Essay B
“The Bridal Party” by F. Scott Fitzgerald
Text interpretation
Summary and structure
The short story “The Bridal Party” by F. Scott Fitzgerald is about a young man’s
disillusion with his romantic love. The narration begins its course with Michael’s learning about
the engagement and the imminent marriage of his beloved Caroline. On the way to his bank
Michael meets Caroline and her fiancé, who invite him to the bachelor dinner and Packman’s
party. Michael’s misery becomes even deeper when he learns about his grandfather’s death. As
he comes into quite a big heritage he decides not to give up till the last moment. Accordingly, he
goes to the party and even enters into a stale scheme of Johnson. Having learned about a strange
woman blackmailing Rutherford, he tells Caroline about his feelings. The facts that Rutherford
was blackmailed by Marjorie Collins and that he has lost his last money do not change her
attitude towards Rutherford and it proves Caroline’s devotion and affection to him. The pomp of
the wedding ceremony makes Michael forget about Caroline for a while. The newly-weds are so
happy that Michael feels that even his sorrow cannot follow them. The ceremonial function
contributes to Michael’s starting his life over and getting over his affection to Caroline. The
story ends with Michael’s bidding the happy couple farewells and his trying to remember which
of the bridesmaids he is to date with.
The text under study presents a piece of narration interwoven with dialogues and the
author’s descriptions and it may be divided into several structural parts:
1.
The note saying about the engagement and the marriage
2.
Michael’s unexpected meeting with Caroline and Rutherford
the rising action
and the invitation to the bachelor dinner
3.
Michael’s inheritance making him feel part of the company
of well-off people
4.
5.
6.
7.
Michael’s declaration of love
Rutherford’s bankruptcy and Caroline’s reaction to the news
The wedding ceremony
Michael’s initiation into a new life
the climax
the falling action
the resolution
The effect of the emotional slant of the text is produced due to the figurative language of the
author.
Character sketches (Caroline, Michael, Rutherford) and stylistic devices.
In the title of the story “The Bridal Party” two meanings are realized at a time. The
“bridal party” means “all people with whom the bride arrives at the church, or all the relatives
on her side”. However, by the end of the story it turns out that Michael, the one who loves
Caroline and struggles to get her back, becomes only one of the bridal party. That is to say, the
author uses dramatic irony as a crucial plot device in the story.
In the very beginning of the story we learn that Michael loves Caroline and that they used
to have a close relationship. In a short flashback it is said that at first he “possessed her young
heart”, and by means of this stylistic periphrasis the author draws the readers’ attention to the
idea that Caroline really loved Michael. However, subsequently the hero began to lose her,
“slowly”, “tragically”, “uselessly”. The repetition emphasizes the drama of the situation,
produces the effect of a long-term action. Therefore, the note about the engagement and the
imminent marriage is a double shock to Michael (the descriptive adjective “the little note” is
opposed to the “double shock”). The contrasting description of the morning (“It was a fine
morning …”) does not sound in tune with Michael’s feelings (“The void in his stomach froze”).
Obviously, his chance meeting with Caroline and Rutherford hurts him even more. It can also be
observed through his brief answers and the remark that “the shock and the void” grow into the
“agony”. The three words (“shock”, “void”, ”agony”) form gradation based on distant
repetition. “Shock” is defined in dictionaries both as an unexpected unpleasant feeling and as a
medical condition in which one feels weak and cold. The word “shocked” means feeling
surprised and upset by something very unexpected and unpleasant. The fact that Mike was
shocked implies that Caroline’s engagement and marriage were unexpected for him, and that
produces the ironic effect. “Void’ is a feeling of great sadness caused by the loss of someone or
something you love; it also means to pass liquid out of your body. And finally, “the agony”
sounds more like a medical term: it is a very severe pain, the great one. Thus, the author does
not choose random words for describing Michael’s feelings. It is important that love is
associated with a disease in the story. It is also interesting to notice that after the wedding
ceremony (in the resolution) the main character gets “cured”.
Therefore, Michael is a dynamic character. At first, he is preoccupied by his misery that
is constantly getting deeper (the note => the meeting => the telegram informing of his
grandfather’s death), by hopeless thoughts that he would never be happy in his life. He is in
shock, in agony, he acts as if “in a daze”. And all these feelings in the beginning of the story
cannot be compared with the ones in the end (finally, he becomes indifferent). These changes in
the main hero prove that he is not a stable character, they also represent the complexity and the
sophistication of human nature. The title, on its part, sums all this together and unites the
character.
