The Great Gatsby and Jazz Age Values

From Rags to Riches: The American Dream in US American Literature The Vast Gatsby: Jazz Age Values and Their Reflection Upon the American Dream Tefficacious of Contents Introduction 3 Mold Voicelessness 3 Culture4 Technology6 Redundancy 7 Disillusionment9 Conclusion 10 Works Cited 11 Introduction The Vast Gatsby has been acclaimed as one of the most grave newlights of the 20th determination, and has beappear an American, and equefficacious cosmos-people, fina. Fitzgerald has not singly been heralded for his erudite giftedness in the answerableness of this newlight, but to-boot for his impeccably considerate portrayal of the Jazz Age amid The Vast Gatsby.Fitzgerald has affectwise been accredited behind a ageliness coining the account “Jazz Age. ” It has behind to medium “[a] new era of ‘relaxation’. ” This age prefer accepts its indicate from “liked voicelessness, which saw a terrible surge in lovedity” (Boland). Natant the distinguished concerns and trends of the determination were “the unconcealed hug of technological developments typically seen as progress—cars, air expedition, and the telephone—as polite as new modernist trends in political proceeding, the arts, and refinement” (Boland). The Vast Gatsby fulfills its role of portraying the Jazz Age considerately, illustrating multifarious of the estimates of this conclusion determination, key natant them mold, purity, redundancy, and disillusionment. These estimates entertain in transfashion idiosyncraticateed a very pernicious role upon the fancy of the American Dream, redundant to the decisive scarcity of this fancylized cosmos-people. Mold First, one of the amplest discourses of the Jazz Age is mold. Some of the most superior fashions of mold imaginative amid The Vast Gatsby were in voicelessness, refinement, and technology. Musical Mold Prior to the 1920s, mainstream American voicelessness chiefly consisted of folk tunes. The argument was on usual nation knowledge to idiosyncraticate for themselves and their families and chums at regulatement. By the twenties, the modest legend of the Mississippi Delta ceruleansmen had begun to distil through the “hot towns” of Chicago and New York City unresisting a energetic voicelessness not constantlyyone could idiosyncraticate (Kersh). The relatively new phonograph and radio undisputed earlierly regional voicelessness affect the ceruleans to be heard nationwide, creating the earliest Jazz Age stars (Kersh). Indeed this changing order of voicelessness is what fueled not singly Gatsby’s close parties but to-boot the unconcealed impress of the newlight. These parties defied legend, consisting of “a entire pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and elevated drums” (Fitzgerald, 26). The voicelessness had a regular pi on the guests; it hypnotised them, and they let their bodies issue as if on watery air. As the voicelessness launched, they reacted to it and began to dance; they were “holding each other tortuously, fashionably…and a vast estimate of unique girls dancing individualistically” (Fitzgerald, 31). They were temporarily in another cosmos-nation and were bounteous to dance thus-far they felt affect.This new voicelessness spectacle undisputed for self-expression and individualism, distinctly natant the women. It at-last aided a contrariant mold of dowager to equablee. Cultural Mold The Jazz Age to-boot saw the surfacing of the “New Woman”: the flapper. The flapper was “smart, humorous, brash, and interesting. These women…drank and partied correct as stubborn as the men” (Boland). The flapper garb to-boot detoured indicatively from legendal soft costume of sobriety and conservatism: the garb defenseless abundance peel (in correct the correct locates) to incverse the tendfulness of the correct boys.It acquired wheedle to the dowager’s body—her splendid garb, bobbed hair, luminous jewelry, and neutral limbs moving conjointly to the rhythm of the voicelessness, Jazz (Boland). Expression, heterogenity, and idiosyncratic bounteousdom were the most grave fancyls to the flapper dowager, another conclude for the next hit of Jazz voicelessness. Jordan Baker epitomized the flapper to a elevateder meliorate rank than did Daisy amid The Vast Gatsby. Jordan enacts the “new dowager” of the 1920s: currish, young, and self-centered. Jordan is stagnant n essal, but to-boot dishonest; she cheated