A Study of FictionalTechniques
in The Great Gatsby
Seiwa FUJITANI
CONTENTS
PREFACE
THE FORM OF THE GREAT GAT SB Y
THE USE OF NICK AS A NARRATOR
TIME AND THE DREAM
I
11
111
PREFACE
Fitzgerald
had
himself
the protagonists, particularly when
from
he wanted
a new
backs.
to have
form
in which
been
easily involved
a new
he adopted
in the stories.
He
dealing
device in his form in The
had
difficultyin detaching
the moral issues.
G7'eai Gatsby.
a first-person narrator in this new
the story began
had
with
After many
novel. Fitzgerald
Therefore
struggles for
also took a form
with the narrator's recollection resulting in the use of many
Since the event had
to listen to the narrator。
already
This
happened,
device
there was
enabled
no other way
Fitzgerald
t0 leave
flash-
for the reader but
the narrator to judging
the moral issues.
The
adoption
dream"
which
of the narrator was also useful for Fitzgerald
was
his main
theme.
He
put
hero's vain effortto repeat the past. This
on
the incidents the characters
encountered.
depict the hero's struggle against time.
and a Franklinesque
the imagery
time-schedule,
of valley of ashesレWe
materials to illustrate his main
would
I The Form
write something
Pattemed.ぶ）ARer
new−something
the
in the position to' observe
the
Fitzgerald to objectify his moral judgments
Fitzgerald
They
and
selected some
materials in order to
were the depictions of clocks, an old timetable,
the hint of Keats's “The
like to see how
theme, “time
In July, 1922, before moving
the narrator
enabled
in illustrating“time
Great
to a Nightingale,"
effectively Fitzgerald
and the dream,"
of The
Ode
used
and
these
in this novel.
Gatsby
to Great Neck, Fitzgerald told Perkins that he wanted “ 'to
extraordinary and
three years, this“something
−143
−
new"
beautiful and
appeared
simple & intricately
as The
Great Gats勿，
Seiwa
During
this time,
Wilson,
" 'See
gerald
and
had
The
narration
two
disapproved
Side
with
that
device
he identified
When
and
himself
had
with
the
lations, or had
After
the
separated
Fitzgerald
sent
letter
Perkins
Norris
out.
shows
wrote
brushed
in the
detaching
Great
who
a letter to Perkins,
the
author
success
"(I
of This
in finding
moods.
You
adopted
exactly
the
of a spectator than an actor: this puts
the characters stand and at a
been so immensely
effective,nor
circumstance
in a vast
As
Fitzgerald
However,
he
confessed
how
down
had
to
easily
to absorb into myself all the qualities that make
6)
innards.
from
Piper
matter,
the
protagonist
says, "Fitzgerald
and
an inconclusive
Gatsby,
eyes, expressionless, looking
to Fitzgerald.
of novel.
himself
Damned.
off with
in his
priest
to lose the outer qualities that give me my individuality
own
of The
first time
stories :
want
by his subject
them
of
out,
to Fitzgerald:
and
is more
models
type
I want
in
device
pointed
spoiled
Fitzgerald's
back
great unblinking
been
the man;
and
raised
the publication
had
I cling to my
difficulty
the
who
various readers will see different significances; but their
"slice-of-life"
I don't want
issues
the
tired of being
could your irony have
thing:
to be like them―I
Beautiful
Mizner
for the
and
employed
Fitzgerald
stories, this
As
Trimalchio
I'm
a narrator who
the characters
I want
had
The
moral
in
To
Fitz-
of Paradise
it and
so strongly to feel at times the strangeness of human
the
with
be like them.
and
own)
In no other way
and
attractive and leave him
Paradise
clearly
Gatsby
This
novel.
to the whole
5)
It's magnificant!
to abandon
I like men
Fitzgerald
Great
really my
touch
scene.
Side
Conrad.
Gatsby.
Edmund
3)
him".
In the eyes of Dr. Eckleberg
style, Mackenzie
them
Conradian
novels―This
involved
Great
wrote
2)
vitality.' "
he abandoned
book3 suggestive of all sorts of thoughts
gives a superb
the human
the
being
The
to keep
4)
to start over."
been enabled
heedless universe.
In
novel,
middle-western
of The
of his new
great
first two
Fitzgerald
a point of observation on a higher level than that on which
the reader have
repudiate
the
the
1922,
style of Joseph
from
admired
distance that gives perspective.
upon
the
writing
of tellingit,that of employing
the reader upon
presence
in
something
I want
in the form
right method
in this new
Fitzgerald
manuscript
It is an extraordinary
in his
himself
grudgingly
and
of using
detaching
allowed
August,
way
But
useful
In
of view
followed
at last I've done
of Paradise
a new
Damned.
of his nature,
the
of it.
new
point
proved
sides
of but
1924,
some
form
Fitzgerald
of a narrator
the
In
and
difficulty in
use
think
want
the
omniscient
narrator.
much
career
the
Beautiful
first-person
"His
considered
here...I
used
first-person
had
he
Fujitani
had
had
indulged
in
been
in long
This
him
Side
unable
of
to cope
subjective
specu-
irony."
