outward appearances in the great gatsby essay 703

, Research Paper

In F. Scott Fitzgerald ’ s novel, The Great Gatsby outward visual aspects are

indispensable. They provide a glance at the unreal universe inhabited by Jay Gatsby, a

merchandise of his ain imaginativeness ( Lehan, ” the route to West Egg ” 29 ) and Daisy Fay

Buchanan, the incarnation of glamor and wealth ( Brewley 44 ) , two characters whose

action exhaustively develops the secret plan, and two who have become so consumed by the

image they have created that they do non genuinely cognize their ain individualities. This

obliquity created by outward visual aspects is seen no more clearly than in the images

painted by Fitzgerald of Gatsby ’ s “ perplexing parties ” ( E.K. 7 ) , and in his concern

traffics which are connected with the “ underworld bond and securities firm concern ”

( Lehan ) . The vale of ashes, “ where all hopes must be left behind ” ( long 123 ) , and the

expansive sign of the zodiacs of Gatsby and the Buchanans besides offer the reader a expression at the monolithic

semblances created by Fitzgerald ’ s characters. As the Great Gatsby progresses, the outward

visual aspects of events, topographic points and people can turn out to be really delusory.

What more can explify the importance of outward visual aspects than the parties of

the boom mid-twentiess and Fitzgerald ’ s The Great Gatsby. The first three chapters of the

novel are devoted to party scenes ; 1 ) the “ proper dinner party ” at the Buchanan ’ s in East

Egg ; 2 ) the wild bibulous party at Tom and Myrtle ’ s flat in New York ; and, 3 )

Gatsby ’ s excessive party in West Egg. These scenes introduce all of the of import

characters and topographic points in the novel, as to give the feeling of unnaturally ( Miller 107 ) .

Each of these parties emphasizes the feeling or outward visual aspect each character

hopes to convey to others. This is seen most vividly, long after he is sickened by the

acquaintance of Gatsby ’ s uninvited invitees ( Ornstein 54 ) . Jay Gatsby “ dispenses cordial reception

with munificent and eye-popping extravagancy – a modern Solomon raising a eccentric temple to

the contrary popularity ” ( E.K. 7 ) . Gatsby is compared to Solomon because, like

Solomon, Gatsby is king of his sphere, the Son of God. It seems uneven that Gatsby would

invite aliens to his house, but he has a demand for his invitees, and though it seemed the

invitees came merely for the free party, the private beach, and the eternal flow of cocktails,

they besides needed Gatsby. He provided them with an flight from world, yet in the terminal

semblances and world must travel their separate ways ( Brewley 43 ) . One of the most moving

scenes in the novel is when Gatsby commands farewell to his invitees. Nick describes “ a sudden

emptiness seemed to flux now from the Windowss and the great doors, induing with

complete isolation the figure of the host who stood on the porch, his manus up in a formal

gesture of farewell ” ( Fitzgerald 60 ) . This scene evokes the image that the invitees were

non human, but semblances created by Gatsby to back up his vision. As Marius Brewley

stated, “ The names of invitees could hold been recorded nowhere more suitably as in

the borders of a bleached timetable. They were the incarnations of semblances – as passing

as clip itself ” ( 42 ) . Brewley is mentioning, of class, to the list of names Nick recorded of

those who attended Gatsby ’ s parties that summer ( Fitzgerald 65 ) . The list itself evokes a

series of fabulous parties, attended by an eternal figure of bizarre, stylish,

ambitious, and world-weary people ( Miller 100 ) . In the terminal the invitees were nil more than

the orange mush and lemon rinds, what were left of Gatsby ’ s dream ( Lehan, “ The Road

to West Egg ” 33 ) . The mystirous and decieving outward visual aspects of the party ’ s

invitee is by far out-shadowed by Gatsby ’ s past and concern.