in arrange to win her earliest gold tournament and unceasingly bended the verity to get her way.Though Daisy to-boot corporeally embodies the flapper in her exquisiteness and attraction, she is to-boot too “fickle, drilled, unprofound, and sardonic” to be a gentleman flapper dowager (SparkNotes). Further, Gatsby himself can be seen as a vindication of legend. He is a self-made man, set-on-footing as a very humble apprentice to a sea head-man, then going on to beappear a very monied entrepreneur. “His parents were improvident and vain farm nation—his beneathstanding had nconstantly veritably true them as his parents at all. The verity was that Jay Gatsby of West Egg, Long Island, sprang from his Platonic discernment of himself” (Fitzgerald, 63). His methods of achieving sprightly-fortune are to-boot a vindication abutting the norm; he uses any mediums compulsory including betting and smuggling alcohol during the Prohibition. Society’s scene on these methods of attaining possessions was drastically contrariant than legendal ones, prefer alluding to a cultural mold: “Real-career idiosyncraticities were elevatedly esteemed for their alleged bootlegging beneath Prohibition... At the aggression of Prohibition, a bootlegging toil flourished from the set-on-foot, and drinking became past in usage than constantly.Upper-collocate citizens fabricateed prestige by gift outlawed alcohol to their seed guests and by induction chums to loved speakeasies” (Moss, 151). The probefficacious corrects and ethics of sprightly were aggravateshadowed by the deficiency to beappear haughty-flavored and sprightly-fortuneful. This conclusion determination is to-boot the earliest era to concretion interrogation the entity of God. In The Vast Gatsby, God is simplified to be the eyes of Dr. T. J. Eckelburg: “[they] are cerulean and gigantic—their retinas are one yard elevated. They appear out of no visage, but, instead, from a brace of gigantic yellow spectacles which by aggravate a nonexistent nose…His eyes ponder on aggravate the impressive dumping cause” (Fitzgerald, 16). These eyes behold out from the Valley of Ashes, which exemplifies the declension of American association. The nation of the Jazz Age were striving for sortical and economic opulence, alcontemporaneously forgetting environing any imembodied exhibition to career, and in this agony, they gave up their souls in remodel for that opulence. The eyes can in transfashion be seen as the eyes of a “dead God” appearing onto a “dead association”. Thither are prefer dirty relations to God amid The Vast Gatsby, but all indicate to the similar fancy: the closing or hindrance of God. Man to-boot has equefficacious drifted so greatly loose from earlier conservatively devout fancyls that he himself is past worshipped that God. Nick Carrloose is equefficacious surprised at this newcause fancy; that “one man could set-on-foot to idiosyncraticate behind a ageliness the credulity of fifty pet nation” (Fitzgerald, 47) is star that singly God should entertain been efficacious to do. Gatsby prefer goes on to collate his spirit to that of God. Referring to kissing Daisy he says, “his spirit would nconstantly romp frequently affect the spirit of God” (Fitzgerald, 71). George Wilson’s announcement “God knows what you’ve been doing, constantlyyromance you’ve been doing.You may colt me, but you can’t colt God. ” (Fitzgerald, 102) appears affect a contempt on God. He is the singly order that makes a relation to God’s omnipotence and ends up committing a vast act of sin: suicide. Technological Mold The twenties were a conclusion of deep-seated transformation caused by the multifarious changes in technology through new advancements, discoveries, and inventions. Possibly the most indicative innovations during this conclusion were the automobile and the radio. The concretion origination of the automobile launched by Henry Ford in the 1920s. By 1927 he had constrained and sold some 15 pet Model-Ts (Cheek).This technological mold is emphasized in The Vast Gatsby closely. I conducted my own margin illustration and counted the estimate of conclusions the signification ‘car,’ ‘automobile,’ or ‘auto’ were mentioned amid the passage and the remainder was rather interesting: thither were 66 mentions of this new technology. The newest cars were seen as causeation sorts, so of direction the violenter collocate had to entertain the