Fitzgerald
told
Perkins
"Conrad
has
been,
after
employment
of
8)
all, the
the
narrator
judges
In
healthy
the
influence
Conrad
moral
his first novels,
convey
the
used
and
feelings
An
on
the
in Lord
technique
Jim
tells the reader
Outcast
and
moods.
of
and
the
However,
novel."
Youth.
secret
of the Islands
the
Conrad
of the
and
the
hero
Almayer's
discovery
― 144 ―
This
takes
as Nick
means
the
the form
does
Folly,
of Marlow
in which
in The
Conrad
as a
Great
could
not
narrator
Marlow
Gatsby.
directly
enabled
A Study of FictionalTechniques in The Great Gatsby
Conrad
to be free to raise moral
sensibility, Conrad
problems.
succeeded
By filteringthe moral
in objectifying his compulsion
dealing with “the moral issues," it had been
you feel.‥to make
9）
you see." In
gerald to successfully keep
hard
through
for Fitzgerald “to make
this senseけhe
detachment
problems
to moralize.
Marlow's
Particularly on
you hear. to make
use of a first-person narrator enabled
in the novel.
Fitzgerald
found
a form
Fitz-
of his own
in
10）
The Great Gats勿.
He again used a first-person narrator, Cecilia, in The Last Tycoon.
11 The
Why
does The
in the summer
West
Great
as
a Narrator
Nick's recollection ? It is the story that happens
goes East in the spring of twenty-two
Recollecting
to reserve judgments:
of Nick
begin with
Nick
in the autumn.
advice
Gaisby
of 1922.
Use
the incidents of that summer,
“ 'Whenever
you
and comes
back
Nick remembers
Middle
his father's
feel like criticizing any one, just remember
that all the people in this world haven't had the advantages
10
that you've had.' ” But
being involved in the incidents resulting in Gatsby's
death, Nick
after
finds reserving judgment
has
a limit:
Conduct
may
it's founded
uniform
Placing
reader
be founded
on.
who
has
happened,
Nick's
recollection
Fitzgerald's
making
hope
is no
makes
on
apply
to
on
narration.
there
idea
also
grant
back
the hope
listen to Nick's
already
…by
l came
from
the East last autumn
l felt that l wanted
the world to be in
and at a sort of moral attention forever (2).
Nick
might
on the hard rock or the wet marshes, but after a certain point l don't care what
When
moral
in a position
to begin
Since
the incidents
which
other
way
his position
using
for
us
but
Nick
t0 listen
as the narrator
natural。
is reflected
in his notes
a narrator
the story, Bltzgerald
wants
makes
to tell the reader
to the
narrator,
to The
the
have
Nick.
Thus
Last乃>￡∂on.
Cecilia
Nick:
Cecilia, at the moment
of her telling the story, an intelligent and
myself the privilege, as Conrad
did, of letting her imagine
observant
woman,
l shall
the actions of the characters.
to get the verisimilitude of a firstperson narrative, combined
with a Godlike
knowledge
Thus, I
of all events
that happen to my characters.
12)
This
is what
places
the
Fitzgerald
the reader
in direct
participant. He
events
taking
narrate
the
story:
Nick
at Yale
asks
Nick
to help
ecstatic
but
touch
informs
place
with
intended
among
Daisy
to
with
do in
Gatsby,
is a second
and
Great
the action.
the reader
University
The
cousin
Gatsby
him
to have
a romantic
short-lived
reunion
as an
In the
of what
Daisy
her
and
with
and
Nick
husband
still loves
reunion
observer
−145−
Tom.
to Nick,
By
storv， Nick
is happening
and
who
Gatsby.
Daisy
Daisy.
a participant.
using
Nick,
is both
what
is in
has
a
(Tom)was
This
the observer
happened
strategic
is Nick's
Fitzgerald
position
in the same
neighbor.
involves
and
in the
Nick
to
class
Gatsby
in their
Seiwa FUJITANI
Nick
connects
drunken
trip
each
party
to New
at Tom
York
story develops
Gatsby's
myth
legends:
that
in a house
Nick's
Gatsby's
belated
narration
only
entrance
by
in person
Odyssey,
Piper
once,
he
that looked
These
to the
Nick,
we
of persuading
is essential
of him.
was
take
sense,
him
the
The
inflation
of
in
dozens
"that
he
didn't live
secretly
up
and
even
mind.
By
to attract
Nick's
so on.
