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The Great Gatsby

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Welcome to the LitCharts study guide on F. Scott Fitzgerald's The Great Gatsby . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

The Great Gatsby: Introduction

The great gatsby: plot summary, the great gatsby: detailed summary & analysis, the great gatsby: themes, the great gatsby: quotes, the great gatsby: characters, the great gatsby: symbols, the great gatsby: literary devices, the great gatsby: quizzes, the great gatsby: theme wheel, brief biography of f. scott fitzgerald.

Historical Context of The Great Gatsby

Other books related to the great gatsby.

• Full Title: The Great Gatsby
• Where Written: Paris and the US, in 1924
• When Published: 1925
• Literary Period: Modernism
• Genre: Novel
• Setting: Long Island, Queens, and Manhattan, New York in the summer of 1922
• Climax: The showdown between Gatsby and Tom over Daisy
• Point of View: First person

Extra Credit for The Great Gatsby

Puttin' on the Fitz. Fitzgerald spent most of his adult life in debt, often relying on loans from his publisher, and even his editor, Maxwell Perkins, in order to pay the bills. The money he made from his novels could not support the high-flying cosmopolitan life his wife desired, so Fitzgerald turned to more lucrative short story writing for magazines like Esquire. Fitzgerald spent his final three years writing screenplays in Hollywood.

Another Failed Screenwriter. Fitzgerald was an alcoholic and his wife Zelda suffered from serious mental illness. In the final years of their marriage as their debts piled up, Zelda stayed in a series of mental institutions on the East coast while Fitzgerald tried, and largely failed, to make money writing movie scripts in Hollywood.

A Summary and Analysis of F. Scott Fitzgerald’s The Great Gatsby

By Dr Oliver Tearle (Loughborough University)

The Great Gatsby is the quintessential Jazz Age novel, capturing a mood and a moment in American history in the 1920s, after the end of the First World War. Rather surprisingly, The Great Gatsby sold no more than 25,000 copies in F. Scott Fitzgerald’s lifetime. It has now sold over 25 million copies.

If Fitzgerald had stuck with one of the numerous working titles he considered for the novel, it might have been published as Trimalchio in West Egg (a nod to a comic novel from ancient Rome about a wealthy man who throws lavish parties), Under the Red, White and Blue , or even The High-Bouncing Lover (yes, really).

How did this novel come to be so widely acclaimed and studied, and what does it all mean? Before we proceed to an analysis of Fitzgerald’s novel, here’s a quick summary of the plot.

The Great Gatsby : plot summary

Nick Carraway, the narrator of the novel, is a young man who has come to New York to work on the stock exchange. He lives on the island of West Egg, where his neighbour is the wealthy Jay Gatsby, who owns a mansion.

One evening, Nick is dining with his neighbours from East Egg, Tom and Daisy Buchanan. Tom is having an affair, and goes to answer the phone at one point; Daisy follows him out of the room, and their fellow guest, a woman named Jordan Baker, explains to Nick about Tom’s mistress.

A short while after this, Nick is with Tom when Tom sets up a meeting with his mistress, Myrtle, the wife of a garage mechanic named Wilson. Nick attends a party with Tom and Myrtle; Tom hits his mistress when she mentions Daisy’s name.

In the summer, Gatsby throws a number of lavish parties at his mansion. He meets Jordan Baker again and the two are drawn to each other. Nobody seems to know the real Gatsby, or to be able to offer much reliable information about his identity. Who is he?

Gatsby befriends Nick and drives him to New York. Gatsby explains that he wants Nick to do him a favour: Jordan Baker tells him that Daisy was Gatsby’s first love and he is still in love with her: it’s the whole reason Gatsby moved to West Egg, so he could be near Daisy, even though she’s married to Tom. Gatsby wants Nick to invite both him and Daisy round for tea.

When they have tea together, Gatsby feels hopeful that he can recover his past life with Daisy before she was married. However, he knows that Daisy is unlikely to leave Tom for him. When she expresses a dislike for his noisy parties, he scales down his serving staff at his house and tones down the partying.

When they are all at lunch together, Tom realises that Daisy still loves Gatsby. Tom goads Gatsby as he realises he’s losing his mistress and, now, his wife. While staying together in a suite at the Plaza Hotel, Daisy tells Tom that she loves both men.

On their way back home, Gatsby’s car accidentally hits and kills Myrtle Wilson, Tom’s mistress, who has rushed out into the road after her husband found out about her affair. Tom finds her body and is distraught. Nick learns that Daisy, not Gatsby, was driving the car when Myrtle was killed.

Gatsby also tells Nick that he had built himself up from nothing: he was a poor man named James Gatz who made himself rich through the help of a corrupt millionaire named Dan Cody.

The next day, Nick finds Gatsby dead in his own swimming pool: Wilson, after his wife was killed by Gatsby’s car, turned up at Gatsby’s mansion to exact his revenge. Wilson’s body is nearby in the grass. The novel ends with Nick winding up Gatsby’s affairs and estate, before learning that Tom told Wilson where he could find Gatsby so he could take revenge.

The Great Gatsby : analysis

The Great Gatsby is the best-known novel of the Jazz Age, that period in American history that had its heyday in the 1920s. Parties, bootleg cocktails (it’s worth remembering that alcohol was illegal in the US at this time, under Prohibition between 1920 and 1933), and jazz music (of course) all characterised a time when Americans were gradually recovering from the First World War and the Spanish flu pandemic (1918-20).

One reason The Great Gatsby continues to invite close analysis is the clever way Fitzgerald casts his novel as neither out-and-out criticism of Jazz Age ‘values’ nor as an unequivocal endorsement of them. Gatsby’s parties may be a mere front, a way of coping with Daisy’s previous rejection of him and of trying to win her back, but Fitzgerald – and his sympathetic narrator, Nick Carraway – do not ridicule Gatsby’s behaviour as wholly shallow or vacuous.