Gatsby ’ s concern operations seem to supply the most interesting screen. Gatsby

got his start from his relationship with Dan Cody, but it is Meyer Wofsheim who gets

Gatsby into illegal concern operations. Wolfsheim, who finds out, is the adult male who fixed

the 1919 World Series ( Fitzgerald 78 ) . He encounters Gatsby when he is discharges signifier

the War and covered with medals.. Wolfsheim becomes a kind of 2nd male parent figure for

Gatsby, this “ Godhead of the underworld ” ( Lehan “ The Road to West Egg ” 30 ) . Wolfsheim

declares, I raised him up out of nil, right out of the trough ” ( Fitzgerald 179 ) . It is

true that, in a sense, Wolfsheim raised Gatsby, but he raised him into the universe of

unreal glamor that finally led to his devastation. The beginning of money holds no

significance for Gatsby ; nevertheless, his end is merely to gain adequate money to win

Daisy ’ s love, and “ it is with this money that comes from bootlegging, gaming and

pail stores that Gatsby makes the luck that allows him to purchase his sign of the zodiac in West

Egg ” Lehan, “ His Father ’ s Business ” 57 ) . In the beginning Daisy quips, “ He owed some

apothecary’s shops, a batch of apothecary’s shop. He built them up himself ” ( Fitzgerald 114 ) . It ’ s true,

Gatsby did ain apothecary’s shops, but as Tom reveals in the denouncement scene at the Plaza

Hotel, “ He and this Wolfsheim bought up a batch of side street apothecary’s shops and in Chicago

and sold grain intoxicant over the counter ” ( Fitzgerald 141 ) . This scene concretizes Tom ’ s

earlier claim that Gatsby was a moonshiner. Daisy becomes terrified at this revival,

and the full novel turns on what Daisy considers to be legitimate and bastard

wealth ( Lehan, “ Inventing Gatsby ” 65 ) . Tom destroys the full frontage that Gatsby has

built around himself, but as E.K. so truthfully stated:

Gatsby, for all … the unsure haziness in which his vague concern connexions

and presumptively dirty wealth envelop him, he is far more existent than the work forces

and adult females who stoop from the security of their well-ordered concern and societal

universes to play with him and pass his money. ( 7 )

This spot of information clearly re-emphasizes the point that outward visual aspects can be

deceptive.Gatsby ’ s obscure yesteryear proves through delusory visual aspects one can convey

from nil to an rather artifical hero.

The Valley of Ashes ; where George and Myrtle Wilson reside, is another topographic point

where outsides can be instead delusory. On first glimpse, the vale of ashes appears to be

merely that, a pile of ashes in a garage, but they really represent the grey, blue

environment of the Wilson ’ s – the life and category to which they belong ( Miller 106 ) . This

“ wasteland ” becomes the primary background against which calamity is played out, and

which causes it to take on a greater significance. Fitzgerald returns here once more and once more,

conveying his characters by its “ cramps of black dust ” ( Miller 106 ) . Myrtle tries to get away

this universe of desolation in her metropolis flat, where she resides as Tom Buchanan ’ s

kept woman. It is here that she tries to keep a frontage of “ wealth and respectability. ” The

vale of Ashes shortly shatters this frontage, along with her gaudy outlooks of come ining

Tom ’ s universe ( Lehan, “ Sugar Lumps and Ash Heaps ; George and Myrtle Wilson ”

93 ) . Fling to get away her hubby, Myrtle rushes trusting to be saved from her snake pit by

person who she believes to be Tom, merely to be crushed by the machine, “ her life

violently extinguished as she knelt in the route, the blood mingling with the dust ” ( Lehan,

“ A Son of God ” 39 ) . Ironically, it was Daisy who extinguished the life of Myrtle, but her

hubby is deceived of this fact due to Tom.

As the vale of ashes represented the environment of the Wilsons, the expansive

places of Gatsby and the Buchanans represent the conflicting societal position and

importance of outward visual aspects. Nick describes each house in a different manner,

When mentioning to the Buchanan sign of the zodiac, he says, “ Their house was even more luxuriant

than I expected, a cheerful ruddy and white Georgian Colonial sign of the zodiac overlooking the

bay ” ( Fitzgerald 11 ) . This house embodies the gustatory sensation that establishes money knows how

to purchase. On the other manus, when he describes Gatsby ’ s house he cited, “ … was a colossal

matter by any standard – it was a factual imitation of some Hotel de Normandy … ”

( Fitzgerald 9 ) . This description reflects, ironically, upon Gatsby ’ s impractical dream

( Long 90 ) . Coincidentally, the two houses are positio

ned as if they were facing one

another. The distance between them besides suggests that Gatsby, with his unusual estate at

West Egg, is every bit near as he will of all time come to the established society of the James buchanans

( Long 91 ) . Both houses evidently contain significant sums of enigma, but on the

dark before Gatsby ’ s reunion with Daisy, his house lights up from top to bottom – with

runs of visible radiation, making an impressionistic consequence of expansive semblance. Gatsby ’ s house

remains instead unreal, even after his decease, when his male parent brings a bent exposure of

Gatsby ’ s house – a mirage of success ( Long 90 ) . Nick tells the reader, “ he had shown it

so frequently that I think that it was more existent to him now that the house itself ( Fitzgerald

180 ) . This farther emphasizes the illusional quality the sign of the zodiac possessed and the

importance of out ward visual aspects in Gatsby ’ s clip.

