✍️✍️✍️ The Great Gatsby Mood Analysis

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The Great Gatsby Mood Analysis

The Great Gatsby Mood Analysis finds Gatsby, apologizes for not seeking him The Great Gatsby Mood Analysis earlier. Suddenly, the what is physical resources is interrupted by present-day Nick. The owl-spectacles man and his even drunker companion crash a car that they have no idea how to The Great Gatsby Mood Analysis. Is The Great Gatsby Mood Analysis a way to fix the lawless, amoral, Wild East that The Great Gatsby Mood Analysis book describes, or does the replacement of God with a figure from a billboard mean that this The Great Gatsby Mood Analysis a permanent state of Dwight D. Eisenhowers Legacy All book titles have a meaning to why the book is titled that and usually the title says it all on what the novel is going to The Great Gatsby Mood Analysis about or Ebp Literature Review the author The Great Gatsby Mood Analysis mainly centered towards. Themes are also often reinforced by recurring motifs. Dead The Great Gatsby Mood Analysis trunks The Great Gatsby Mood Analysis from the The Great Gatsby Mood Analysis ground what does the illuminati do clouds of smoke obscure the view of the background.

The Problem with Adapting The Great Gatsby

They gossip about what this odd behavior means. One rumor has it that Gatsby killed someone, another that he was a German spy. Food is served, which Nick and Jordan eat at a table full of people from East Egg, who look at this insane party with condescension. They decide to find Gatsby since Nick has never actually met him. In his mansion, they end up in the library, which has ornately carved bookshelves and reams of books. A man with owl-eyed spectacles enthuses about the fact that all these books are actually real—and about the fact that Gatsby hasn't cut their pages meaning he's never read any of them. Back out in the garden, guests are now dancing, and several famous opera singers perform. Nick and Jordan sit down at a table with a man who recognizes Nick from the army.

After talking about the places in France where they were stationed during the war, the man reveals that he is Gatsby. Gatsby flashes the world's greatest and most seductive not sexually, just extremely appealingly smile at Nick and leaves to take a phone call from Chicago. Nick demands more information about Gatsby from Jordan, who said that Gatsby calls himself an Oxford man meaning, he went to the University of Oxford.

Jordan says that she doesn't believe this, and Nick lumps the info in with all the other rumors he's heard that Gatsby had killed a man, that he was Kaiser Wilhelm's nephew, that he was a German spy, etc. The orchestra strikes up the latest number one hit. Nick notices Gatsby looking over his guests with approval. Gatsby neither drinks, nor dances, nor flirts with anyone at the party. When Jordan is suddenly and mysteriously asked to speak to Gatsby alone, Nick watches a drunk guest weep and then pass out. He notices fights breaking out between other couples.

Even the group of people from East Egg are no longer on their best behavior. Despite the fact that the party is clearly over, no one wants to leave. As Nick is getting his hat to leave, Gatsby and Jordan come out of the library. Jordan tells Nick that Gatsby has just told her something amazing—but she can't reveal what. She gives Nick her number and leaves. Nick finds Gatsby, apologizes for not seeking him out earlier. Gatsby invites him to go out on his hydroplane the next day, and Nick leaves as Gatsby is summoned to a phone call from Philadelphia. Outside, the man with the owl-eyed spectacles from the library has crashed his car. An even drunker man emerges from the driver's seat of the wreck and is comically but also horrifyingly confused about what has happened.

Suddenly, the narrative is interrupted by present-day Nick. He thinks that what he's been writing is probably giving us the wrong idea. He wasn't fixated on Gatsby during that summer—this fixation has only happened since then. That summer, he spent most of his time working at his second or third-tier bond trading company, Probity Trust, and had a relationship with a coworker. He started to really like the crowded and anonymous feel of Manhattan, but also felt lonely. In the middle of the summer, Nick reconnects with Jordan Baker and they start dating.

He almost falls in love with her and discovers that under her veneer of boredom, Jordan is an incorrigible liar. She gets away with it because in the rigid upper-class code of behavior, calling a woman out as a liar would be improper. Nick suddenly remembers the story he had read about her golfing career: Jordan was accused of cheating by moving her ball to a better lie, but the witnesses later recanted and nothing was proven. When Nick complains that Jordan is a terrible driver, she answers that she relies on the other people on the road to be careful instead of her. Nick wants to take their relationship further, but reigns himself in because he hasn't fully broken off the non-engagement back home that Tom and Daisy had asked him about earlier.

So, lots of car accidents, and talk about car accidents, all in the vicinity of alcohol? Can you say foreshadowing? I believe that on the first night I went to Gatsby's house I was one of the few guests who had actually been invited. People were not invited—they went there. They got into automobiles which bore them out to Long Island and somehow they ended up at Gatsby's door. Once there they were introduced by somebody who knew Gatsby and after that they conducted themselves according to the rules of behavior associated with amusement parks.

