Sunday, December 16, 2018

'Critical analysis of page 41-42 of the Great Gatsby\r'

'Fitzgerald describes the ‘music’ coming from Gatsby’s dramatic art which is in effect used to foreshadow the take cares of music in the caller later in the passage. He same(p)wise uses the term ‘summer nights’ which presents the reviewer with the event of a continuous society and demonstrates more clearly the sybaritic world that the rich inhabited in twenties America which is foster confirmed when Fitzgerald refers to the ‘champagne’ in the next sentence suggesting this expensive delicacy was the normality at these lavish parties.\r\nThe ‘blue gardens’ in the sideline sentence gives the indorser a vivid motion picture of the evening elucidation whilst as well victimisation the fiction to evoke a feeling of beauty regarding Gatsby’s society within the readers mind. The image of the comings and goings being ‘ desire moths’ gives the idea of the ephemerality of the upper class guests that return no real purpose or aims scarcely to drift at these parties. Fitzgerald uses the term ‘men and girls’ as opposed to referring to the ‘girls’ as women, perhaps suggesting at the immaturity of these women, so very much so that they appeared to be the likes of little girls.\r\nThe use of the word ‘whisperings’ creates a sottish feeling in the reader as it appears romanticistic and furtive yet also could refer to the gossipmongering ways of the richesy society guests. The image of ‘the stars’ induces twain a vision of peaceful night sky, which contrasts the gamy atmosphere of the party and therefore highlighting this further to the reader, but also presents an image of the affluent party guests as stars, both(prenominal) in their own rights, and some whom alone saw themselves this way.\r\nFitzgerald describes ‘his [Gatsby’s] raft’, ‘his beach’ and ‘his two-motor boats’ in the following sentence to portray the sense of wealthiness and affluence of Gatsby and this detailed visual imaginativeness enables the reader to relate with the narrator as they share in his feeling of awe at Gatsby’s affluence. The sore light imaging of the ‘sun on the thermal sand’ adds to the ongoing sense of romance in the passage, which reflects the numerous romances and aff stemmas within the book, primarily that of Gatsby and Daisy.\r\nFitzgerald effectively uses a metaphor to describe the Rolls-Royce, a relatively small car, becoming an ‘omnibus’ to further accent to the reader the massiveness of these parties and the copious sight that attended. The allegory of the station wagon scampering ‘like a diligent yellow bug’ not only makes the dyspneic object more realistic to the reader but reflects the urgency of the guests to attend these magnificent parties.\r\nThe immensity of Gatsby’s parties is further shown th rough the statement that ‘eight servants, including an pointless gardener’ had to work all of Monday to restore the manse to its former brilliance and to get rid of the later on effects of the party. The image of ‘s foreveral hundred feet of piece of paper’ being used just for Gatsby’s party once again indicates his enormous wealth and triumph and makes it more realistic to the reader by using measurements.\r\nFitzgerald uses colour imagery to describe the party viands such as ‘glistening hors-d’oeuvre’, ‘salads of mottle designs’ and ‘turkeys bewitched to a dark money’. This creates a more realistic and physical aspect to the food that makes it more vivid for the reader. The use of the ‘dark gold’ image also symbolises Gatsby’s wealth and the grandeur of the party. Fitzgerald combines the visual images of the ‘gin’, ‘liquors’ and other drinks with the sound imagery of the ‘oboes’, ‘trombones’ and other orchestra instruments in the following paragraph in order to appeal to more of the readers senses.\r\nBy using sound imagery alongside visual imagery, the party appears more realistic to the reader and they instantly cause more involved. The listed instruments depict to the reader the vastness of the orchestra, suggesting it was in competition with the ‘chatter’ and the vast amounts of party guests. During this paragraph, dent also changes tense from past to present, as he describes that ‘the bar is in full swing’.\r\nThis also makes the passage more realistic to the reader as it is more inclusive and engages the reader to feel like they are also attending this party. The use of the image of ‘Castile’ a flush Spanish town, indicates the affluence of the people at the party as their fashion was ‘beyond the dreams’ of even the most wealthy towns. Fitz gerald describes the cocktails as ‘ adrift(p) rounds’ indicating how insignificant the party guests thought of the servants, so much so that they appeared to be invisible.\r\nThis shows the shallow, snobbish nature of the wealthy Americans of the time. Personification is used effective to describe the air as ‘alive with chatter’ highlighting to the reader the enormity of the noise of the party that must take up been audible for miles around. The idea of the ‘enthusiastic meetings’ of women who ‘never knew each other’s names’ compels the reader to recall how genuine this enthusiasm was in someone they did not know or whether it was fake interest from peradventure fake and shallow women of the time.\r\nThere is further light imagery as it grows ‘brighter’ mentions of the ‘sun’ which evoke images of wealth and beauty. Fitzgerald creates both visual and sound imagery when he describes the ‘yell ow cocktail music’ in which the light imagery again indicated wealth to the reader and also creates a soft, sensual feel. The ‘opera of voices’ further highlights the noise of the party and connects both the orchestra noise and that of the guests conversations.\r\nThe groups ever-changing ‘swiftly’ gives the impression of elegance and restlessness, as people are indisposed to stay in the same place as groups ‘dissolve and form in the same clue’. Fitzgerald stresses the self obsessed, egotistical nature of the party guests when he reveals their aim; to become centre of attention which, when fulfilled, makes them ‘ raise with triumph’. The passage comes to a close with the ever recurring light imagery of the ‘constantly changing light’ perhaps symbolising not only the beauty of the scene but also the fleetingness of the people that inhabit it.\r\n'

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