Personal Review

Though it is commonly regarded as the classic American novel, The Great Gatsby could be seen as a fairly flawed work by some today, for a number of reasons, some among them being the familiar plot points and the, at times, heavy-handed symbolism. However, the plot could easily be vindicated, even in the eyes of a modern audience, by the simple fact that, given time and recognition, qualities of any work in the media will eventually diffuse and become nearly ubiquitous. As the “definitive” American novel, The Great Gatsby would certainly be the subject of much scrutiny, with the perceived traits of the novel being completely analyzed and going on to be used in other works. Having been printed nearly a century ago, plot points in Gatsby would be exceedingly familiar to readers, if only because they function in such an effective manner. To re-state the above in a more succinct manner, The Great Gatsby seems to have a derivative plot because it was much better for its time, thus creating imitators. Admittedly, the symbolism tended to lean towards a more blatant presentation, though the incorporation of geography into the symbolism, as well as the use of more artificial symbols, does provide more memorable symbolism, as well as creating more depth. On a similar note, the messages that the novel attempts to convey are easily still relevant to current readers, as they critique the pursuit of dreams, and how the aspirations people hold can trap them, an idea which can be kept in mind during any time, as it applies more to human nature than a specific grievance. Overall, it’s a simple task to see why many consider The Great Gatsby to be a work representative of American society, as it presents some positive aspects, as well as critical analysis of the country the writer hails from. And while some may see it as typical fare for a simple grab at awards, with all information taken into account, the true brilliance present in the writing of the book is clear. Frankly, it is a well-written book with poignancy in its text, even if its plot can seem to be somewhat lackluster at times.

Text Connections

The Great Gatsby, having been written in the twenties, draws inspiration from a number of things to create the final product that F. Scott Fitzgerald wished for. For instance, Fitzgerald constantly remarks upon a number of things that the high-class, rich society around him does, usually pointing out the foibles. In the 1920’s and the general time period around them, corruption and indulgence among the high society members escalated to levels beyond that of previous time period, due in large part to the large gap between social classes that had resulted from industrialization. A bootlegger, in the form of the eponymous Gatsby, is also present, while the time did tend to have a high demand for the services of a bootlegger, or one who could work in the shadow of the law. In another sort of connection, the way in which Daisy, Gatsby’s idolized ideal for his love, behaves could very easily repeal any rational reason for him to really wish to pursue her, as she is lacking depth as a character, going so far as to collapse in a pile of shirts because she’d never seen so many beautiful ones: this calls to mind one other female love interest in a book written in the 1920’s, namely Lena from Brave New World, by Aldous Huxley, in which she behaves in an altogether apathetic and materialistic way. Perhaps not so coincidentally, both stories chastise the relentless pursuit of material wealth as a basis for happiness.

Syntax

Throughout The Great Gatsby, a number of techniques are used by Fitzgerald to create an appropriate description of the events unfolding in the story, and to help deliver his desired message. For instance, during the narrator’s time at a party in the city with Tom and Daisy, Fitzgerald writes: “People disappeared, reappeared, made plans to go somewhere, and then lost each other, searched for each other, found each other a few feet away” (37). This style of syntax, fragmented and in a list, serves to show how the entirety of the evening was formulaic, with a sense of redundancy crafted to highlight the mundane events. In addition to this, the syntax helps to show how the people’s lives begin to blend together in a murky lack of recognition, a metaphor which is aided by the smoke present in the room. Furthermore, it serves to underscore how the apathy of their lifestyle is reflected in their meetings.

            “It eluded us then, but that’s no matter--to-morrow we will run faster, stretch our arms farther…and one fine morning—“ (180). The syntax utilized in this sentence here is quite unusual, as it not only sets off part of itself with a dash, but it also trails off at the very end of it, as well as featuring ellipses. The dash to set off the beginning works to emphasize the statement, discounting the statement on the grounds that the past elusions are not an issue to be dwelled upon. Following the dash, there is a set of actions, split by a comma, which, when taken with the whole of the message, helps to denote how much work really would need to be put in for the American Dream to really be functional, as is very heavily indicated by the ellipses, as the unknown passage of time and actions helps to sow the seeds of doubt as to the statement’s veracity. The dash which leaves the sentence to trail off clinches the message of the sentence, as it emphasizes none really have a clear expectation of what their work would be rewarded with.

Diction

Fitzgerald, throughout The Great Gatsby, carefully employs diction to reinforce the tone of his novel, with diction being a strong indicator as to what exactly may be occurring, rather than the obvious description, which may leave some detail wanting. Describing Gatsby, the tone surrounding him is established as Nick notes “that he grew more correct as the fraternal hilarity increased” (50). By stating such a thing, the detached nature with which Gatsby frequents his own parties s established, and, combined with the observation that there seemed to be nothing sinister about him, allows Fitzgerald to characterize Gatsby as an enigma. As the complicated web of relationships between the characters begins to come to a head, the situation is further solidified by the usage of diction, as Tom thinks that “ His wife and his mistress, until an hour ago, secure and inviolate, were slipping precipitately from his control” (125). By describing the situation as having been not only secure, but as inviolate, Tom’s opinions are established, as Fitzgerald uses the diction to illustrate his absolute state of chaos, with what he had known as completely impervious shattering, unable to be stopped by him and essentially ruining his life and creating a tone of provocation. Following Gatsby’s death, Fitzgerald creates imagery of the neighborhood as seen by Nick, stating that “the blue smoke of brittle leaves was in the air and the wind blew the wet laundry stiff on the line [he] decided to go back home” (176). By using such words as “smoke”, and “brittle”, as well as “wet” and “stiff”, Fitzgerald wishes to convey the apparent oppressiveness that remained within the neighborhood, with things being unwilling to change, obscured behind smoke, resistant to observation. In his morose description of autumn, Fitzgerald’s primary intent is to explain that, with the death of Gatsby, the joy has left the world, with Gatsby being a representative of the American Dream, and his subtraction resulting in a cold, dank, and restrictive locale.

Rhetorical Strategies

·         Simile/figurative language: “At his lip’s touch she blossomed for him like a flower and the incarnation was complete” (111). This particular simile illustrates the expectations from the American Dream which Fitzgerald so consistently criticized, with the fleeting happiness occurring at the cost of others. Fitzgerald used quite a large number of metaphors, similes, and general figurative language, finding a comparison to be a simple way to convey a message to the reader without a misunderstanding.

·         Imagery: “Port Roosevelt, where there was a glimpse of red-belted ocean-going ships, and sped along a cobbled slum lined with the dark, undeserted saloons of the faded-gilt nineteen-hundreds” (68). Fitzgerald relies upon imagery quite a bit, as he relies upon the situations he presents to speak for themselves, as in the case of this quotation, which points out the inhabited salons alongside the industrial signs of trade and the urban signs of squalor. By doing this, he emphasizes that, despite all that may be said of hard work and what its pay-offs may be, there is still the worker, seeking a release from the poor conditions he endures while others maintain a life of luxury.

·         Repetition: “’Hot!’ said the conductor to familiar faces. ’Some weather!...Hot!...Hot!...Hot!...Is it hot enough for you? Is it hot? Is it…?’” (115). Fitzgerald makes fairly infrequent use of repetition, though this particular quote utilizes it extensively, and manages to strengthen the scenario for it. Through the usage of an excess of repetition by a worker in a scene that features the continue of the efforts to court Daisy, who is the American Dream’s outcome personified, the amount of toil needed to profit is highlighted, and the impossibility of any real progress is made a point of, as the conductor receives no response, instead coinciding with Fitzgerald’ style of critique.