Fitzgerald’s choice to have a first-person narrator, rather than a more detached and impersonal ‘omniscient’ third-person narrator, is also significant. Nick Carraway is closer to Gatsby than an impersonal narrator would be, yet the fact that Nick narrates Gatsby’s story, rather than Gatsby telling his own story, nevertheless provides Nick with some detachment, as well as a degree of innocence and ignorance over Gatsby’s identity and past.

Nick Carraway is both part of Gatsby’s world and yet also, at the same time, an observer from the side-lines, someone who is not rich and extravagant as many in Gatsby’s circle are, yet someone who is ushered into that world by an enthusiastic Jay Gatsby, who sees in Carraway a man in whom he can confide.

Nevertheless, Fitzgerald deftly sets the world of West Egg, with Gatsby’s mock-chateau and swimming pool, against the rather grittier and grimier reality for most Americans at the time. If Gatsby himself symbolises the American dream – he has made himself a success, absurdly wealthy with a huge house and a whole retinue of servants, having started out in poverty – then there are plenty of reminders in The Great Gatsby that ‘the American dream’ remains just that, a dream, for the majority of Americans:

About half way between West Egg and New York the motor-road hastily joins the railroad and runs beside it for a quarter of a mile, so as to shrink away from a certain desolate area of land. This is a valley of ashes – a fantastic farm where ashes grow like wheat into ridges and hills and grotesque gardens where ashes take the forms of houses and chimneys and rising smoke and finally, with a transcendent effort, of men who move dimly and already crumbling through the powdery air.

This is the grey, bleak, industrial reality for millions of Americans: not for them is the world of parties, quasi-enchanted gardens full of cocktails and exotic foods, hydroplanes, and expensive motorcars.

Yet the two worlds are destined to meet on a personal level: the Valley of Ashes (believed to be modelled on Corona dump in Queens, New York, and inspired by T. S. Eliot’s The Waste Land ) is where Wilson’s garage is located. The dual tragedy of Gatsby’s and Wilson’s deaths at the end of the novel symbolises the meeting of these two worlds.

The fact that Gatsby is innocent of the two crimes or sins which motivate Wilson – his wife’s adultery with Tom and Daisy’s killing of Myrtle with Gatsby’s car – hardly matters: it shows the subtle interconnectedness of these people’s lives, despite their socioeconomic differences.

What’s more, as Ian Ousby notes in his Introduction to Fifty American Novels (Reader’s Guides) , there is more than a touch of vulgarity about Gatsby’s lifestyle: his house is a poor imitation of a genuine French chateau, but he is no aristocrat; his car is ‘ridiculous’; and his very nickname, ‘the Great Gatsby’, makes him sound like a circus entertainer (perhaps a magician above all else, which is apt given the magical and enchanted way Carraway describes the atmosphere and detail at Gatsby’s parties).

And ultimately, Gatsby’s lavish lifestyle fails to deliver happiness to him, too: he doesn’t manage to win Daisy back to him, so at the same time Fitzgerald is not holding up Gatsby’s ‘success’ uncritically to us.

Is Gatsby black? Although he is known for having been played in film adaptations by Robert Redford and Leonardo DiCaprio, and the novel does not state that Gatsby is an African American, the scholar Carlyle V. Thompson has suggested that certain clues or codes in the novel strongly hint at Gatsby being a black American who has had to make his own way in the world, rising from a poor socio-economic background, and not fully accepted by other people in his social circle because of racial discrimination.

Whether we accept or reject this theory, it is an intriguing idea that, although Fitzgerald does not support this theory in the novel, that may have been deliberate: to conceal Gatsby’s blackness but, as it were, hide it in plain sight.

In the last analysis, The Great Gatsby sums up the Jazz Age, but through offering a tragedy, Fitzgerald shows that the American dream is founded on ashes – both the industrial dirt and toil of millions of Americans for whom the dream will never materialise, and the ashes of dead love affairs which Gatsby, for all of his quasi-magical properties, will never bring fully back to life.

10 thoughts on “A Summary and Analysis of F. Scott Fitzgerald’s The Great Gatsby”

I regret the several hours wasted in slogging through this low-prole distraction.

You might want to start with something like Dick and Jane.

One of my favorite novels. I have always loved this book. No matter how may times I read it, more is revealed.

The Great Gatsby is one of my favorite novels. Thank you for the detailed analysis! I can also add that Fitzgerald includes lots of symbols in the novel. To my mind, one of the most vivid symbols is a giant billboard with the face of Doctor TJ Eckleburg which is towering over the Valley of Ashes. These eyes are watching the dismal grey scene of poverty and decay. I guess the billboard symbolizes the eyes of God staring at the Americans and judging them. In case seomeone is interested in symbols in The Great Gatsby, there is a nice article about it. Here: https://custom-writing.org/blog/symbols-in-the-great-gatsby

While I could imagine and accept a modern film version of Gatsby as black, I really can’t espouse the notion that Fitzgerald had that in mind. If you know anything about American society in the 1920s, you’d know that you didn’t have to be black or of some other minority to be outside the winner’s circle. US society may still have tons of problems accepting that all people are created equal, but back then, they weren’t even thinking about blacks et al very much. They were quite happy to ostracize Italians, Irish, Catholics, etc, without batting an eye.

This is such a widely misunderstood book, by scholars as well as regulars.

Daisy was the victim of love. She would’ve married Jay while he was in the army. Also, Jay’s so-called symbolic “reaching” is nothing more than him trying to understand self love, to attain it, to unravel the “mystery! ” of it. But he never realizes he’s totally in love with himself, which is his biggest issue other than preying on Daisy’s real love.