The characters in The Great Gatsby supply the much grounds of the importance

of outward visual aspects and each shows misrepresentation throught the fresh both to their

innerselves and equals. Daisy Fay Buchanan is the hardest character to specify in The

Great Gatsby ( Eble 94 ) . Possibly that “ she bears the load of obliging such romantic

strength explains why Daisy is presented so mistily as a character ” ( Lehan, “ Careless

Peoples ; Daisy Fay ” 73 ) . “ Gatsby sees Daisy as the incarnation of wealth and

glamor ” ( Brewley 41 ) . She is the object of romantic compulsion ( Lehan, “ Careless

Peoples: Daisy Fay ” 67 ) . When she tells Gatsby that she loves him, his hopes for a life

with her lead to a confrontation with her hubby, Tom. During this confrontation, Daisy

Tells Tom that she ne’er loved him, so recants her statement and says that she loved

him one time but loved Gatsby besides ( Fitzgerald 139 ) . Daisy ’ s indecision

exemplifies “ Daisy ’ s Lack of adulthood, intrinsic worth, and solidarity of character ”

( Lehan, “ The Road to West Egg ” 31 ) . Gatsby chooses to disregard Daisy ’ s unwanted

traits, and will at all costs do anything to protect her. When their matter sketchs after five

old ages, Gatsby fires all of his retainers because he wants “ person who wouldn ’ t dish the dirt ”

( Fitzgerald 120 ) . He wanted to continue Daisy ’ s repute. It is rather dry the lengths

which Gatsby will travel to protect Daisy, whereas “ Daisy, who will at last resort protect

herself no affair who or what she has to abandon ” ( Lehan “ The Road to West Egg ” 31 ) .

She remains “ spotless ” and immaculately dressed in white, while at the same clip she is

selfish, destructive, and capable of anything except human understanding ( Ornstein 59 ) .

Gatsby Tells Nick after their matter resumes “ Her voice is full of money ” ( Fitzgerald 127 ) .

This statement gives the circuit of Gatsby ’ s house more substance, exemplifying to the reader

Gatsby ’ s need to turn out that he has earned plenty to merit her love ( Lehan,

“ Careless Peoples: Daisy Fay ” 75 ) . This scene implies that Daisy is more concerned with

Gatsby ’ s outward visual aspect than which is he is as a individual. Nick warns Gatsby,

“ Don ’ t inquire to much of her. You can ’ t reiterate the past ” ( Fitzgerald 116 ) , to which Gatsby

answers, “ Why of class you can! ” ( Fitzgerald 116 ) . It is obvious that “ Gatsby endows

her with a significance that she could in no manner embody ” ( Lehan, “ The Road to West Egg ”

31 ) . “ In malice of the bright glow of wealth and world-weary edification of her careless life –

Daisy is seen as what she is, ‘ foul dust that floated in the aftermath of Gatsby ’ s dream ’ ”

( Miller 103 ) . “ She vanished into her rich house, into her rich full like, go forthing Gatsby –

nil ” ( Fitzgerald 157 ) . The careless attitude and false individuality that consumes Daisy,

besides embodies Jay Gatsby himself.

No outward visual aspects can be rather every bit delusory as that of Jay Gatsby himself,

For “ Gatsby is some what vague, his lineations are subdued, the reader can ’ t concentrate upon him ”

( Perkins 5 ) . This can be said due to the many misconceptions one discovers about

Gatsby. James E. Miller, Jr. besides confirms of Kaiser Wilheim, that he killed a adult male one time,

that he is a German undercover agent … ” ( 98 ) . “ The suspense created by these wild narratives finally

gives manner to Gatsby ’ s tremendously critical semblance ” ( Miller 98 ) ; the semblance of obtaining

Daisy Buchanan ’ s love. This love for Daisy played an indispensable function in Gatsby ’ s

contriving himself. The storyteller of the fresh citations:

The truth was that Jay Gatsby, of West Egg, Long Island, sprang from his platonic

construct of himself. He was the Son of God – – a phrase that, if it means

anything, means merely that – – and he must be about His Father ’ s Business, the

service of huge, vulgar, and meretricious beauty ( Fitzgerald 104 ) .

