Nick Likes Dick: Color Symbolism
Through vibrant color depictions, F. Scott Fitzgerald illustrates the lavish scenes in Gatsby’s mansion, even going so far as to include symbolic undertones of romantic tension between Jay Gatsby and Nick Carraway. Fitzgerald first introduces color in chapter three with the description of “blue gardens [where] men and girls came and went.” It should be noted that males are written as full-grown men and females are written as solely pubescent girls; this has large connotations of fertility, meaning that the “blue gardens” would represent blue balls—the ability to produce, but not release sexual (and masculine) yearning. In fact, the color blue is again referenced through the suit color (“robin’s egg blue”) of the butler who visits Nick to invite him to Gatsby’s “little party.” Once more in chapter three, blue is referenced in the anecdote of the torn gown, the same story that enchants Nick on what type of person Gatsby is. By harnessing the power of blue—that which represents loyalty and truth—into the instances where Nick is rendered content by Gatsby’s charm, Fitzgerald makes it clear that the relationship between these two men is one of surreptitious adulation. Midway through chapter three, however, there is a stark contrast of color references. No longer is blue a part of the devilish details; rather, yellow and gold is the main show. At first, yellow may represent the dresses of the vapid party goers who gossip about Gatsby’s unknown past and repulse Nick. But as the party progresses, yellow comes to symbolize the golden hue of Jordan Baker’s arms—the pawn of romance that Nick takes on as he realizes he has an increasing sense of “loneliness.” Thus, yellow becomes deceit: Nick’s desperate way of fooling himself that he is not infatuated with Gatsby and instead likes Jordan. Furthermore, Nick and Gatsby’s heart-to-heart is done inside Gatsby’s stylish car, on the “green leather” upholstery; green especially symbolizes male dominance and basic needs. This can be interpreted as the basic needs to have a lover, another person who can hold Nick to the high esteem and tenderness he has been searching for. Alas, the exchange between Nick and Gatsby, much like the cream exterior of the car, ends innocently. They both maintain a pure relationship untarnished by carnal desires, for the time being. Through color symbolism, Fitzgerald creates an arc for the subtle feelings between Nick and Gatsby, thereby deepening the relationship for the reader and characterizing each man as somewhat queer. Sexuality is a spectrum, much like the color wheel, and it is one that Fitzgerald will continue to explore.
This is such an interesting take on this. The entire piece was incredible, although it may not be necessarily true, it is extremely intriguing and your embedments support your perception of Nick Carraway and "Gay" Gatsby being queer. Your vocabulary is also impeccable but I didn't expect any less from you. Excellent job!
Fitzgerald reinforces Gatsby’s mysterious background by providing Nick with answers which he does not believe. Gatsby, being aware of the rumors of his past, tells Nick that he “[doesn’t] want [him] to get the wrong idea”. This makes it seem as though Gatsby is offering answers but the way in which he reveals these answers suggests he might be lying. “He looked at [Nick] sideways” as he told him about his wealthy parents, making him look shady and very untrustworthy. When speaking of his education in Oxford Gatsby “hurried the phrase… Or swallowed it or choked on it's though it had bothered him before.” The way Gatsby dictates the history of his education makes it seem memorized and rehearsed to the point of it being robotic and untrustworthy to Nick.
F. Scott Fitzgerald’s classic, The_Great_Gatsby, implements polysyndeton to amplify Gatsby’s luxurious life. The narrator, Nick, describes Gatsby’s orchestra with “oboes and trombones and saxophones and viols and cornets and piccolos and low and high drums” by repeatedly utilizing the word “and.” As a result, the storyteller illustrates the party’s opulence and Gatsby’s way of existence. Not only is this lifestyle reflected during times of festivity, but also during his daily life. When Nick lists Gatsby’s visitors throughout the summer, he includes “the Chester Beckers and the Leeches and a man named Bunsen…and the Ismays and the Chrysties and Edgar Beaver,” and so on. While incorporating this grand list of guests, Fitzgerald establishes Gatsby’s popularity amongst the wealthy individuals. As the word “and” is used frequently, this literary tool takes the reader’s breath way, just as Gatsby’s life takes Nick’s breath away.
I really like how you linked this Peel very insightful. I feel like the quotes could be shortened a bit. But overall, very good in my opinion.
In /The Great Gatsby/, Fitzgerald employs a shift in color to clearly establish a change in atmosphere from one of ambiguity to one of clarity. Before Gatsby reveals the truths of his past, all that is associated with him is in blue, including his chauffeur's "robin's-egg blue" uniform and provision of a "gas blue" evening gown for Lucille. This color, reserved only for Gatsby, is indicative of the mystery that shrouds him. Contrastingly, on the day of Gatsby's confessions, the truth comes to light, as do the colors of the world. Nick's surroundings become painted in a golden palette, with Gatsby in "a rich cream-color[ed]" car and wearing a "caramel-colored suit" during his grand reveal. The brightness of the newly introduced color scheme indicates the more transparent aura surrounding Gatsby, whose rumors melt in the light of "summer." In doing this, the author enlightens both Nick and readers by demonstrating that a mysterious person is genuinely simply human in the end.
In the commencement of chapter 3, Nick conveys his curiosity and respect towards Jay Gatsby. Through his luxurious portrayal, Fitzgerald paint the image of the man with "tanned skin...and..trimmed" short hair, along with a "rare [smile] of eternal reassurance". Gatsby is portrayed as, albeit a mysterious figure, venerable and worthy of trust. Nick's perception of the ostentatious "Oxford man" ultimately shifts as he begins to believe there is "something...sinister about him". In doing so, the author shatters a layer of the illusion surrounding the object of the narrator's intrigue. Whilst observing the familiar interactions between the allegedly honorable Gatsby and the vulgar "Mr.Wolfsheim", from the point of view of Nick, the reader is allowed to catch glimpse of the darker side of the two-sided coin called Jay Gatsby.