And Nick ” Carraway” …. Care-a-way, care-a-way… What self-appointed moral man witnesses nakedly two married plotters sceam against a neighbor they like, or any person in serious need of legal, emotion aid, AND DOES NOTHING. Yeah, care a way, Nick, just not your way! And Come On!! who the hell doesn’t judge others….that’s the ENTIRE POINT OF EVERY BOOK AND LIFE.

WHAT preyed on Gatsby preys upon every person everywhere. Influences of life and choices we make because if them. Gatsby’s such an interesting, centralized , beloved character because he represents everyone’s apparent embracement of the childhood notion, ” we can have it all and make our own consequences, and if not, let’s see if I can manipulate time successfully. Gatsby’s us the full human demonstration of self love at all costs and quite deliberately finding a way disguise and masquerade and mutate and thus deny this very fact while simultaneously trying to make it MAGICAL AND MYSTICAL.

ARTISTS, from geniuses to so-called laypeople, are all simple people with very basic emotions. That’s where ALL starts. They are not Gods, nor do they desire misunderstanding. Frankly, they just wanna see if you have any common sense. Once you get passed that, all literature resembles EVERY aspect of life.

A terrific novel and not bad adaptation as a movie by DiCaprio, I thought! While some of the comments on here are a little excessive, there is much to be said for the symbolism in the book. I rather like the fact that ‘West Egg’ and ‘East Egg’ surely hints at questioning who is the ‘good egg’ and who is ‘the bad egg’. The place names are so unusual that this must be deliberate (‘bad egg’ has been around since at least 1855) and we’re left to wonder just what is good and bad here. No character comes out smelling of roses in this story, which – for me – makes the novel utterly compelling.

Well said, Ken. It’s the subtlety of the characterisation which makes it for me – I know a lot of critics and readers praise the prose style, but I think it’s the way Fitzgerald uses Carraway’s narration to reveal the multifaceted (and complex) nature of Gatsby, Daisy, Tom, and even himself that is so masterly. I’ve just finished analysing the opening paragraphs of the novel and will post that up soon!

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Book Guides

Maybe you've just finished The Great Gatsby and need some guidance for unpacking its complex themes and symbols. Or maybe it's been awhile since you last read this novel, so you need a refresher on its plot and characters. Or maybe you're in the middle of reading it and want to double check that you're not missing the important stuff. Whatever you need - we've got you covered with this comprehensive summary of one of the great American novels of all time!

Not only does this complete The Great Gatsby summary provide a detailed synopsis of the plot, but it'll also give you: capsule descriptions for the book's major characters, short explanations of most important themes, as well as links to in-depth articles about these and other topics.

(Image: Molasz / Wikimedia Commons)

Quick Note on Our Citations

Our citation format in this guide is (chapter.paragraph). We're using this system since there are many editions of Gatsby, so using page numbers would only work for students with our copy of the book. To find a quotation we cite via chapter and paragraph in your book, you can either eyeball it (Paragraph 1-50: beginning of chapter; 50-100: middle of chapter; 100-on: end of chapter), or use the search function if you're using an online or eReader version of the text.

The Great Gatsby Summary: The Full Plot

Our narrator, Nick Carraway, moves to the East Coast to work as a bond trader in Manhattan. He rents a small house in West Egg, a nouveau riche town in Long Island. In East Egg, the next town over, where old money people live, Nick reconnects with his cousin Daisy Buchanan, her husband Tom, and meets their friend Jordan Baker.

Tom takes Nick to meet his mistress, Myrtle Wilson. Myrtle is married to George Wilson, who runs a gas station in a gross and dirty neighborhood in Queens. Tom, Nick, and Myrtle go to Manhattan, where she hosts a small party that ends with Tom punching her in the face.

Nick meets his next-door neighbor, Jay Gatsby, a very rich man who lives in a giant mansion and throws wildly extravagant parties every weekend, and who is a mysterious person no one knows much about.

Gatsby takes Nick to lunch and introduces him to his business partner - a gangster named Meyer Wolfshiem.

Nick starts a relationship with Jordan. Through her, Nick finds out that Gatsby and Daisy were in love five years ago, and that Gatsby would like to see her again.

Nick arranges for Daisy to come over to his house so that Gatsby can "accidentally" drop by. Daisy and Gatsby start having an affair.

Tom and Daisy come to one of Gatsby's parties. Daisy is disgusted by the ostentatiously vulgar display of wealth, and Tom immediately sees that Gatsby's money most likely comes from crime.

We learn that Gatsby was born into a poor farming family as James Gatz. He has always been extremely ambitious, creating the Jay Gatsby persona as a way of transforming himself into a successful self-made man—the ideal of the American Dream.

Nick, Gatsby, Daisy, Tom, and Jordan get together for lunch. At this lunch, Daisy and Gatsby are planning to tell Tom that she is leaving him. Gatsby suddenly feels uncomfortable doing this in Tom's house, and Daisy suggests going to Manhattan instead.

In Manhattan, the five of them get a suite at the Plaza Hotel where many secrets come out. Gatsby reveals that Daisy is in love with him. Tom in turn reveals that Gatsby is a bootlegger, and is probably engaged in other criminal activities as well. Gatsby demands that Daisy renounce Tom entirely, and say that she has never loved him. Daisy can't bring herself to say this because it isn't true, crushing Gatsby's dream and obsession. It's clear that their relationship is over and that Daisy has chosen to stay with Tom.

That evening, Daisy and Gatsby drive home in his car, with Daisy behind the wheel. When they drive by the Wilson gas station, Myrtle runs out to the car because she thinks it's Tom driving by. Daisy hits and kills her, driving off without stopping.