Gatsby
moved
only
and
the
So
on his own
down
the same
reader.
gradually.
token,
With
when
terms.
of
we
the
meet
Quoting
the
as follows:
the skeptical modern
Chapters l and
and
the reader's
Gatsby
can
him
spy,
and
this
clothes
the wild
mansion,
Gatsby,
In
in order
about
to keep
at Gatsby's
and
Fitzgerald
a house
we
ago proved in the Odyssey―was
party
Gatsby.
attract
method
one of the best ways
ly sprinkled with a number
like
visit to the Buchanans,
Daisy
a German
Fitzgerald's
long
an ideal impression
was
to know
And
up
with
unexpectedly,
on
huge
story.
legends
novel
come
finally and
comments
that
Nick's
between
friendship
the
(98).
the
reunion
developing
in a boat
shore"
story:
apartment,
the
growing
in
killed a man
at all, but
Island
has its own
Myrtle's
Gatsby，
is useful
he
which
and
with
with
the Long
Gatsby
chapter
reader to accept a heroic figure−as
off stage long
enough
Homer
for the other characters to build
n, and the firstpart of Chapter
Ill, were therefore, careful-
of casual allusions to Gatsby in order to create a plausible suspense regarding his
origins and business affairs.
13)
Fitzgerlad
which
most
informs
The
uses
frequently
the reader
third
narrator
Nick
one
the
makes
after we
But
when
hears
the
uses
and
His
there
what
is no
he reads
movements―he
Hill, where
he bought
he
has
to
not
youth.
the
story
dog
days
the
with
to go
to the
back
second
one
This
last device
himself.
With
resources.
Nick
house. But
on
Nick
in his own.
enables
murder
narrates
Tom
the
day,
his eye-
and
Gatsby's
Gatsby
murder
method.
tell what
in
his imagination,
between
reconstructing
form
is that
of Gatsby's
showdown
a little and
is the
sometimes
illustration
the
Buchanan's
The
first one
words,
story.
various
from
day,
Nick
happened
begins
at the garage
(156).
make
Nick
other
people
Fitzgerald
uses
happened
about
the
The
sees.
witnessed
In
account
l want
from,
of what
one
reconstructs
watching
sources
tells Nick
people's
before"
behavior,
Nick
Jordan
“Now
obtained
Wilson's
he
eye-witness
night
three
of what
in other
events
in the
narration.
the reader
Gatsby's
keeps
the
the story:
informs
where
scene
Gatsby
information
friend
of
Nick's
sometimes
Nick
reconstruct
of the
left there
Fitzgerald
tracing
some
shifts from
to reconstruct
informs
in which
reader
where
Fitzgerald
in employing
he hears,
form
Nick
account
to the scene
IV
Nick
t〇reconstruct
witness
using
methods
of what
is the
informs
Fitzgerald
In
three
the
reconstruct
or newspapers,
to tell Wilson's
We
story:
and
a subnarrator.
to Wilson.
brief
the
can
using
using
a
subnarrator,
Nick's
imagination.
Michaelis
who
is Wilson's
also
this
form
find
in
wartime
love
a汀air between
Daisy
and
behavior,
Nick
pieces
story
with
up
the
only
chapter
Gatsby.
what
he
in the papers:
was on foot all the time-were
a sandwich
aftenvard traced to Port Roosevelt and then to Gad's
that he didn't eat, and a cup of coffee….By half-past two he was in West
−146 −
A Study of FictionalTechniques in The Great Gatsby
Egg,
Here
where he asked some
Nick
two
shifts
o'clock
phoned
with
the
Gatsby
word
was
He
a
on
he has
from
Wilson's
to him
heard
to Gatsby's
have looked
without
murder,
Nick
being real, where
of the purposes
being
involved
himself
with
in the
the
However，that
the moral
leaving
tached
to have
problem
reader
from
being
in Christmas
to contrasting
involved
vacations
That's
my
Middle
West−not
by lighted windows
winters, a littlecomplacent
called through
the wheat
Nick's
Tom,
in the East.
and
To
He just reminds
Jordan
Jordan
corrupted
with
judgment
tremendoulsy
away
had
of the
Fitzgerald
West
with
them.
By
himself
de-
of his homecoming
encounters
in the
East。
towns, but the thrillingreturning
and the shadows
of holly wreaths
with the feel of those long
But
he
are still
succeeds in
to the reader.
Gatsby's
death,
of foul dust, Nick
Nick
Angry,
is angry
the moral
of
feels“foul dust"
does not teach how
thirty,'I said。 Tm
didn't answer.
”（179）. Nick
identified
Middle
keeps
recollection
from
objectively.
to contrast
in the story is effective in contrasting
who lives in this world
what
world,
himself
problems
the East is.
problems
After
new
house in a city "where dwellings
her that he is thirty years old now: “ Tm
sorry, l turned
Fitzgerald
moral
Nick's
degenerated
moral
that of Nick.
01d t0 lie to myself and call it honor.' She
and
to prevent
the life Nick
the Carraway
when
his imagination:
the reader
problems,
with
action
shivered as he found
part of that, a littlesolemn
and
to state concerning
reservation on moral
Daisy,
the
enables
eχample,
am
up in
not stress how
with
moral
and sleigh bellsin the frosty dark
(177)｡
he wants
contrast
moral
Gatsby's
gardner. But
trees (162).
or the prairies or the lost Swede
growing
Fitzgerald does
what
write
decades by a family's name
conveying
the amorphous
of moral.
