

The realist jungle

Urban America was depicted in Fritz Lang’s Metropolis and Charlie Chaplin’s Modern Times.

America is going to deal with the metropolis in a simplistic and manichean vision that opposes the Prairie, synonymous with innocence, with the City, a place of evil and corruption.

This innocence was destroyed by immigrants as men broke what has been their dream. The vision of the city reminds us of biblical references: buildings and skyscrapers are reminiscent of the Tower of Babel, their dreams of going beyond and transgressing human limitations.

Romance is the universe of the prairie whereas the novel, with its elements of realism, deals with the shabbiness and ugliness of the city.

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American Literature

by · Lecture: 1 minutes

History of American Literature

Francis Scott Fitzgerald : The Great Gatsby

Arthur Miller : Death of a Salesman