Nick, Jordan, and Tom investigate the accident. Tom tells George Wilson that the car that struck Myrtle belongs to Gatsby, and George decides that Gatsby must also be Myrtle's lover.

That night, Gatsby decides to take the blame for the accident. He is still waiting for Daisy to change her mind and come back to him, but she and Tom skip town the next day. Nick breaks up with Jordan because she is completely unconcerned about Myrtle's death.

Gatsby tells Nick some more of his story. As an officer in the army, he met and fell in love with Daisy, but after a month had to ship out to fight in WWI. Two years later, before he could get home, she married Tom. Gatsby has been obsessed with getting Daisy back since he shipped out to fight five years earlier.

The next day, George Wilson shoots and kills Gatsby, and then himself.

The police leave the Buchanans and Myrtle's affair out of the report on the murder-suicide.

Nick tries to find people to come to Gatsby's funeral, but everyone who pretended to be Gatsby's friend and came to his parties now refuses to come. Even Gatsby's partner Wolfshiem doesn't want to go to the funeral. Wolfshiem explains that he first gave Gatsby a job after WWI and that they have been partners in many illegal activities together.

Gatsby's father comes to the funeral from Minnesota. He shows Nick a self-improvement plan that Gatsby had written for himself as a boy.

Disillusioned with his time on the East coast, Nick decides to return to his home in the Midwest.

Other Ways to Study the Plot of The Great Gatsby

See what happens when in actual chronological order and without flashbacks in our Great Gatsby timeline .

Read our individual The Great Gatsby chapter summaries for more in-depth details about plot, important quotes and character beats, and how the novel's major themes get reflected:

Learn the significance behind the novel's title , its beginning , and its ending .

List of the Major Characters in The Great Gatsby

Click on each character's name to read an in-depth article analyzing their place in the novel.

Nick Carraway —our narrator, but not the book's main character. Coming East from the Midwest to learn the bond business, Nick is horrified by the materialism and superficiality he finds in Manhattan and Long Island. He ends up admiring Gatsby as a hopeful dreamer and despising the rest of the people he encounters.

Jay Gatsby —a self-made man who is driven by his love for, and obsession with, Daisy Buchanan. Born a poor farmer, Gatsby becomes materially successful through crime and spends the novel trying to recreate the perfect love he and Daisy had five years before. When she cannot renounce her marriage, Gatsby's dream is crushed.

Daisy Buchanan —a very rich young woman who is trapped in a dysfunctional marriage and oppressed by her meaningless life. Daisy has an affair with Gatsby, but is ultimately unwilling to say that she has been as obsessed with him as he has with her, and goes back to her unsatisfying, but also less demanding, relationship with her husband, Tom.

Tom Buchanan —Daisy's very rich, adulterous, bullying, racist husband. Tom is having a physically abusive affair with Myrtle Wilson. He investigates Gatsby and reveals some measure of his criminal involvement, demonstrating to Daisy that Gatsby isn't someone she should run off with. After Daisy runs over Myrtle Wilson, Tom makes up with Daisy and they skip town together.

Jordan Baker —a professional golfer who has a relationship with Nick. At first, Jordan is attractive because of her jaded, cynical attitude, but then Nick slowly sees that her inveterate lying and her complete lack of concern for other people are deal breakers.

Myrtle Wilson —the somewhat vulgar wife of a car mechanic who is unhappy in her marriage. Myrtle is having an affair with Tom, whom she likes for his rugged and brutal masculinity and for his money. Daisy runs Myrtle over, killing her in a gruesome and shocking way.

George Wilson —Myrtle's browbeaten, weak, and working class husband. George is enraged when he finds out about Myrtle's affair, and then that rage is transformed into unhinged madness when Myrtle is killed. George kills Gatsby and himself in the murder-suicide that seems to erase Gatsby and his lasting impact on the world entirely.

Other Ways to Study Great Gatsby Characters

Need a refresher on all the other people in this book? Check out our overview of the characters or dive deeper with our detailed character analyses .

Get some help for tackling the common assignment of comparing and contrasting the novel's characters .

Start gathering relevant character quotes to beef up your essay assignments with evidence from the text.

List of the Major Themes in The Great Gatsby

Get a broad overview of the novel's themes , or click on each theme to read a detailed individual analysis.

Money and Materialism —the novel is fascinated by how people make their money, what they can and can't buy with it, and how the pursuit of wealth shapes the decisions people make and the paths their lives follow. In the novel, is it possible to be happy without a lot of money? Is it possible to be happy with it?

Society and Class —the novel can also be read as a clash between the old money set and the nouveau riche strivers and wannabes that are trying to either become them or replace them. If the novel ends with the strivers and the poor being killed off and the old money literally getting away with murder, who wins this class battle?

The American Dream —does the novel endorse or mock the dream of the rags-to-riches success story, the ideal of the self-made man? Is Gatsby a successful example of what's possible through hard work and dedication, or a sham whose crime and death demonstrate that the American Dream is a work of fiction?

Love, Desire, and Relationships —most of the major characters are driven by either love or sexual desire, but none of these connections prove lasting or stable. Is the novel saying that these are destructive forces, or is just that these characters use and feel them in the wrong way?

Death and Failure —a tone of sadness and elegy (an elegy is a song of sadness for the dead) suffuses the book, as Nick looks back at a summer that ended with three violent deaths and the defeat of one man's delusional dream. Are ambition and overreach doomed to this level of epic failure, or are they examples of the way we sweep the past under the rug when looking to the future?

Morality and Ethics —despite the fact that most of the characters in this novel cheat on their significant others, one is an accidental killer, one is an actual criminal, and one a murderer, at the end of the novel no one is punished either by the law or by public censure. Is there a way to fix the lawless, amoral, Wild East that this book describes, or does the replacement of God with a figure from a billboard mean that this is a permanent state of affairs?

