Both are given below. Protagonist Nick Carraway, the proper young man with roots in the Midwest, is the narrator of the story and the protagonist of his own plot, which forms the frame narrative of the novel. He tries to escape his limited, small town experience in the Midwest and to find himself in New York. Although he tries to run away from his Midwestern heritage, he cannot escape it.
It implies the tension involved when Fitzgerald sets things in opposition such that the reader can, on one hand, sensually experience the event about which Fitzgerald is writing, becoming emotionally immersed in it, and yet at the same time retain the objectivity to stand back and intellectually criticize it.
The foundation of double vision is polarity, the setting of extremes against each other; the result in a novel is dramatic tension. Anthony Patch in The Beautiful and Damned has a multimillionaire grandfather, a beautiful wife, and youth.
Jay Gatsby in The Great Gatsby possesses power, newly made money, and good looks. Finally, Dick Diver in Tender Is the Night has a medical degree, an overabundance of charm, and a wealthy wife. The common denominators here are the subjects with which Fitzgerald deals in all of his novels: Set against these subjects are their polar opposites: Such conflict and resulting tension is the stuff of which all fiction is made.
Daisy, for example, so enchants Gatsby and the reader who identifies with him that only in retrospect if at all or through the detached observer, Nick, does it become clear that she and the other careless, moneyed people in the novel are villains of the highest order. A block above the average, indeed.
Paul lived James J. Early, then, Fitzgerald, a child with sensitivity, intelligence, and good looks—qualities possessed by most of his heroes and heroines—was impressed with the importance of money, at least with the lifestyle of the moneyed class.
In addition, he watched his father, an idealist unable to compete in a materialistic world, defeated. With this kind of early life, Fitzgerald was prepared, or more accurately left totally unprepared, for the series of events in his life that formed the basis of much of his later fiction.
Two of these stand out: Then we learn our trade, well or less well, and we tell our two or three stories—each time in a new disguise—maybe ten times, maybe a hundred, as long as people will listen.
This double vision matured as he gained objectivity toward his material. With these cornerstones, Fitzgerald constructed a set of novels that document the development of one of the most complex and fascinating literary personalities of modern times, which chronicle a time of unparalleled frivolity and subsequent national despondency in America, and that speak with authenticity about an international wasteland almost beyond reclaiming.
His mother, whom Amory quaintly calls by her first name, Beatrice, and whom he relates to as a peer, instills in Amory an egotism almost unbearable to his own peers as well as to the reader and a respect for wealth and social position.
These qualities make Amory an object of ridicule when he goes away to an eastern boarding school. His years at St. After learning from these individuals, Amory either leaves or is left by them. From Clara, a cousin whose beauty and intelligence he admires, he learns that he follows his imagination too freely; he learns from his affair with Rosalind, who almost marries him but refuses because Amory lacks the money to support her, that money determines the direction of love.
Through Monsignor Darcy, he learns that the Church of Rome is too confining for him; and from half a dozen of his classmates at Princeton, he discovers the restlessness and rebelliousness that lead him to reject all that he had been brought up to believe, reaching out toward socialism as one of the few gods he has not tried.
Readers may wonder how Amory, whose path has zigzagged through many experiences, none of which has brought him closely in contact with socialism, has arrived at a point of almost evangelical, anticapitalistic zeal.
It is worth noting, however, that, in addition to its interest to literary historians as an example of the Bildungsroman, This Side of Paradise also has value to social historians as an enlightening account of jazz age manners and morals.
He tried hard to catch the color of every passing year, its distinctive slang, its dance steps, its songs. I took the book to bed with me, and I still do, which is more than I can say of any girl I knew in In it are contained early versions in rough form of most of the novels that Fitzgerald later wrote.
Even in the characterization of Amory, who is born moneyed and aristocratic, Fitzgerald seems to be creating his ideal conception of himself, much the way Gatsby later springs from his own platonic conception of himself.
With his subject matter, his themes, and his distinctive stamp already formed, Fitzgerald needed only to find a point of view by which he could distance himself, more than he had through Amory, from his material. He had yet, as T. Written in the third person, it shows Fitzgerald dealing in a more objective fashion with biographical material that was close to him, in this instance the early married life of the Fitzgeralds.
In spite of the differences between the two novels, however, particularly in narrative perspective, it is clear that the characters and subjects in The Beautiful and Damned are logical extensions, more objectively rendered, of those introduced in This Side of Paradise, making the former a sequel, in a sense, to the latter.
Add to Amory a heritage that links him to Anthony Comstock, a mother and father who died in his youth, a multimillionaire grandfather, and half a dozen years, and the result is a reasonable facsimile of Patch.“The test of a first-rate intelligence,” Fitzgerald remarked during the late ’s, “is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.” At his best—in The Great Gatsby, in parts of Tender Is the Night, in the unfinished The Last Tycoon, and in.
Jay Gatsby’s plot: Protagonist. Jay Gatsby, the symbol of new money, is the protagonist of a second plot that is totally interwoven into Nick’s plot. His gauche behavior and extravagant display of wealth is somewhat purified by his dream of being able to have Daisy Buchanan.
Feb 17, · Aja Washington Professor John Hall English 21 June Exploring “’The Great Gatsby by F. Scott Fitzgerald’” The novel, The Great Gatsby, by F. Scott Fitzgerald argues that the novel is a perfect example of the "great American love story", but that is a negative.
The main conflict in The Great Gatsbyis a simple and ancient one. Two males are fighting over one female. Gatsby is the protagonist because he is the one who initiates the conflict. Tom Buchanan. The Great Gatsby is a novel written by American author F. Scott Fitzgerald that follows a cast of characters living in the fictional towns of West Egg and East Egg .
According to Scott Donaldson, in “The Life of F. Scott Fitzgerald” (), The Great Gatsby was first published in and the reviews Fitzgerald received were the .