As The New Lexicon Webster’s Dictionary of the English Language tells us. linguistics is the scientific survey of linguistic communication or languages whether from a historical and comparative ( historical ) or from a descriptive. structural ( synchronous ) point of position. Linguistics is concerned with the system of sounds of linguistic communication ; for illustration. sound alteration ( phonemics ) . its inflexions and word formation ( morphology ) . its sentence construction ( sentence structure ) . and its significance alterations ( semantics ) . every bit good as other minor characteristics such as grammar and spelling. Linguistic manner is what helps to divide one author’s literary work from anyone else’s ; it is the basis of what makes an author’s work unique and interesting.
When discoursing any of F. Scott Fitzgerald’s many plants. one must first see his infatuation with all things externally beautiful. but inherently flawed. In such pieces as “Winter Dreams” and This Side Of Paradise. Fitzgerald turns a scrutinizing oculus towards the glamourous degeneracy of circa 1920’s America. where immature “flappers” would resile from societal state of affairs to societal state of affairs. looking for the ultimate good clip. While many of these socialites were blessed with the fiscal capacity to remain out all hours of the dark party-going and imbibing. on the outskirts of this subculture were those who merely longed to genuinely be a portion of the “in-crowd. ” These were people like Fitzgerald himself: upper-middle category citizens who worked the twenty-four hours off. frivol awaying off their hard-earned money on bangles and position symbols. so that by dark. they could briefly mingle with the ranks of the “beautiful people. ” These people were possessed with an about unnatural thrust to “keep up with the Mother joness ; ” to give their lives to looking much better of than they really of all time could be. These types of characters were Fitzgerald’s favourite to utilize as storytellers. such as Nick Carraway. the semi-innocent observer and chief character of the book I chose to analyse. The Great Gatsby.
Possibly the most of import component of Fitzgerald’s lingual manner in The Great Gatsby. every bit good as the majority of his organic structure of work. is his close attending to the usage of effectual signifier. In the largest per centum of his written work. Fitzgerald chooses to utilize one character. somewhat removed from the action and effects of the narrative. as a storyteller and a voice of ground. compensating the remainder of the characters. who are frequently morally corrupt Nihilists. prosecuting in darks of wickedness and sloppiness in seek of eternal pleasance. His usage of a storyteller allows the narrative to go much more personal and dramatic. as one gets to see firsthand the glamourous but empty life styles of the fabulously rich and world-weary. Particularly in The Great Gatsby. the glittery. superficial life style of high society is portrayed in the manner Fitzgerald chooses to depict his characters. Take. for illustration. the words he chooses to individualise Daisy Fay Buchanan. the chief female character of the novel. and the focal point of Jay Gatsby’s fondnesss.
Daisy is described as “airy. ” and “floats” on the couch. as opposed to merely sitting. This brief glance of Daisy brings to mind an image of a really beautiful and unworried adult female. who is really superficial and unsubstantial. with nil concrete behind her dramatic outside. Her hubby. Tom Buchanan. is besides a adult male of small deepness. boundlessly shallow and concerned merely with ownerships and position. This personification is made really clear in one sentence. spoken by Tom himself: “I’ve got a nice topographic point here. ” Indeed. the first reference of Jay Gatsby at one time artfully paints a really graphic image of a adult male with infinite potency. a adult male of great wisdom and sensitiveness. and besides a awfully tragic adult male. invariably plagued and eventually consumed by his compulsions and engagements. Here. Fitzgerald showcases his inimitable ability to utilize brief but affecting descriptions to make characters that one can truly turn to cognize and care about. and finally mourn in passing. The huge bulk of the remainder of the characters in the novel are presented as rather similar to Tom and Daisy Buchanan ; self-engrossed. empty shells of humanity with small. if any. societal scruples or temperateness.
Another signature of Fitzgerald’s alone manner is his eldritch ability to utilize graphic verbs and nouns to exemplify scenes and make overtones of chiseled temper. When he describes a scene or a scene. a mental image of the topographic point being described concepts itself inside your head. about as if you were watching a room in a house being built piece by piece. For illustration. when Nick Carraway first enters the life room of the Buchanan’s palatial estate. Fitzgerald’s descriptions make it impossible non to visualize such a room: a “bright. rose-colored infinite. fragilely bound into the house by Gallic Windowss at either terminal. ” By utilizing such concrete constructs as colour and lighting. Fitzgerald creates an unmistakable scene. When reading a topographic point as described by Fitzgerald. one feels that he or she knows that topographic point. and if able to go to that topographic point. that he or she would non be surprised in any manner by the specifics of the scene. Alternatively of utilizing abstract thoughts and constructs to depict a scene. such as feelings or memories a character may hold about a topographic point. Fitzgerald chooses to do topographic points existent to the reader’s head by utilizing concrete nouns and verbs such as colourss. textures. odors. sounds. and other specifics that a person’s senses would observe. In making so. Fitzgerald invites the reader to utilize their ain animal experiences to determine mental images.
Most of the descriptive footings Fitzgerald employs are constructs all worlds are familiar with. Every individual knows the difference between “bright” and “dark. ” “hard” and “soft. ” “sweet” and “bitter. ” and these are the kind of devices Fitzgerald uses to put his work apart from that of other writers. By utilizing common. chiseled and understood constructs and images. Fitzgerald allows even the most sterile individual to bask and plunge himself in his authorship. This is a major ground Fitzgerald’s work is so easy to read. It is non confounding to the most insouciant reader. and it besides contains adequate substance in its simpleness to maintain even the most fervent literary critic interested.