The Mutability of Identity —the key to answering the title's implied questions (What makes Gatsby great? Is Gatsby great?) is whether it is possible to change oneself for good, or whether past history and experiences leave their marks forever. Gatsby wants to have it both ways: to change himself from James Gatz into a glamorous figure, but also to recapitulate and preserve in amber a moment from his past with Daisy. Does he fail because it's impossible to change? Because it's impossible to repeat the past? Or both?

Other Ways to Study Great Gatsby Themes

Often, themes are represented by the a novel's symbols. Check out our overview of the main symbols in The Great Gatsby , or click on an individual symbol for a deeper exploration of its meaning and relevance:

• The green light at the end of Daisy's dock
• The eyes of Doctor T. J. Eckleburg
• The valley of ashes

Themes are also often reinforced by recurring motifs. Delve into a guide to the way motifs color and enrich this work.

The Bottom Line

• Use our analysis, gathered quotations , and description for help with homework assignments, tests, and essays on this novel.

What's Next? More Great Gatsby Analysis and Study Guides!

Understand how the book is put together by looking at its genre, narrator, and setting .

Learn the background of and context for the novel in our explanations of the history of the composition of the book and the biography of F. Scott Fitzgerald .

Get a sense of how the novel has been adapted by reading about its many film versions .

Read an overview of how to write analytical essays about the characters in the Great Gatsby before diving into the nitty-gritty for each main character (including the question of if Jay Gatsby really is great ).

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The Great Gatsby Sample Essay

This sample essay demonstrates the full range of A-level skills needed to meet the assessment objectives at the highest level.

“They’re a rotten crowd.” I shouted across the lawn. “You’re worth the whole damn bunch put together.” How does Fitzgerald convey a “rotten crowd” in The Great Gatsby and to what effect?

“Rotten” describes a state of putrefaction. It is a word we apply to decomposing fruit, fruit that is over-ripe, decaying and which, close-up, stinks. What a brilliant word to convey the decaying civilisation of post-war Europe and America that surrounds Gatsby – and repulses his friend, Nick – shocking him into moral awareness.

It is primarily through the moral judgements of his narrator, Nick Carraway, – the character that goes East to make money only to retreat revolted by the moral, cultural and social rottenness that he finds among the moneyed classes he wished to join – that Fitzgerald presents his “rotten crowd.” Through Nick, Fitzgerald exercises his narrative art with extraordinary compression: cultural allusion and symbolic names and images are central to his method – underpinning the actions of his characters – so too a poet’s feel for the sound and connotations of words.

Fitzgerald’s allusive method brilliantly conveys the rottenness of Gatsby’s crowd. Names, and names of books allude to a rotten world. Relationships in the East are rotten and infect the outlying members of the great Carraway dynasty: Nick’s second cousin twice removed is married to a philanderer; already unfaithful on honeymoon, we find him in the second chapter introducing Nick to his mistress. Now, the great Gatsby himself has been no monk (he ‘knew women early’ (82) Nick tells us, momentarily picturing a proud and promiscuous young Gatsby), but in pursuing Daisy, he pursues more than sex: he wishes to attain a higher state of being – to ‘romp with the mind of God,’ to ‘gulp down the milk of wonder.’ Romping and gulping suggests a child’s wide-eyed amoral appetite for unbounded satisfaction. Tom’s rottenness, his sexual corruption, then is apparent by contrast with the sublime, high-minded aspirations of the man who would cuckold him. Taking then, Nick, to the apartment where he conducts his affair, Tom leaves Nick while he and Myrtle both disappear – presumably to the bedroom – before reappearing after Nick has had time to ‘read a chapter’ of Simon Called Peter . A chapter-read is an innovative way to measure the length of a human coupling and perhaps degrades (reveals the rottenness of) Tom’s relationship in its brevity (or in its longevity, reveals the rotter luxuriating in his sin) – but more importantly, it is through the title of the book that Fitzgerald reveals the rottenness of this crowd. Robert Keable’s 1922 best-seller records the career of an earnest young clergyman, Peter Graham who volunteers as an army chaplain in the First World War. His faith fails to sustain him on the path of righteousness and he abandons his nice middle class fiancée, Hilda, for the generous charms of a prostitute and a generation of young women whose sexual freedom is more aligned to the Myrtles of Gatsby than the prim propriety of Hilda and the Edwardian England Peter has left behind. However, Peter is not simply a lost cause to the church, he is disillusioned with its teachings and with human nature, the sexual freedoms and easy pleasures of the war generations seem to him more real, more essentially human than the morality he preached from the bible. The novel, condemned in his review as ‘immoral’ by Fitzgerald, is seriously concerned with what war reveals of essential human nature: its immorality, its pessimism lies in its disillusion with love. Fitzgerald’s Gatsby holds on to his aspirations, his faith in the possibility of transcendence through love, despite the hardships of his (quickly overcome!) poverty. It is perhaps only through the contrast with Keable’s response to war that we can appreciate the extraordinary hope implicit in Fitzgerald’s, in his faith in the higher callings and aspirations of the human heart. It would be interesting to know if Fitzgerald had a particular chapter in mind that “didn’t make any sense to [Nick].”

Thus, almost passing reference to a contemporary novel, is fraught with much meaning. The use of a character’s reading material to shape and create meaning is a familiar part of the novelist’s art: think Austen’s Catherine Morland, gently mocked by her author for her indulgence in The Mysteries of Udolfo and the power it has over her imagination. This allusive method is not surprising in Fitzgerald: it is the foundation of Eliot’s “The Waste Land” –a poem Fitzgerald knew by heart, written in the year he sets his Gatsby . In it, the morality, the spiritual condition, of one generation is measured against representative cultural fragments from earlier civilisations.