Nick
“At
if anyone
like air. drifted fortuitously about…
problem
contrasts
on the snow. l
the
(161).
time:
that
the scarcely created grass. A
it difficult to
For
sharply
from
the
this
butler
reconstructs
and
the story
dreams
through
judging
in the story.
as a boy
Nick
Gatsby's name
about
the
frightening leaves and
his use of Nick
and
trains of my youth, and the streetlamps
thrown
on
having
words
at
with
the story is for Fitzgerald
made
by
In other
him
narrate
which
is solved
of the East.
the
reconstructs
ghosts, breathing
story, particularly
characters,
Gatsby's
the sunlight was upon
poor
Nick
to
left word
the chauifeur,
up at an unfamiliar sky through
raw
by that time he knew
Poo1” (161).
the butler,
like that ashen, fantastic figure gliding toward
One
action
and
at the
from
grotesque thing a rose is and how
material
to Gatsby's house. So
his bathing-suit
to be brought
witness
must
scene
put
the resources
there is no
one the way
to live.
five years too
and half in love with her,
with
Tom
but he does not
snub him:
lcouldn't forgive him
was
or like him, but l saw
allvery careless and confused.
They
were
that what
he had
done
careless people, Tom
and creatures and then retreated back into their money
was, to him, entirely justified. It
and Daisy-they
together, and let other people clean up the mess they had made…｡
Ishook
hands
with him; it seemed
silly not to, for l felt suddenly
−147
−
up things
or their vast carelessness, or whatever it was that
kept them
(180−181).
smashed
as though
l were
talking to a child
Seiwa
Nick
not
eyes
tells the
identify
reader
himself
of Nick.
of view.
Fitzgerald
uses
the
and
narrates
backwards
sequence
of events
Allowing
E
feels as if he ■were talking
Nick. He
method
many
present
he
with
This
scient point
and
that
only
of contrast
flashbacks
he
each
forwards
to a “child."
shows
us the
impresses
us
in this novel.
connects
and
FUJITANI
Nick
story. With
over
world
much
the
Gatsby's
Here,
of careless
more
than
Gatsby's
summer
of 1922
Millar
people
the
narrates
history.
Fitzgerald
through
method
of
history
as the
shows
a
does
the
omni-
of the
center,
diagram
past
Nick
of the
in this novel:
χ to stand for the straight chronological
account
of the summer
of 1922, and
A, B, C, D, and
to represent the significant events of Gatsby's past, the nine chapters of The Great Gatsby may
be charted:
X, X, X, XCX,
14）
X, XBXCX,
X, XCXDX,
XEXAX.
Gatsby's
more
history
gives
significant.
us a sort of suspense
It ＼＼as wise
for
to some
Fitzgerald
extent
and
to distribute
it makes
Gatsby's
the
device
history
of narrator
throughout
the
history.
Ill Time
“Time
and the dream"
stories published
Straw,' 'The
Dreams,'
'The
prior to The
Sensible
Thing,'
old image
Pierian Springs
stops: “ 'When
me
wild.
the
of Fitzgerald. We
Witch,'
'The
he hears
the threshold
Straw,"
when
it was
Sensible Thing,"
It'slike a clock ticking away
finds that “his imagination
thingsﾂ The
dream.
George
fact that
Like Gatsby,
makes
something
George
George
Dexter
We
This
George
O'Kelly
in him is gone.
loses his girl his time
after ten.
At that minute
struggles against time. In
all the time I'll be with you. l came
had
”
become
colored
rich gives him
theme
theme
is mirrored
in The
comes
up again
and
again
man
on his
of the wealth.
gone, he knows
because
familiar
he has lost
told a friend
not being able to marry
I lived itﾄﾞ）” George
in the past collapses in the process of time but
tries to turn the clock into the past.
sense of time in terms
−148
visits Jonquil
point of view
Gatsby. Fitzgerald
is the unfairness of a poor young
accept the fact that the dream
to consider Gatsby's
his dream
Great
the
here to be happy
all these simple
another
l
fan,'...'itdrives
After one year, George
distorted and
Dreams,"
and is considered
'Let's shut off that damned
does not do“the sensible thing." Gatsby
have
Rombert
siχteen minutes
a fortune but can not win her love. With
in him. This
a girl with money.
Gatsby
has
George
and the Last
in “Winter
has “faded"
envies wealth and the girl who is the embodiment
that“ 'the whole idea of Gatsby
and
example,
Judy
in his short
as the Ritz,' 'Winter
collapses and he realizes that“something"
the Last
Jonquil breaks with hini, he says／
and
as Big
'Absolution.' For
when
find this theme
Pierian Springs
Diamond
16）
and forget everything about New York and time-'
again
Dream
Gぷtsby, including: “ 'The
and
of Judy
l crossed
theme
is gone
and
stopped living.' ” In “The
15)
scene where
Great
'O Russet
that his dream
“too old." His
In “The
was the main
Jelly Bean,'
Deχter knows
and
−
of his dream.
Gatsby
lives for his
A
dream,
Mrs.
Study of FictionalTechniques in The Great Gαtsby
that is, essentially, to relive the past.