So, Michael decides not to “give up till the last moment”. He comes to the bachelor dinner and
the reader can observe how his new clothes change the way he estimates himself. It is
interesting to notice that the new linen (“linen” ironically symbolizing “money”) can utterly
change one’s life. In the word combination “the proud linen” the contrast between the triviality
of the object and the lexical meaning of the adjective “proud” reveals the author’s mockery and
implies that Michael begins to feel more assured, he feels less resentment toward those well-off
people (the ones like Rutherford). Michael even enjoys becoming “part of all this” and enters
into the “stale” scheme of Johnson (It is emphasized by the repetition of the phrase “rich and
assured”).
Having learned about the strange woman wanting to see Hamilton, Michael rushes to
Caroline. Judging from Michael’s represented speech (“Not to bring bad news, but simply to be
with her…”) one can suppose that he hopes that it is not just a clumsy sort of blackmail, but
Marjorie Collins has really been betrayed by Rutherford. This phrase also implies that Michael
wants to look decent and noble as coming to the poor girl at such a moment would be a kind
deed. However, this is just an excuse. In fact, he comes to Caroline not only to calm her down,
but in order to contemplate “her house of cards <…> falling around her head” and to make her a
proposal. It goes without saying, that he secretly (or unconsciously) anticipates his triumph
however hard he may try to conceal the essence of the action even from himself. It seems that
Michael understands unconsciously the nature of these feelings and does not approve of them
but he cannot do anything with them. And Michael takes this good chance and tells Caroline
about his feelings. The metaphorical use of the word “flow” (“words flowed quickly from his
heart”) creates the image of a flood of feelings. The repetitions (“never”, “without”) emphasize
his sorrow. Michael’s passionate monologue, his emotional and touchy declaration of love
reveals that he is a sensitive and deep person.
However, Michael’s expectations do not meet the reality. Moreover, when it turns out
that Rutherford has lost all his money, Michael is regarding Caroline and waiting for her
reaction to the news again (the chain of expressive epithets describing Michael’s look as
“hungry, tragic, pleading”). Nevertheless, she comforts Rutherford and appears to be very
sympathetic, supportive and committed. This episode is very important when examining
Caroline’s character. The point is that in the beginning of the narration her character is revealed
only through Michael’s attitude to her and the fact that she is going to marry another man.
Therefore, she gives an impression of a typical light-headed girl, abandoning Michael in order
to marry into money. At first, she seems to be a selfish girl with material values as she desires to
get into “the shining stream of life”. However, in the scene at the hotel it turns out that money
is not at all the reason for her marrying Rutherford. It is her deep feeling and devotion that
makes Caroline stay with him. She does not betray Rutherford however pity she may feel
toward Michael being so miserable and unhappy.
Then what makes Caroline choose Rutherford, not Michael? On the one hand, Michael is
not a bad fellow. He is deep, emotional, sensitive as it has been explained above. He is also
quite clever as he remarks that the idea of the stunt for the bachelor dinner is “stale and
unamusing”. Michael is not as rich a Rutherford. The repetition of the phrases “had no money”,
“could make no money” emphasizes Michael’s concern about the lack of money and this gap
between the rich and the poor. However, judging from the context one can conclude that he
works in a bank and, therefore, he is not in a disastrous state. Nevertheless, Michael “could not
find himself” and that kept him out of that “shining stream of life” (this metaphor represents the
life of men having “the best of this world’s good”, Rutherford’s society). And that makes
Michael look weak, pathetic, “shabby” and “futile”. He does not seem to have strength in his
character or to go forward as opposed to Rutherford, who always gets over everything.
Rutherford also has an ability to pass over other people and think that the end justifies the
means. Obviously, Michael would not make a good businessman (maybe, it is because he is too
honest for buying a seat at the Stock Exchange for a great sum of borrowed money not to let the
lender down in case he is broken, for example). Rutherford is risky and stubborn, his motto
would be “neck or nothing”. Therefore, as Johnson says, “he is always in everything heavily”.