most new-fangled cars. Gatsby accepts a lot of vainglory in his car, and tries to use it as a implement to win aggravate the dowager of his dreams, Daisy. Gatsby’s owns twain a Rolls Royce and a ellow locate wagon, and they are idiosyncraticified as “splendid” and “gorgeous,” showing how greatly moment was located on corporeal appearances of opulence. I ascertain it rather interesting that this last sort of opulence, the car, was the last sinew of damnation amid the newlight. Once Myrtle was run aggravate by Gatsby’s car, each order ended up to-boot destructing. The other grave moldary catalyst was the radio. In an age behind a agelinessout television, radio was the courage of nourishment and intelligence. Radio supposing a uncostly and fitted way of conveying notification and fancys. The earliest scattered-abroads were amplely intelligence and cosmos-nation affairs; following in the decade, radios were used to scattered-abroad constantlyyromance from concerts and sermons and constantlyyromance in betwixt (Cheek). Radio was the main fashion of media that helped disperse other moldary fancys, such as the new voicelessness of Jazz and advertisements for the newest cars. Redundancy The discourse of redundancy in The Vast Gatsby to-boot goes laborer in laborer behind a ageliness the sorticalism and superficiality of the conclusion, and as redundancyes go, the Jazz Age was definitely conspicuous by a vast growth in consumerism.Some of the aforementioned fancys of mold of the Jazz Age to-boot illustration the redundancy of this association, distinctly the cars, the garb, the “terminate through any way feasible” mentality, and the mansions. Leading the way was the increasing lovedity of the automobile, a result that stimulated the U. S. arrangement past than any other toil. At the transfashion of the 20th determination, thither had been singly 8,000 automobiles registered in the United States. By 1920, thither were 8 pet and by the cork of the decade, 23 pet (Cheek). Gatsby’s car thus not singly sortizes the technology of the decade, but to-boot this expandeddisperse redundancy. Gatsby’s car was one that “everybody had seen,” a “high-flavored gist pretense, bcorrect behind a ageliness nickel, pompous hither and thither in its prodigious diffusiveness behind a ageliness boastful hat-boxes and supper-boxes and implement-boxes, and terraced behind a ageliness a perplexity of windshields that mirrored a dozen suns” (Fitzgerald, 41). Further, Gatsby’s promote car, “the mortality car,” is a bcorrect yellow pretense, dramatically contrasting the standardized bclosing pretense of most cars of the conclusion. The mansions are anther very palppowerful fashion of redundancy. “[The Buchanans’] seed was past mature than [Nick] expected, a sprightly red-and-white Gregorian colonial mansion, aggravatelooking the bay.The lawn launched at the seashore and ran towards the face door for a pity of a mile, jumping aggravate sundials and brick walls and enduring gardens—finally when it stretched the seed drifting up the margin in bcorrect vines as though from the momentum of its run. The face was flat by a verse of French windows, shining now behind a ageliness reflected gold and expanded known to the irascible windy behindnoon.... ” (Fitzgerald, 6) Though they are singly one stranger behind a ageliness a little daughter, this vast mansion is star that they, in their eyes, deficiency to enact their sprightly-fortune and opulence. This overover stresses the estimate of redundancy and sorticalism during this conclusion.Another convenient fancy was to terminate as greatly sortical sprightly-fortune as feasible, and then figure it. Fitzgerald summed this fancy up polite in The Vast Gatsby by assertion, “Americans, ageliness sometimes voluntary to be serfs, entertain regularly been headstrong environing being peasantry” (57). Equefficacious if one didn’t entertain the mediums to entertain the best of constantlyything, it was stagnant expected of them. Myrtle was exasperated when she cause out her wife didn’t groove his own help to his nuptials. “He acquired somebody’s best help to get married in…and the man came behind it one day when he was out…I gave it to him and then I lay down and cried…all behindnoon” (Fitzgerald, 24). Daisy to-boot displays the moment of sortical redundancy, to-boot in garb, when appearing at Gatsby’s housings, “It makes me sad consequently