F. Scott Fitzgerald downplays the term "little" to build an ironic view of the environment that is novice to Nick. In the beginning of chapter three, the narrator portrays the party as being"little" in which the guests were "a little hungry", therefore degrading both the reputation and self-image of the high class citizens residing in West Egg. The author depicts this society to present the differences in lifestyle, comparing Gatsby's as an ostentatious one, meanwhile Nick is a casual observer. As he shifts from an outsider, to a guest, he reveals these glamorous parties are truly grand, easy to stereotype that opulent atmosphere. In doing so, Scott accomplishes a sense of inferiority towards a surreptitious gentlemen whom is the holder of all the festivities which dazzles Nick, making him speechless but critical.
In chapter 3 of The Great Gatsby by F. Scott Fitzgerald, the author exhibits the social hierarchy between the East egg and the West egg by juxtaposing the two extremities of the “old rich” and “new rich.” When comparing both of the eggs, Nick characterizes the East egg as “old money” where money has been inherited from past generations and wealth has been portrayed as an ostentatious act. For instance, Tom and Daisy live in the East Egg as old money, meaning that they obtained their money from family. Old money doesn’t have to work for their money as hard as new money. By presenting the social differences between the two eggs Fitzgerald develops the novel’s theme of society and class. Those who live in the West Egg, like Gatsby, are those who have made their money by themselves. They were not born into wealth. The West Egg people are not as refined or polished as the people from the East Egg. Gatsby being New money makes him an outcast despite his success in wealth. Through this idea, Fitzgerald is able to create the sense of speculation of both the people that are included in the lavish parties as well as the readers, that Gatsby is indeed suspicious of where he got his money from. With the mention of Gatsby being an Oxford man, Miss Baker simply states, “However, I don’t believe it…I just don’t think he went there.” Similarly, to Miss Baker, others do not believe he went to such a prestigious school as it would seem impossible for him to pay for such an expensive school during his school days as he is new money. Others believe he have gained his wealth through illegal sells or killing people. Furthermore, the rise of suspicion is once again portrayed when Gatsby “hurried the phrase, ‘educated at Oxford’. The author compares both eggs to add credibility and diminish any biased story telling as well as a sense of doubt going on between Gatsby and the two societies, making readers waver over who is actually telling all the truth.
With intense infatuation towards colors, F. Scott Fitzgerald enriches the mood for visual interpretation. Through the constant repetition of "grey" when describing the "valley of ashes," the author portrays a picture of absolute desolation and poverty. Similarly, Fitzgerald continues darkening the mood by describing Myrtle, a resident of the "valley of ashes" as "[containing] no facet or gleam of beauty." Through this hued connection, the author is able to establish the moral decay evident throughout the wasteland.
The Great Gatsby
F. Scott Fitzgerald purposefully displays Jay Gatsby’s wealth to reveal his internal, hollow heart. The author initiates by explaining that after thousands of people that attend Gatsby’s parties, ultimately only “servants” stay with him. This demonstrates that no one considers him, unless if it is for fortune. Additionally, it also displays that no one would assist him to clean his mess, and that they would only be present in time of prosperity. Furthemore, Gatsby uses his “bearing parties” to fill his solitude and see jubilation in others, while he scrutinizes them enjoying the celebration. In addition, Jay has hundreds of real “books,” yet none of them have been read. This symbolizes his lack of education and his need to fill that gap in order to display a respectful image. Moreover, Gatsby represents the perfect man; he is attractive, young, and prosperous. Nonetheless, he has no love, no affection, which supports the idea of his void and reveals that money cannot ultimately buy everything. Conclusively, the author accomplishes to demonstrate that money is not the source of content and fulfillment.
F. Scott Fitzgerald heightens the anonymity of Jay Gatsby to compel readers and guests into pursuing his true identity. By repeatedly utilizing the phrase “and the man... and...,” Fitzgerald emphasizes the plethora of attendants at Gatsby’s parties. Despite the vast amount of guests, none of them are familiar with the host’s identity. Fitzgerald thereby entices both readers and guests in attending the party of a mysterious phantom. Furthermore, the author describes a party goer as “so drunk” that he went to the “penintiary” which in turn describes many of the attendants lack of sobriety at these parties. Gatsby provides drinks at a time when alcoholic beverages were banned, and this further bolsters his status as a fierce and mysterious figure that attracts characters and readers alike. Throughout these chapters Fitzgerald’s makes it a theme in the novel to create a sense of curiosity as to who Jay Gatsby truly is, he ensures that the guests remain intrigued by a series of events that add on to the host’s perplexing persona.
In /The Great Gatsby/, F. Scott Fitzgerald alludes to Gatsby’s Mansion as “a colossal affair by any standard” that represents the grandness and emptiness of the roaring twenties. In fact, Gatsby justifies living alone by stuffing his house with “celebrated people” every week. This allows to fill the empty void in his heart which compels the reader to feel empathy for Gatsby. In addition, Gatsby’s mansion also serves as a physical symbol of his adoration for Daisy. The “old money” houses that had taken away Daisy from her “Old Sport” were rivaled when he used his “new money” to develop his estate. By showing his supremacy over Tom’s “old money”, Gatsby intends to win his beloved over. In essence, Fitzgerald presents Gatsby’s manor as a symbol of void in a world that is overpopulated and “celebrated.”
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