Fitzgerald is similarly wide-ranging in his frame of reference to convey his “rotten crowd,” alluding to contemporary novels and events as well as ancient texts. Take the casual naming of just one party-goer for example: Ismay. Ismay is collected up as part of a group: “the Ismays and the Christies.” Perhaps Fitzgerald has in mind Bruce Ismay, Managing Director, of the White Star Line and held to blame for the greatest shipping disaster of all time: the loss of the Titanic in 1912; he was J Brute Ismay to the press at the time. He was rumoured to have put pressure on the Chief Engineer to drive the ship faster for a record time for the Atlantic Crossing and was himself a survivor. Newspaper cartoons showed him watching the ship sink from the safety of a lifeboat whilst the true “women and children first” heroes stood facing death on the doomed ship. So, Ismay comes to represent the selfish, self-serving rottenness of Fitzgerald’s contemporary society and the inversion of its moral values.

Ismay is among the first of the East Eggers on Nick’s famous list that helpfully divides the party guests into two according to the Egg whence they arrive: East Egg is the old money (Jesmond) in our local terms; West Egg is new money (we think Darras Hall). The West Eggers are “all connected with the movies in one way or another.”  So one “controlled films Par Excellence” another is a “promoter” (and at the Chapter VI party we meet “the moving-picture director and his Star” (89)). In contemporary – and non-party political terms we find in West Egg the New Labour celebrity culture of film stars, pop stars, and fashion designers as well as the stalwart Old Labour of the Trade Union movement meeting at Blair’s parties: it would be a mistake to believe either group is any more free from corruption than Gatsby’s guests.  Fitzgerald’s crowd fills up the “empty spaces of a timetable” (52) that is now out of date. And their “gray” names assigns them to the ash heaps of The Valley of the Ashes – where the detritus of a dead civilisation is dumped.

The whole list in its conception is a brilliant tribute to writers of the past: “the Prince of something, whom we called Duke, and whose name, if ever I knew it, I have forgotten” concludes the roll with a wonderful contempt for empty title (“of something”) and undeserved respect (“whom we called”). The forgotten name that concludes his portrait echoes Chaucer’s final valediction on his Merchant:

For sothe (truly) he was a worthy man with alle, in every way But, sooth (truth) to seyn, I noot (= ne woot, don’t know )how men hym calle.

“I noot how men hym calle,” he is in other words unworthy of name or remembering. Of all writers, Chaucer is so especially concerned with a man’s worth, (the word is used ironically in the quotation above) his worthiness, the parity between the inner and the outer man. The choice of the Merchant is apt: he represents financial rottenness, self-serving material greed.

The last line of all in Nick’s guest list, “All these people came to Gatsby’s house in the summer,” in its obvious summing up of what we already knows echoes Homer’s method in the famous muster of the armies at the beginning of The Iliad , (e.g. “These were the men whom Amphimachus and Nastes brought.”). The very idea of remembering each with some anecdote of their deeds is again Homeric – but how unedifying their deeds: fighting with bums, drunk on the gravel, arriving with another’s wife, run over by Mrs. Ulysses Swett. The name Ulysses is enough to point us to our Homer. This “rotten crowd” is mocked in comparison to the Greek Heroes of the great ancient civilization of the past: the one at its heroic zenith, the other at its rotten nadir.

Plenty of food then for scholars wishing to track down all these names and associations. Ulysses Swett is in fact a real person (born 1868) and a member of the famous Swett family of Cape Cod who traced themselves back through thirteen generation. However, the names have an immediate, not just a scholarly impact. Swett (homophone for a squalid bodily function) is allied with Belcher (the, what, shamelessly, insolent expulsion of stomach gas through the mouth?– usually avoided because of the bad smell) and Smirke (the silent mocking laugh) – all aspects of our base corporeal rather than spiritual natures.

Worse are the animal names: Blackbuck, Roebuck, connoting both money (buck=dollar) and animal sexuality (a buck is a male deer – like the word ‘tup’ we make the gender distinction usually to refer to sexual behaviour). The name ‘Blackbuck’ perhaps evokes Tom’s fear of the Rise of the Colored Empires , of the sexual potency of black races according to popular myth and also a fear of the black dollar, of black wealth as a part of rising black supremacy. So the names have a resonance that goes beyond the animals and fish they denote (Beluga, Whitebait, Hammer Head – it is easy fit them into a taxonomical classification). It is fun to learn from Wikipedia that the Beluga whale has a ‘high-pitched twitter.’ Such information adds another dimension to our own imagined constructions of Gatsby’s party crowd. But the name itself seems ugly. Is it because it has the consonants of the word ‘ugly’ in it? Or because, as we search to make sense of an unfamiliar word, our brains try out the word ‘bulge’ through the association of sound and thus evoke some ungainly swollen creature, some ulcerous tumescence of money and immorality. Is there something belchy in the sudden release of air in the second vowel sound, Bel u ga? And that is before we think about the associations with caviar and the untouchable luxuries of the war-time rich.

And then there are the Hammerheads: another wonderfully evocative name. What rottenness does this conjure? A family of boneheads. The Hammerhead Shark has evolved an elongated and flattened skull perhaps for the manipulation of prey – nice associations there. It also contains the idea of the tool after which the shark is named, the hammer, blunt bludgeoning instrument. Picture it here in the hands of one of Gatsby’s bootlegging cronies, crushing the skull of some unfortunate prey. Hear in its sounds, the repeated glottal fricatives, (‘ Ha mmer hea d’) the heavy breathing of the hammer-wielder exerting himself in the act of skull-crushing.