I’ve nconstantly seen such—such stagnant n essal shirts before” (Fitzgerald, 59). This concept of redundancy caused nation to locate the most moment and mediuming on purely corporeal, sortical, and at-last impermanent pis. Disillusionment The redundancy sorticalism totally behind a ageliness a consciousness of ‘newness’ through the moldary technologies of the conclusion left an aggravateall impressing of disillusionment upon the violenter collocate. Each order amid The Vast Gatsby is either himself disillusioned or is monstrous by disillusionment. Gatsby can probably be seen as the idiosyncratic indisposition the most beneath this disillusionment consequently constantlyyromance that he has strived for in career, all his opulence and sortical fabricate, was for a mock desire and cause: Daisy. Though his career appeared alcontemporaneously ample, from the vast unrestrained parties during the week to the close nation he concealed himself behind a ageliness, he ended up over in his purely sortical cosmos-people. This is blatantly visible at his funeral; “The subserve glanced different conclusions at his tend so [Nick] took him amargin and asked him to endure half an hour. But it wasn’t any use. Nobody came” (Fitzgerald,). Daisy and Tom were to-boot twain disillusioned, chiefly in their conformity. Tom paraded environing behind a ageliness mistresses and Daisy was toying behind a ageliness Gatsby’s heart; twain were in their different fantasy cosmos-peoples, imagining a career they subconsciously knew they would nconstantly guide. That is at-last why they remained conjointly in the end, resisting the adulterous way they treated their conformity. Nick himself was to-boot disillusioned; “Everyone suspects himself of at smallest one of the violent virtues, and this is mine: I am one of the few right nation that I has constantly known” (Fitzgerald, 39), thus orderizing himself in hostility to the concretiones. He is “inclined to shyness all judgments” (Fitzgerald, 3), equablets in the newlight do not imply to his self-characterization. Though he wants to accept the probefficacious elevated cause, his best chum ends up being probably one of the past probablely infected orders, Gatsby. He to-boot says environing Jordan’s imposture during her tournament, “Dishonesty in a dowager is a wateryg you nconstantly condemn deeply—I was by accident worthless, and then I forgot” (Fitzgerald, 38). His pure awe and phenomenon of this “new cosmos-people” clouds his meliorate judgments.In then end though, it appears that he as efficacious to seize a bit of the verity: when all the phenomenon, enchantment, and flash finally fades loose, the falsity accomplish regulate in and they accomplish finally consciousness that this purhelp of the American Dream was an fabrication-show. Conclusion The Jazz Age was a very moldary change-of-place amid American fact, and has left a rather ample contact on American association. The estimates of mold, redundancy, and disillusionment idiosyncraticateed a ample role on the purhelp of the American Dream. In substance, the American Dream was naturalized on noromance but these Jazz Age estimates.The moldary order of this conclusion determination led to association’s estimate of redundancy and last disillusionment. These mock estimates made the American Dream appear star it is not. In the 1920s, the American Dream was noromance but an fancy of sorticalistic opulence and concrete pleasures. The stretch for this rather unattainefficacious Dream enacted the decease of an America of stubborn performance and sprightly ethics and goals of opulence and a skewed sprightly-fortuneful career. Works Cited Boland, Jesse. “The Jazz Age in America. ” 1920s Fashion and Music. Jesse Boland. 15. 04. 2010. Web/ 01 Sept. 2010. . Cheek, Jerry S. Inventions. " The Roaring Twenties. Kennesaw State University, 01. 08. 2005. Web. 01 Sept. 2010. . Fitzgerald, F. Scott. The Vast Gatsby. Woodsworth Edition. Ware, Hertfordshire: Woodsworth Editions, 1993. Print. Kersh, J. "The Vast Gatsby: The Jazz Age. ” ENotes. Penny Satoris. Seattle: Enotes. com, Oct. 2002. Web. 29 Aug. 2010. . Moss, Joyce. Literature and Its Times: Profiles of 300 Notefficacious Erudite Works and the Historical Events That Influence Them. Vol. 3. Gale, 1997. Print. SparkNotes Editors. “SparkNote on the Vast Gatsby. ” SparkNotes. com. SparkNotes LLC. 2002. Web. 01 Sept. 2010.