Buchanan. In
other words,
27 years old, he was a lieutenant
fell in love. Though
Daisy
Gatsby
to give her a 卵50,000
Gatsby
who
stillwants
that she should
time. As
to keep
his image
go to Tom
and
Lehan
of his youth.
without
Tom
Gatsby
Daisy
is now
Gatsby
was
Daisy
Fay
and
who
was
rich
could not accept
Since that moment
Gatsby's
told Nick, " 'Her （Daisy's）voice
to be distorted. Though
of Daisy intact: “He
met
Buchanan
present.
a past" （149）.
by wealth. As
who
When
this time, Gatsby
for a wedding
is full of money,' ”
（120）Gatsby's identity began
Gatsby
a dream
his love, she married
man
to be counted
seeks for his dream-Daisy,
Taylor. At
pearl necklace
was “a penniless young
love for Daisy has come
keeps
at Camp
returned
enough
He
wanted
the five years elapse,
nothing
less of Daisy than
say; 'I never loved you' "（111）. Gatsby is fighiting against
indicates. Gatsby
wants “to turn back
the clock and
to start over at thirty-
19）
two where he left off at twenty-seven."
In
this novel
Fitzgerald
suggest Gatsby's
depicts clocks, watches,
fight with time.
use of a clock Fitzgerald
Nick's living room,
For example,
in the reunion
Gatsby
looks at his watch
scene suggests
successfully has a reunion
Gatsby's
to tiltdangerously
effort to repeat the past.
from
clock, though it is not broken.
But Nick
" （88）. Then
Gatsby “had
been
he counts time accurately
Gatsby's ideal time
full of the idea
runs
so long, dreamed
his teeth set, so to speak, at an inconceivable
gaudiness
Even
when
Gatsby
eyes stared down
"the clock took
he turned
apologizes
that it had smashed
by “an old clock," the irony is that Gatsby
years,' said Daisy, her voice as matter-of-fact
November'
clock depicted
and
to Nick
caught
for the
says idiotically／ 'It'san old clock' ”（87）. Idioti-
cally since“ 'I think we all believed for a moment
for many
Gatsby
V, with the
for Daisy in
so far that it rested against
tips over Nick's dock,
in place" （87）.
to
coining to tea.
The
this position his distraught
Gatsby inadvertently
set it back
of the elapse of timeけhough
Waiting
and says nervously, " 'Nobody's
vain
in order
scene in chapter
at the pressure of his head, whereupon
fingers and
（88）. As is symbolized
timetables
Nick's time.
with Daisy, “（Gatsby's）head leaned back
at Daisy" （87, italics mine）. When
it with trembling
and
and
who is“too late" for the real time.
the face of a defunct 炳αnilepiece clock, and
this moment
at the reunion
juχtaposes Gatsby’s time
It's too late!' ”（85）. But itis Gatsby
schedules,
in pieces on the floor' "
does not consider the effect
since he left Daisy: “ 'We
as it could ever be.
down
haven't met
'Five years neχt
“like an overwound
it right through
clock," since
to the end,
waited
with
pitch of intensity" （93）. "A universe of ineffable
spun itself out in his brain," says Nick, “while the clock ticked on the washstand
and the moon
soaked
with wet light his tangled clothes upon
the floor"（99べL00）.Thus
clocks
are e狂ectively depicted in the novel in the sense that Gatsby's effort to turn the clock into the
past is vain. As
Gatsby's house
for the timetable,
that summer"
1922: “It is an old timetable
Nick
writes down
on “the empty
now,
effectJuly 5th, 1922' ”
（61）. The
“the
names
of those
who
came
spaces of a timetable," recalling the summer
disintegrating
at its folds, and
headed
'This
to
of
schedule in
fact that this timetable is no longer “in effect" also impresses
Gatsby's vain efforton turning back
the clock.
−149−
Seiwa Fdjitani
Gatsby's
sense
change. At
James
of time
the
saw
Dan
off his past
as a
son
James
Gatz
created
(99).
Gatsby
he
Gatz
age
was
rajah
of
be
viewed
Cody's
yacht,
his past。
up
in
Gatsby
moved
but
of some
educated
of Europe-Paris,
his
his past.
people"
from
his Platonic
and
Gatsby's
In
When
intended
to cut
his imagination,
conception
of himself"
in the Middle
that
name
Gatsby.
He
(99).
people
at Oxford,"
is, by
to Jay
farm
wealthy
Venice,
that
name
to change
“sprang
son
aspect,
changes
unsuccessful
he is “the
America
in all the capitals
another
Gatz
his mind
and
Jay
that
from
Tames
of “shiftless
tells Nick
“brought
may
seventeen,
West,”that
he “ 'lived like
Rome-collecting
jewels,
chiefly
a yoxing
rubies'
”
(65−66).