There is a poetry in this carefully constructed mock epic that delights in the cultural allusion, in the connotative capacity and the phonological features of words to express the sheer rottenness of this crowd.

Fitzgerald offers a wide, but not comprehensive, survey of the animal kingdom to convey his rotten crowd: in all this verminous, predatory, bestial crowd there is not one airborne, flying creature. There are fish aplenty as well as the semi-aquatic rodent, Ernest Beaver and the tree dwelling Doctor Webster Civet , who despite his airy habitat “drowned last summer.” James B. (“Rot-Gut”) Ferret take his name from the domesticated earth-burrow dwelling carnivorous mammal. All three (beaver, civet, ferret) are noted for scent glands, genital or anal: in the wild, they pollute the air to mark territory; killed, they are used for perfume. The point is of course that Fitzgerald’s elemental imagery portrays Gatsby’s aspirations to transcend mortal bounds as an aspiration to fly. Daisy is associated with air, floating, fluttering, anchored like a balloon. Gatsby aspires to her airiness which lifts her among other things, ‘above the hot struggles of the poor.” (122) He is condemned, through Fitzgerald’s imagery to death by water: he is shot in a swimming pool, to be buried in “soggy ground” (142). The moment is foreshadowed at Nick’s tea-party reunion: Gatsby stands “in a puddle of water glaring tragically” (72). Fitzgerald’s rotten crowd is an earth-bound water-dwelling crowd and they drag Gatsby down to his watery death and earthy resting place. Their very names make the air he breathes stink.

This crowd perhaps constitutes the ‘funny fruits’ (103) of New York of a civilisation that has, in Spenglerian terms, (Oswald Spengler, The Decline of Civilization – the book Fitzgerald never recovered from when writing Gatsby) organically outgrown itself, lost touch with the nature that feeds it to produce the cities, and city folk, this ‘rotten crowd’ that are its fruit. And Fitzgerald’s judgement reveals Nick’s growth to moral understanding – he too will reject the wealth of the East, its money, machines and rottenness to nurture the reputation and aspirations of Jay Gatsby, seeking his flower, his Daisy Fay, who, in his imagination (according to Nick) represents the green breast of an earlier, rural America. For Nick, in Gatsby, found an incarnation of the Faustian legend (there was indeed a Faustina O’Brien –a diminutive and corrupt mini-Faust on that party-list (53)), of man’s desire to transcend the bounds of his mortality and the rottenness of his world.

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Home — Essay Samples — Literature — The Great Gatsby — The Great Gatsby Chapter 3 Analysis

The Great Gatsby Chapter 3 Analysis

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Published: Mar 25, 2024

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Introduction, body paragraph 1: the illusion of the american dream, body paragraph 2: the objectification of women, body paragraph 3: the role of women as agents of change, counterarguments: the argument for female complicity in the objectification of women.

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The Great Gatsby Essay TDA Writing Prompts, Grading Rubrics, & Prewriting Tasks

Description.

In this resource, students will conduct a literary analysis of  The Great Gatsby by F. Scott Fitzgerald  and write a  TDA Essay  using textual evidence to support their responses.

There are TWO writing options students can choose from for this Response to Literature/TDA essay.

Included in this product you will get one copy of the following each as PDFs  (ready to print)  as well as one copy of the following each as WORD Documents (as to be  editable   for teachers ).

• Essay Prompts for two different topics on the novel  The Great Gatsby
• Two Prewriting Graphic Organizers for students to brainstorm ideas, thesis, examples, and textual evidence
• TDA Essay Rubric broken down into categories: content, focus, organization, style, conventions, and format

The Great Gatsby: Analysis and Feminist Critique

The great gatsby: abstract, introduction, the great gatsby: summary and analysis.

This Great Gatsby essay explores one of the greatest novels written in the 1920s. It was created in the days when the society was by far patriarchal, and the concept of the American dream was different. Essays on The Great Gatsby usually explore how much men had dominated society, which led to women discrimination and objectification; the novel will help us understand the concept of feminist critique.

The feminist critique is an aspect that seeks to explore the topic of men domination in the social, economic, and political sectors. It aims to expose how much women characters have been discriminated in the society through the study of literature. This sample essay on The Great Gatsby will apply the concept of feminist critique with reference to the F. Scott Fitzgerald’s work to expose some of the aspects of patriarchal society as revealed in the novel.

The Great Gatsby starts by bringing in a male character, Nick Carraway, as the narrator. First, the narrator is just from the First World War and seeks to settle and takes a job in New York. Searching for wealth and happiness, he rents a bungalow in West Egg next to a generous and mysterious bachelor Jay Gatsby, who owned a mansion.

Nick describes the mansion as “a colossal affair by any standard – it is an imitation of some Hotel de villa in Normandy, with a tower on one side, spanking new under a thin beard of raw ivy, and a marble swimming pool, and more than forty acres of lawn and garden” (Fitzgerald 1).

The introduction analysis brings out a theme of male occupying a more significant portion of wealth. These two men were relatively young and yet so rich to own such property at their age. The mentioned women, Daisy, Jordan, and Myrtle, are just an attachment to the men in the society since they all at some level depict an aspect of lack of independence since men dominate every aspect of life.

Socially, men seem to dominate in the relationships in The Great Gatsby. Tom’s financial power sets him way ahead of that he can afford to have an affair outside marriage. That’s what he does in an open way as he invites Nick, Daisy’s cousin, to meet his mistress Myrtle Wilson. Nick’s reflection on the relationship between Tom and Daisy, Tom, and Myrtle shows a break of social norms.

Tom’s relationship with the two women is abusive and of so much control. He abuses Myrtle publicly in the name of making her straight by even beating her. Tom comes out as a man who has so much power to bully everybody, including Myrtle’s husband Wilson, he also has so much control in Daisy, his wife.