The novel ’ s storyteller, Nick Carraway, gives the reader this description on Gatsby shortly

after Gatsby reveals the truth behind all the myths associated with himself. Nick besides

notes that Jay Gatsby ’ s name was lawfully James Batz ( Fitzgerald 104 ) . This name alteration

occurs at age 17 when, “ Jay is taken under the tuition of Dan Cody, a

millionaire yachtswoman and mineworker ” ( Gallo 37 ) . Gatsby spends five old ages with Dan Cody,

and upon Cody ’ s decease was deprived of his $ 25,000 bequest, coercing him into the ground forces

( Gallo 37 ) . Gatsby, in a sense, was “ patterning himself after Dan Cody ” ( Lehan,

“ Inventing Gatsby ” 58 ) . Merely as Buffalo bill had built an imperium, Gatsby was constructing an

semblance, a dream. The semblance began with Cody, but continues as he invents a fabricated

background: his blue background and ascendants, and his Oxford instruction ( Kuehl

15 ) . “ The more Gatsby negotiations the more absurd his narrative becomes ” ( Lehan, “ Inventing

Gatsby ” 60 ) . Nick declares, “ He hurried the phrase “ educated at Oxford, “ … And with

this uncertainty his whole statement fell to pieces and I wondered if there wasn ’ t something a

small sinister about him ” Fitzgerald 69 ) . Despite the contradictions in his narrative, Gatsby

ne’er emerges clearly and forcefully plenty “ to be considered sinister ; he is created

more as a fabulous individual than as a existent one ( Eble 95 ) . It is this “ blurring of Gatsby ” that

makes his “ antic semblance more credible ” ( Lehan, “ Inventing Gatsby ” 60 ) . He is the

“ incarnation of every adult male ’ s unrealized aspirations ” ( Gallo 38 ) . Gatsby ’ s personality is

composed of “ gestures ” as Nick calls them. They include the pink suits, the Ag

shirts, the “ old athleticss ” , and many other idiosyncrasies ( Lehan “ Inventing Gatsby ” 58 ) . As

Nick tell the reader, “ If personality is an unbroken series of successful gestures, so

there was something gorgeous about him, some heightened sensitiveness to the promises of

life … ” ( Fitzgerald 6 ) . It is this deficiency of intelligence and opinion of world

that leads him to his tragic decease ( Brewley 53 ) . Gatsby ’ s long lost father attends his

boy ’ s funeral with great pride, noticing that “ Jimmy ever likes it better down East.

He rose up to his place in the East ” ( Fitzgerald 176 ) . This statement is viewed with

great unhappiness due to the fact that, although Gatsby had collected a huge sum of wealth,

in the terminal, he was left with nil. It becomes apparent, at the novel ’ s shut, that

“ beneath the elaborate, albeit gaudy, elegance of Gatsby looms James Gatz, the original

“ roughneck ” that Gatsby spends so much clip seeking to hide ” ( Lehan, “ Inventing

Gatsby ” 59 ) . However, Gatsby is non the lone character who tries to hide his true

individuality. Daisy, the object of his desire, is besides rather vague.

Throught out Fitzgerald ’ s The Great Gatsby the importance of outward

visual aspects is of all time present and continuosly delusory. One can witness through the

parties of “ dazing extravagancy ” ( E.K. 7 ) , the decieving underworld concern of Gatsby,

the “ wasteland ” Valley of Ashes ( Miller 106 ) , the unreal, cold castles of the East and

West Egg, and most of all in the fanciful self-invented psyches of Jay Gatsby and Daisy

Buchanan the truth to the thought of outward visual aspects. Not merely did these deceptive

masks prove to be of import but they were indispensable to the secret plan of the novel. The Great

Gatsby ‘ s success can be attributed to the turns and bends provided by the human demand to

justice one another and develop onesself through the usage of outward visual aspects.

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