Gatsby's
name
change
for the first time,
money,
Daisy
Fay
(120). Nick
amazed
more
was
rooms,
was
was
the
embodiment
Gatsby
his desire
kid away
of dances whose
Jay Gatsby
that “Daisy
a borrowed
Whitley
astonished
lived
there"
already in lavender, but fresh and
succeeds in concealing
dignity for Gatsby,
eχplains Gatsby's
gale." The
reunion
scene
over-dreamed-that
James
Daisy's
When
stems
from
believes the dream
he
saw
then
a lieutenant
daughter,
the
house
in
Daisy
without
golden
Louisville.
girl"
But
what
(148):
upstairs more
beautiful and
cool than
other bed-
that were not musty
redolent of this year's shining motor-cars
Gatz in his lieutenant
by wearing
a lieutenant
between
most,
Uniform,
Gatsby
and
Daisy
was
a deathless
unchanged,
desires to
is constantly
though
song
which
is
chronological
of process and immobility
which
will transcend
which
in fluχ against time frozen, becoming
Lehan
not
Gatsby's
mind.
man's
He
mind.
Bird｡”As
will somehow
struggle
dream
with
towards
defeat
fusion
time,
Fitzgerald
against reality, time
as the seed of possibility against
double
vision
on
to try to wed real time with ideal time, but in fact he is trying to“wed
−150−
wast
destructive operations of time and
Keats's
see Fitzgerald's
changes
but by working
suggests: “the
against being, time
we
'Thou
of“immortal
a vision which
altogether
that “The
to immortality.
the elapse of time
the normally
21）
its
attendant lords, disillusion and mortality." In
suggests
nightingale:
with the timeless song
sequence
the eyes of Nick:
because it couldn't
Whitley
cling
to a Nightin-
the effect of time to man's
striving to adiieve
time, not by abandoning
time as the seed of decay." Here
22）
through
song" （97）.
to that of Keats's
Gatsby
tried to coalesce his time-bound
finds these “antithetical elements"
is shown
with its fluctuating, feverish warmth,
his belief that he can transcend
adds, “Keats
uniform.
other words,
helps him to cover “the hot struggles of the poor" （150）.
voice
remains
uniform. In
sense of time in terms of relation with Keats's “Ode
born for death, immortal
20）
Bird!' ”
seems
was
the “king's
by
breathing and
'deathless' quality of her voice corresponds
Whitley
wealth.
who
flowers were scarcely withered (148).
“l think that voice held him
Keats
Gatsby
of wealth,
was
Gatz plays a role of Jay Gatsby
tragedy
to acquire
stronger. To
a ripe mysterj"-about it, a hint of bedrooms
and
be
by
became
of gay and radiant activitiestaking place through its corridors, and of romances
and
James
is triggered
desire
tells us how
him
There
his
time. Gatsby
his unutterable
A Study of FictionalTechniques in The Great Gatsby
visions
to her (Daisy's)
The
valley
place
of ashes
where
stops.
perishable
they
This
gives
have
us some
no hopes
is the world
(112)
which
significance
and
seems
in terms
everything
of inferno,
This is a valley of ashes―a
gardens; where
breath,"
turns
the spiritually
to sing
of time
scendent effort,of ash-gray men
who
move
chimneys
dimly and
song."
the dream.
This
is the
world
This
is the
where
time
world:
fantastic farm where ashes grow like wheat
ashes take the forms of houses and
and
to ashes.
dead
a "deathless
and
into ridges and
rising smoke
already crumbling
hills and
grotesque
and, finally, with
through
the powdery
sionally a line of gray cars crawls along an invisible track, gives out a ghastly creak, and comes
immediately
the ash-gray
men
swarm
up with leaden
spades
and
stir up
an impenetrable
a tran-
air.
Occa-
to rest, and
cloud, which
screens their obscure operations from your sight (23).
In
this place,
wheat,
colour
of gray.
Dutch
sailors must
of this valley
shoots
There
and
As
run
the
one
the
foul
"there
they
"the
dust.
Gatsby's
Gatz,
the
green
have
hopes,
in this new
Myrtle
is run
remarks,
under
Myrtle
by
the imagery
"green
world.
over
breast
There
by
of green
of the
is no
Daisy.
this valley
Jordan
who
are
new
hope
Wilson
of ashes
time
Gatsby's
twenty-four
aired
dust.
Jordan
depicted
world,"
or future
murders
expresses
can
not
after
amount
for many
recognize
with
(182)
to the
Gastby
"its dearth
is skillfully
father,
shows
hours
of the
described
in
day
by
Tames
Gatsby,
back
These
mis-seeings
the
which
residents
and
later
he
of imagination,
death,
Nick
and
Symbolically,
his
is triggered
which
even
in 1919,"
everywhere,
(147).
it to Nick.
murder
wife,
Series
Myrtle's
of dust
days"
Gatsby's
for Tom's
associates.
the morning
an inexplicable
been
foul
fixed the World's
"business"
On
the
mistakes
Daisy.
man
of Gatsby's
was
no
that
seen
is distorted
over
hadn't
gardens
23)
joy."
Everything
Wolfsheim,
is
Long
misunderstanding.
being
and
have
of ashes.
himself.
energy,
farm
though
(74)
imply
people's
rooms
Gatsby's
"SCHEDULE."