Sometimes they came and went without having met Gatsby at all, came for the party with a simplicity of heart that was its own ticket of admission. Gatsby's parties are the epitome of anonymous, meaningless excess—so much so that people treat his house as a kind of public, or at least commercial, space rather than a private home. This is connected to the vulgarity of new money —you can't imagine Tom and Daisy throwing a party like this. Or Nick for that matter. The random and meaningless indulgence of his parties further highlights Gatsby's isolation from true friends. A stout, middle-aged man with enormous owl-eyed spectacles was sitting somewhat drunk on the edge of a great table, staring with unsteady concentration at the shelves of books.

As a matter of fact you needn't bother to ascertain. I ascertained. They're real…. I thought they'd be a nice durable cardboard. Matter of fact, they're absolutely real. Pages and—Here! Lemme show you. Taking our skepticism for granted, he rushed to the bookcases and returned with Volume One of the "Stoddard Lectures. It fooled me. This fella's a regular Belasco. It's a triumph. What thoroughness! What realism! Knew when to stop too—didn't cut the pages. But what do you want? What do you expect? Belasco was a renowned theatrical producer, so comparing Gatsby to him here is a way of describing the library as a stage set for a play—in other words, as a magnificent and convincing fake.

This sea of unread books is either yet more tremendous waste of resources, or a kind of miniature example of the fact that a person's core identity remains the same no matter how many layers of disguise are placed on top. Gatsby has the money to buy these books, but he lacks the interest, depth, time, or ambition to read and understand them , which is similar to how he regards his quest to get Daisy. He smiled understandingly—much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life.

It faced—or seemed to face—the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just so far as you wanted to be understood, believed in you as you would like to believe in yourself and assured you that it had precisely the impression of you that, at your best, you hoped to convey. Precisely at that point it vanished—and I was looking at an elegant young rough-neck, a year or two over thirty, whose elaborate formality of speech just missed being absurd. Some time before he introduced himself I'd got a strong impression that he was picking his words with care. Lots of Gatsby's appeal lies in his ability to instantly connect with the person he is speaking to , to make that person feel important and valued.

This is probably what makes him a great front man for Wolfsheim's bootlegging enterprise, and connects him with Daisy, who also has a preternaturally appealing quality— her voice. Dishonesty in a woman is a thing you never blame deeply—I was casually sorry, and then I forgot. The offhanded misogyny of this remark that Nick makes about Jordan is telling in a novel where women are generally treated as objects at worst or lesser beings at best.

Even our narrator, ostensibly a tolerant and nonjudgmental observer, here reveals a core of patriarchal assumptions that run deep. Every one suspects himself of at least one of the cardinal virtues, and this is mine: I am one of the few honest people that I have ever known. While in Christian tradition there is the concept of cardinal virtues, honesty is not one of them. So here, since the phrase "cardinal sin" is the more familiar concept, there is a small joke that Nick's honesty is actually a negative quality, a burden. Nick is telling us about his scrupulous honesty a second after he's revealed that he's been writing love letters to a girl back home every week despite wanting to end their relationship, and despite dating a girl at his office, and then dating Jordan in the meantime.

So honesty to Nick doesn't really mean what it might to most people. What does it mean to have our narrator tell us in one breath that he is honest to a fault, and that he doesn't think that most other people are honest? This sounds like a humblebrag kind of observation. Plus, this observation comes at the end of the third chapter, after we've met all the major players finally—so it's like the board has been set, and now we finallt have enough information to distrust our narrator. This is a good time to step back from the plot and the text to see how this chapter connects to the book's bigger picture.

The American dream posits that anyone, no matter their origins, can work hard and achieve upward mobility in the United States. The Great Gatsby questions this idea through the rise and fall of Jay Gatsby. From the outside, Gatsby appears to be proof of the American dream: he is a man of humble origins who accumulated vast wealth. However, Gatsby is miserable. His life is devoid of meaningful connection.

And because of his humble background, he remains an outsider in the eyes of elite society. Monetary gain is possible, Fitzgerald suggests, but class mobility is not so simple, and wealth accumulation does not guarantee a good life. Fitzgerald specifically critiques the American dream within the context of the Roaring Twenties , a time when growing affluence and changing morals led to a culture of materialism. Consequently, the characters of The Great Gatsby equate the American dream with material goods, despite the fact that the original idea did not have such an explicitly materialistic intent. The novel suggests that rampant consumerism and the desire to consume has corroded the American social landscape and corrupted one of the country's foundational ideas.

Share Flipboard Email. Table of Contents Expand. Wealth, Class, and Society. Love and Romance. The Loss of Idealism. The Failure of the American Dream. The Great Gatsby Study Guide. Amanda Prahl. Assistant Editor. Amanda Prahl is a playwright, lyricist, freelance writer, and university instructor. Facebook Facebook Twitter Twitter. Updated January 14, Cite this Article Format. Prahl, Amanda. The Great Gatsby and the Lost Generation. What is the role of women in 'The Great Gatsby'?

Scott Fitzgerald. Biography of F. Scott Fitzgerald, Writer of the Jazz Age.

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