Usually, one will expect that Nick being a cousin to Daisy, will resist seeing their close relatives get involved in extra-marital affairs. Nick being a man, supports other men, Tom and Gatsby, in their moves. After knowing that Gatsby had been in love with Daisy before she got married, he allows reconnection to happen in his own house although Gatsby’s credibility was still in question to him.

He admires Gatsby’s having “an extraordinary gift for hope, a romantic readiness he had never found in any other person and which it was not likely he could ever find again” (Fitzgerald 1). This admiration overpowered his questions on Gatsby’s character and that of his company. This shows that men’s dominance was critical since women were to follow what the men wanted them to, not their choices.

The novel was written in a time when men could batter women if dissatisfied by their actions, absolutely ignoring women’s rights. In the meeting with Myrtle, when an argument ensued between Tom and the mistress, Tom broke her nose to shut her up. The whole thing looks normal and even when George complains to him, he is not moved by his cry.

Tom is the dominant character in the novel. He harasses people starting with his wife, his mistress, George and even Gatsby. Tom is seen doing the same thing Gatsby does, dating a married woman, but he has the guts to confront him on his affair with Daisy. When Myrtle died, he fires a battle between Gatsby and George by convincing him that Gatsby had an affair with Myrtle.

George kills Gatsby before killing himself as a sign of revenge. The revenge was purely egotistic to reclaim his position as Myrtle’s husband since his status as a man on top of the relationship had been invalid. This leaves a mark in moral decadence, which only happens in a patriarchal society that cannot be controlled by any other voice than the male voice.

The novel has so much influence geographically and culturally due to the approach used and the structure itself. Tom Buchanan’s treatment of his wife and mistress and Gatsby’s manipulation of Daisy, Tom’s wife, brings out the aspect of male domination. The male has a dominant part in the exploitation of power in the relationships, and marital status is nothing of a worry when one wants to pursue their mistresses. Men in the text have idolized women, and they justify their reasons for the exploitation of women.

For example, Gatsby’s life is made true by the fact that he managed to have a relationship with a lady he had loved before. He does everything to get her, which include him “buying a house in West Egg just so that Daisy would be just across the bay” (Fitzgerald 1). This was a crucial sport in being strategic in his plans.

Tom, on the other hand, uses his physical and financial powers to prove that he is in control. He and Gatsby set social structures that attract women to them. However, Nick, the narrator, was not able to relate with the unpredictable and manipulative Jordan Baker. Jordan Baker’s character of believing that she could do as much as a man could do scared him away. She is unlike Daisy, who chose to stay with Tom, although she was in the relationship for financial gains.

Gatsby describes her as one with “voice is full of money” (Fitzgerald 1). For Jordan’s belief in herself, Nick later blames his failure to cope with her on her partying, smoking, and drinking character without really revealing that he had the same character as being pragmatic.

Women in the great gatsby had been accustomed to so much submission; an example is in Daisy’s character. She has a complacent kind of character that makes it difficult to make her own decisions.

She exhibits incapacity to have an independent sense of self-will that Gatsby takes advantage of to win her by flattering her with words like “You always have a green light that burns all night at the end of your dock” (Fitzgerald 1). The fact that she had a relationship before with Gatsby was enough to lead her in deciding to have an affair with him.

Myrtle also belongs to the same types of women as Daisy as she engages in a relationship with another woman’s husband just because they met and liked each other. This aspect manages to bring out a clear definition of gender roles and identity in the earlier days when the novel was written. Men ask, and women respond without looking at what could be affected in their decisions.

The Great Gatsby sample essay shows how the novel brings out an aspect of both genders reclaiming their positions in society in terms of gender relations. Though the male has dominated, and the female has proven to be dependent on men, they both need to redefine themselves as the victims of social norms.

The male gender has dominated the economic and social part of the society making sure that the role of women is reduced to being subjects to the male exercise of power. This has been shown clearly by women getting trapped in the misogyny and manipulation set by men hence making it hard for them to stand by their choices. Their gender nature dictates the character choice in the male-dominated world.

The male exercise their power over the significant female characters by ensuring that they remain the sole financial sources, and the women exercise their dependence by remaining in their marriages despite their involvement in affairs outside marriage. Though there are men like George, who have lost their position, they still exhibit their ego by defending their marriages.

Fitzgerald, Scott. The Great Gatsby. University of Adelaide, 2005. Web.

• Short Summary
• Summary (Chapter 1)
• Summary (Chapter 2)
• Summary (Chapter 3)
• Summary (Chapter 4)
• Summary (Chapter 5)
• Summary (Chapter 6)
• Summary (Chapter 7)
• Summary (Chapter 8)
• Summary (Chapter 9)
• Symbolism & Style
• Quotes Explained
• Essay Topics
• Essay Samples
• Questions & Answers
• F. Scott Fitzgerald’s Biography
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2023, October 28). The Great Gatsby: Analysis and Feminist Critique. https://ivypanda.com/essays/the-great-gatsby/

"The Great Gatsby: Analysis and Feminist Critique." IvyPanda , 28 Oct. 2023, ivypanda.com/essays/the-great-gatsby/.

IvyPanda . (2023) 'The Great Gatsby: Analysis and Feminist Critique'. 28 October.

IvyPanda . 2023. "The Great Gatsby: Analysis and Feminist Critique." October 28, 2023. https://ivypanda.com/essays/the-great-gatsby/.

1. IvyPanda . "The Great Gatsby: Analysis and Feminist Critique." October 28, 2023. https://ivypanda.com/essays/the-great-gatsby/.

Bibliography

IvyPanda . "The Great Gatsby: Analysis and Feminist Critique." October 28, 2023. https://ivypanda.com/essays/the-great-gatsby/.

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