Nick
she
wrongly
visits Gatsby's
the
finds it filled with
by
eventually
met
musty,
turns
Gatsby's
death,
6.00
Dumbbell exercise
a nd wall-scaling
6.15-6.30 "
A.M.
Study electricity,
etc
7.15-8.15 "
Work
8.30-4.30P.M.
4.30-5.00 "
5.00-6.00 "
Study neededinventions
7.00-9.00 "
No
wasting
No more
RESOLVES
time at Shafters or [a name, indecipherable]
smokeing
or chewing.
Bath
every other day
Read
one improving
book
or magazine
151 ―
per week
under
finds
as though
Risefrom bed
Practice
e locution,
poiseand how toattain
it
as
to ashes.
Gatz:
GENERAL
before.
and
of employment
Baseballand sports
to
Nick
blindness
house
were
After
her
him
thinks
dream
a scheme
Wilson's
leads
Mr.
for
Seiwa FUJITANI
Save S5.00 [crossed out]$3.00 per week
(174)
Be better to parents
This
schedule
attain
riches"
“'If
reminds
his dream
dream。He
he'd
build
up
the
used
,we
country'
for some
Gatsby
is, however,
a result,
events,
But
after the
During
the
thirtieth
from
l
a
the
decade
scene
between
Nick's
Tom
For
on
of foul dust
James
sense
with
to be
he has
to make
to repeat
the
time, since
his time
is five years
at Plaza
Hotel,
being
to Nick,
is something
Tom's
since
hard
malice"
he is in the position
Nick's
Nick
time
thirty is impressive
behind.
(148)｡
suffuses
remembers
enough
a
past.
to see the flow
sense
suddenly
to
of helped
for him
and
time
says
He'd
time
time
tried
“rags-to-
it possible
glass against
Gatsby,
father
Franklin's
by
Gatz
American
J. Hill.
Franklin,
is used
without,"
and
rumination
world
compare
on borrowed
and
confrontation
we
makes
up “like
is “within
like
Gatsby
James
in the
Gatsby's
man
them。
wealth
believed
(169)｡As
when
hand,
that
is smashed
Nick
that of the
was thirty.
other
Franklin.
He
him"
between
for his dream
dream
Benjamin
man. A
However,
believes
confrontation
birthday.
of time
before
great
difference
seeking
Gatsby's
a
by
philosophy.
future
”(169).
Gatsby
for the
time.
big
of been
purposes. On
in haste.
As
he'd
find a complete
fortune
As
of Autobiography
a Franklinesque
had “a
of lived,
Gatsby's
us
with
the
that
of
story.
it is his
to shift our
sense
to that of the reality.
Before me stretched the portentous, menacing
of loneliness, a thinning list of single men
to know,
road
of a decade….Thirty−the
a thinning
promise
briefcase of enthusiasm
of
thinning
hair (136).
After
realizing
carry
well-forgotten
again
soon
with
I'd
the
had
Nick's
this fact, Nick
when
dust"
sees
(138).
enough
time
dreams
he
feels love
from
At
gives
us another
is effective in dealing
Fitzgerald
chose
the
depiction
schedule,
vain
and
struggle
the
form
of clocks
an
day,
dimension
with
old
the hint of Keats's “Ode
against
Nick
one
in which
and
“knelt
house
for
a narrator
to age"
body
Tom's
of all of them
sense
age
Myrtle's
for Jordan
who,
(136). However,
in the road
refuses
and
to go in:
to see the
main
recollected
timetable,
and
suddenly
Fitzgerald's
Nick
“unlike
to a Nightingale"
world
Nick's
point
her
"I'd
be
were
too wise
of view
thick
damned
included
and
history,
change,
more
The
the
these
ever
to
changes
dark
if I'd
Jordan
of foul dust.
theme-time
name
was
mingled
that
Gatsby's
Gatsby's
Daisy,
blood
go in;
too” (143).
adoption
dream.
materials
of
Since
such
Franklinesque
as
time-
effective to stress Gatsby's
time.
Notes
1.
2.
Andrew TurnbuU, ScottFitzgerald(New York: Charles Scribner'sSons, 1962),p. 146.
F. Scott Fitzgerald,The Crack- Up, ed. Edmund Wilson (New York: New Directions,1945),p.262.
3. Arthur Mizner, The Far Side of Paradise (London: William Heinemann, 1969),p. 185.
4. To Maxwell Perkins,October 27, 1924, Dear Seou/Dear Max: The Fitzgerald-Perkins Correspondence,
eds.John Kuehl and Jackson R. Bryer (New York: Charles Scribner'sSons, 1971),p. 80.
5. To F. Scott Fitzgerald,November 20, 1924,Ibid.,pp. QO-QQ
−152−
A Study of FictionalTechniques in The Great Gatsby
6.
7.
Fitzgerald, The Crack- Up ,op. ci･Z･>p.169.
Henry Dan Piper, F. Scott Fitzgerald:yi Cバtical Portrait (London:
8.To
9.