As mentioned earlier. the importance of Fitzgerald’s usage of a storyteller as a voice of ground and nonsubjective judgement can non be overstated. and this signature technique is ne’er more obvious or effectual than in The Great Gatsby. By utilizing Nick Carraway as a storyteller and a chief character. Fitzgerald allows the range of his novel to stay focussed and incorporate. By leting the reader to see. hear. experience. and cognize merely what Carraway is cognizant of. he prevents an overload of information from deluging. overpowering. and finally disillusioning the reader. This allows one to stay interested in the novel. and ensures that merely of import points and thoughts are communicated. unclouded by outside intervention or inconsequential inside informations. In short. by maintaining a clear and narrow focal point on his chief thoughts. Fitzgerald guarantees that the reader understands what he or she is meant to understand. and does non mislay this information in a sea of fiddling informations.
For illustration. Carraway’s misinformation refering Gatsby’s background in Chapter IV gives one the initial feelings and ideas about Gatsby that the reader is intended to hold at that point. which allows Fitzgerald to command the flow of the secret plan as he sees fit. As all we know about Gatsby is what Carraway knows. we are left to theorize about the spreads in Gatsby’s yesteryear. as Carraway himself so does. This makes certain that the reader thinks. as does Carraway. that they know the truth about Gatsby. In Chapter VI. when it is revealed that Gatsby’s relation of his life is specious. the reader is merely every bit surprised as Carraway. which leads Carraway. and. by the way. the reader’s sentiments of Gatsby to alter. By utilizing such a mode to state his narrative. Fitzgerald keeps the reader in the dark about affairs that are irrelevant to his subjects.
The certification of a hopeful and promising character’s autumn from grace and subsequent descent into wretchedness. poorness. hopelessness and. on occasion decease is another often repeating subject of Fitzgerald’s literary manner. This signature feature of many of his narratives is ne’er more outstanding than in The Great Gatsby. In Jay Gatsby. the “hero” of the narrative. Fitzgerald paints a image of a “renaissance adult male. ” a adult male of fate and illimitable potency and endowment. who is free to make whatever he wishes. whenever he wishes. and without much attempt or trouble. At first glimpse. Gatsby appears to be the adult male every many wants he could be: a immature. attractive. rich man-about-town with old ages of wealth and prosperity in front of him. To cite the novel. “…there was something gorgeous about him. some heightened sensitiveness to the promises of life… [ but ] it is what preyed on Gatsby… [ that sealed his destiny ] ”
This foreshadows really early in the novel that Gatsby is an highly magnetic adult male capable of antic things. but is doomed to some suppression catastrophe which will ensue in his ruin. By showing such starkly contrasting thoughts so near to each other. Fitzgerald raises the reader’s hopes and outlooks refering Gatsby. and so. merely as rapidly. obliterates those good feelings by making a sense of premonition. which keeps the reader invariably waiting for his inevitable ruin. As the narrative progresses. Fitzgerald so continues to develop Gatsby’s strong points and personal appeal. but besides begins to touch to the really jobs he is faced with. the jobs that will convey about his death.
Fitzgerald brings these issues to visible radiation by conveying uncertainties into the reader’s head. first showing a unsound history of Gatsby’s life. so abjuring those “truths” with new information. After the reader is shown that one version of Gatsby’s history is false. the 2nd history besides retains a certain step of uncertainty. By utilizing beliing background information. Fitzgerald keeps the reader and Carraway inquiring what is the truth about Gatsby. and what skeletons he has in his cupboard.
While non needfully a constituent of his lingual manner. I feel that another facet of Fitzgerald’s literary individuality worth adverting is the repeating subject of introducing and unachievable adult female into his narratives. As in “Winter Dreams. ” his ill-famed short narrative refering the experiences of a immature in-between category adult male whose life revolves around an unapproachable societal butterfly of a adult female. Fitzgerald one time once more uses the construct of a “unicorn” that the hero of the narrative can non catch to great consequence in The Great Gatsby. To Jay Gatsby. Daisy Buchanan is the adult female who represents that which he can non hold. and that which is the lone thing that can truly convey him happiness and satisfaction.
Gatsby has hollowly devoted his life to accumulating a luck that he hopes will assist him one twenty-four hours win Daisy. and do his true dream of being with her come true. It is hard to find whether the fact that his pursuit for luxury and richness has been for such a baronial cause makes the fact less or more tragic. I am of the sentiment that it is the latter ; the thought of a adult male hold oning for something he thinks will assist him accomplish his dreams. unmindful to the fact that all his attempts are ineffectual. jerks at my heartstrings. This I feel. is Fitzgerald’s ultimate bequest. and most of import lesson: love can non be bought. and the relentless chase of wealth will seldom. if of all time. take to true felicity.
In shutting. Fitzgerald’s alone and superb literary and lingual manner makes The Great Gatsby both a pleasance to read every bit good as a truly edifying and educational experience. That The Great Gatsby stands strong as an of import work of historical fiction. and non merely as a historical text entirely. is a testament to Fitzgerald’s mastermind and foresight. In this book. he has created a chef-d’oeuvre that has stood the trial of clip ; a novel which is genuinely a piece of life. a snapshot of a much different clip in America’s history. when people had dissimilar values and purposes than our ain. It has been said in certain circles that The Great Gatsby is “the great American novel. ” and with good ground. It has remained as fresh. vibrant. and of import in the about 80 old ages since it was foremost published. and will go on to astonish and delight coevalss to come.
Fitzgerald. F. Scott. The Great Gatsby. New York: Simon & A ; Schuster. 1995.