However, Rutherford always happens to cope with all the problems. And his confidence and
self-assurance is emphasized in his “noncommittal and unrequiring” look and the phrase: “All
right, baby”. It indicates not only that Rutherford is quite reserved and unemotional, but also
that he knows that he will manage to “be back with the millionaires”. Indeed, just before the
wedding ceremony he is offered a huge salary. This phrase also shows that he is sure that
Caroline will not quit him. And it seems to me that they do make a nice couple. Caroline needs
protection and she would not be able to go forward if she stayed with Michael. So, Rutherford
is an ideal match for her.
Of course, Rutherford does not make an impression of a sensitive and reflective person;
he is practical, ambitious and sensible. He stands firmly on the ground. The linguistic
mechanism of creating some of these traits of character is based on the enumeration (“vitally
attractive, confident, authoritative”). It goes without saying that there is a contrast with the
epithets describing Michael (“pathetic, futile and shabby”).
Rutherford’s self-confidence and his knack for taking risks is emphasized in Packman’s
remark that Rutherford is not one of those who would countermand a single flower or a bottle of
champagne. And it is not generosity that makes Rutherford act that way. All the pomp and the
revelry of the wedding ceremony stands for Rutherford’s showing off. He engages all these
luxurious reception halls, ballrooms, bars with cocktails and champagne because he is one of
those who have “the best of this world’s good”. Rutherford is eager to produce a favourable
impression upon others and he wants to present everything favourably.
So, Rutherford’s traits of character are easily recognizable as stereotypical for an average
businessman. This enables me to conclude that Rutherford is a flat character.
The defeated expectancy effect and the role of contrasts in the story
The ending of the story has a very noticeable defeated expectancy effect. Through the
course of the story the author gives misleading clues foreshadowing that Michael and Caroline
will get back together (the episode with the blackmail, the unexpected inheritance, even the
meeting with Caroline with her fiancé, Rutherford losing his money, etc.). Therefore, the trueto-life ending (it is so realistic that it even seems to be trivial) turns out to be unexpected for the
reader. In the resolution of the text Michael is not happy about the situation, but his previous
grief, misery, passion, hope turn into indifference. His feelings are important neither for him nor
for others. He is no longer concerned about them. The sadness of the ending is emphasized by
the author’s plain remark that Michael could not remember which of the bridesmaid he had a
date with. Moreover, the ending does not make Michael a flat character as it illustrates the
complexity of human feelings. Due to this ending, Michael seems real to readers. And finally,
the ending is open and one cannot predict Michael’s future. The author leaves the character free
to decide how to act and what to do next. And it is stated in the text that the wedding ceremony
stands for Michel’s “initiation into a life where even his regret could not follow” Caroline and
Hamilton Rutherford. It implies that Michael understands that newlyweds are extremely happy
and he has to get over his affection to the girl and to start his life over.
It is also interesting to notice that the whole story is built on contrasts. Michael is
opposed to Rutherford. Features of Michael’s character are often opposed to the ones of
Rutherford (“pathetic, futile and shabby” and “attractive, confident, authoritative”, even the
scene when “two pairs of eyes were regarding” Caroline and so on). Michael’s expectations are
opposed to the severe reality all through the course of the narration. Moreover, Michael’s
feelings always contrast with his surroundings. The “fine morning” is opposed to the “void in
his stomach”, the atmosphere of happiness and joyful youth does not correlate with Michael’s
mood. Only the simile “like those jovial or sinister groups…” correlates with his feelings. The
word “sinister”, or scary, refers to ghosts, to something dead while “jovial” is means funny,
joyful. As the oxymoron “jovial or sinister” describes the bridal party at the wedding ceremony,
it describes Michael, too. He becomes one of the bridal party and therefore, this oxymoron
reveals his despair, all his conflicting feelings and the paradoxicality of the situation (for
Michael) in general .
General conclusion: themes, ideas
The implications of the text suggest that behind the external plot there is an internal
conflict. It is based on several themes. First of all, the author addresses the eternal love theme.
Fitzgerald examines the relationship between a man and a woman by the way of example of the
triangle (Caroline, Rutherford and Michael). The author also investigates the problem of gaining
a success. Through the contrast he shows that Rutherford for whom the end justifies the means
is more successful than Michael, who is unable to make big but dubious money. Fitzgerald often
said: “I have never been able to forgive the rich for being rich and it has colored my entire life
and works”1. So, the problem of the gap between the rich and the poor is also represented in the
story. The author shows that it is rooted in the psychology of people and in human nature.
1
R. D. Lehan, F. Scott “Fitzgerald and the Craft of Fiction”