In his 1934 introduction
had just re-read Joseph
wrote, "My
make
10.
to the Modern
Conrad's
task, which l am
edition of The
Bodley Head,
literature, some
you see. That-and
writers have adopted
Hemingway
used it in A
Fitzgerald, The
Farewell
to Arms,
Great Gαtsby (New
1965), p. 131.
Gαtsby，Fitzgerald described. “l
In that preface, Conrad
of the written word
to make
you hear, to
no more, and it is everything."
the first-person narrator.
and Faulkner
York:
Great
the 'Narcissus']."
trying to achieve, is by the power
you feel−itis before all, to make
In American
Library
preface to The Nigger[of
Great Gatsby, Willa Cather had adopted it in MyﾉAnto?iia
ノ
11.
The
Perkins, n.d. (ca. July 15, 1928)Files of Charles Scribner's Sons, quoted by Piper, op. cit･，p，
1 30.
and
J
For example,
Lost Lady.
After The
used it in Absalom,
prior to The
Great Gats砂,
Absalom!.
Charles Scribner's Sons, 1953), p. 1.
All further references
to this text are indicated by parentheses.
12.
Fitzgerald, The Last乃ﾉco∂n,
ed. with intro. by Edmund
Wilson
(New
York:
Charles Scribner's Sons,
1969), pp. 139-140･
工3.
Piper, op. cit,,p. 141.
14.
Tames
E. Miller, Jr･，F. Scott Fitzgerald:His
Art a7id His Tecかiique (New
York:
New
York
University
Press, 1967), p. 114.
15.
Fitzgerald, "The
1909−1917,
Pierian Springs
and the Last Straw," in The Apprentice
ed. with intro. by John
Kuehl
(New
Brunswick,
Fiction of F. Scott Fitzgerald
N. J.: Rutgers
University Press, 1965), p.
170. ‥･‥
16.
Fitzgerald, "The
Cowley
(New
Sensible Thing,”in
York:
17.
Ibid., p. 155.
18.
Tumbull,
19.
Richard
Charles
The
Stories of 八ScoμFitzgerald,
ed. with intro. by Malcolm
Scribner's Sons, 1951), p. 150.
op. cit｡p. 150.
D. Lehan,P.
Scott Pitzgerald 心d the Cra/t cソFiction (Carbondale:
Southern Illinois University
Press, 1976), p. 107.
20.
John
21.
Ibid.
s. Whitley, F. Scott Fitzgerald:The
22.
Lehan,
op. cit.,p. 117.
23.
Robert
Emmet
Associated
Long,
University
The
Achievi?ig
Great Gatsby (London:
of The
Edward
Great Gatsby:F.
Arnold, 1976), p. 16.
Scott Pizgerald,
1920−1925
(London:
Presses, 1979), p. 153.
Bibliography
Publications
of F. Scott Fitzgerald
The Great Gatsby. New York: Random House, 1934.
The Great Gatsby. New York: Charles Scribner'sSons, 1953.
The Last Tycoo?t. Edited with an introductionby Edmund Wilson.
New
York: Charles Scribner'sSons.
1969.
The
Crack-Up.
The
Stories of F. Scott Fitzgerald.
Edited with an introduction
Edited
by Edmund
Wilson.
with an introduction
New
York:
by Malcolm
New
Directions, 1945.
Cowley.
New
York;
Charles
Scribner゛sSons, 1951.
The
Letters of F. Scott Fitzgerald. Edited
with an introduction
by Andrew
Turnbull.
New
York:
Charles
Scribner's Sons, 1963.
The
Apprenticeship
New
Dear
Scott/ Dear
New
Fiction of F｡Scott
Brunswick,
York;
N.J.:
Max:The
Rutgers
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University
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Lehan,
Adrienne.
Richard
with an introduction
by John
Kuehl.
C∂rrespoiidencと. Edited by John
Kuehl
and Jackson
Bryer,
Charles Scribner's Sons, 1973.
Fitzgerald
Gallo, Rose
Edited
Press, 1965.
D.
F. Scott Fitzgerald, New
F. Scott Fitzgelrad
and
Scholarship
York:
Frederick
Ungar,
1978.
the Cra/t cｿFictio7i，Carbondale:
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Southern
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Seiwa FUJITANI
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Long, Robert Emmet.
The Achieving of The Great Gαtsby:F.ScottFizgerald,1920-1925.
ated University Presses,1979.
London: Associ-
Millar, James, E. Jr. F. Scott Fitzgerald:His Art and his Technique.
Press, 1967.
York University
New
York: New
Mizner, Arthur. The Far Side of Paradise. London: Waiiam Heinemann, 1969.
Piper,Henry Dan. F｡Scott Fitzgerald:A CriticalPortrait. London: The Bodley Head, 1965.
Sklar,Robert. P. ScottFitzgerald:The Last Laocoon. New York: Oxford University Press,1967.
TurnbuU, Andrew.
ScottFitzgerald. New York: Charles Scribner'sSons, 1962.
χVhitley,
John S.
F. ScottFitzgerald:The Great Gatsby. London: Edward Arnold, 1976.
−154
−