How Is the Story Told in Chapter 6 of the Great Gatsby Essay Example

is what he desires. Additionally, the detailed description of Gatsby's clothing, including his 'torn green jersey' and 'pair of canvas pants', vividly illustrates his lack of wealth. This is further supported by the statement that Gatsby is a 'clam-digger and salmon fisher'.

The word 'imagination' implies Gatsby's unrealistic and idyllic dream, as indicated by the words 'invent' and 'conception'. It suggests that Gatsby possesses an irrational imagination and has embellished his dream since childhood. According to Nick, Gatsby never truly acknowledged his parents as his own, demonstrating Nick's perceptiveness. Despite denying his parents, Gatsby shares similarities with them; both measure success based on material wealth. In chapter nine, Gatsby's father comments on his son's material possessions, highlighting this focus on material belongings. Fitzgerald portrays this emphasis on materialism as corrupt throughout the chapter.

The meaning of an illusion is strengthened when Nick states 'The truth was that Jay Gatsby... emerged from his idealized concept of himself'. The philosopher Plato proposed that the physical world we inhabit is only a reflection of an ideal world that represents true reality. Fitzgerald employs this philosophy to portray Gatsby's sense of self as a perfect depiction of himself fabricated and enriched by 'the most absurd and imaginative ideas' that trouble him in his dreams while an 'indescribable extravagance unfolded within his mind'.

The language in the text is highly connected to God; phrases like 'the son of God' and 'His Father's business' evoke the image of Christ's perfection and unwavering dedication. However, the following phrase: 'a vast, vulgar and meretricious beauty' introduces irony to emphasize that Gatsby is dedicating himself to a materialistic beauty that can only be acquired with wealth and

is morally questionable. Comparing Gatsby to the son of God is fitting in a novel that criticizes a society devoid of religion and faith; instead, material desires take their place. The only devotion Gatsby displays is towards the identity he has created for himself, as mentioned by Nick's comment 'to this conception he was faithful to the end'. However, if this conception was formed when Gatsby was an immature seventeen-year-old, it demonstrates Gatsby's inability to live in the present.

The use of imagery in the form of a ticking clock while Gatsby dreams highlights the passage of time and his inability to escape his fantasy world. Nick's depiction of Gatsby's past emphasizes his desire for social status, which serves as a motivator for him. Furthermore, the portrayal of Gatsby as a God is connected to a later section of the chapter that reveals his inability to enjoy life carefree like a deity. This implies that he sacrificed a divine existence, possibly for Daisy, which has ultimately transformed into a shallow obsession with material possessions.

This paragraph depicts Fitzgerald's use of the idea of materialism replacing religion in 1920s America to criticize society. The contrast between Gatsby's humiliation as a janitor in college and his excitement upon meeting Dan Cody represents Gatsby's desire for success. Being fully aware of his poverty, Gatsby becomes obsessed with accumulating wealth and status. To escape his lower-class background, Gatsby renames himself and seeks to embody the affluent lifestyle he dreams of. When he encounters Dan Cody, Gatsby embraces the image he has constructed in his imagination. Unfortunately, Gatsby's hope of gaining mentorship from Cody is dashed due to Cody's involvement in violent

activities, saloons, and brothels. Yet, this unsuitable association is paradoxically referred to as a "suitable education."

In this section of the chapter, the reader witnesses Gatsby's longing to be a part of the upper class. Through Nick's observations, we see how Gatsby is viewed by the aristocratic East Eggers, such as Tom and the Sloanes, which sheds light on whether Gatsby can truly belong to that social class and if he should even desire it. Fitzgerald continues to explore the theme of social class by depicting the disdain that the East Eggers have for Gatsby. We learn about Nick's growing attachment to Gatsby as he becomes defensive when he notices the visitors' superficial treatment of Gatsby at his West Egg mansion. This effectively showcases the evolution of Nick and Gatsby's relationship and foreshadows Nick's forthcoming negative attitude towards the upper classes.

Furthermore, this assists in illustrating Fitzgerald's criticism of the upper classes as they come across as pompous and snobbish. This is fitting in a novel that could be interpreted as challenging the notion that the upper classes are inherently superior. Despite Gatsby appearing to have as much wealth as his visitors, he lacks their understanding of social subtleties and effortless aristocratic poise. This is demonstrated through the awkward and stagnant tone of their conversation, indicated by the use of '-' and ellipsis at the end of phrases. Consequently, they ridicule and disdain Gatsby for being 'new money', highlighting their complete disregard for courtesy and etiquette - qualities they supposedly embody. The technique employed to depict Gatsby's unawareness of the underlying implications in the invitation is Nick's narration, as he observes that Gatsby 'wanted to go and

he didn't see that Mr Sloane had already determined he shouldn't'. Additionally, Tom's exclamation of 'My God, I believe the man's coming' further accentuates this.

Tom expresses his disdain for Gatsby by referring to him indirectly as 'crazy fish'. Fitzgerald further illustrates the impoliteness of the upper classes when the Sloanes leave without waiting for Gatsby, displaying their scornful attitude towards him. However, this reflects poorly on them because Gatsby appears more polite in comparison. This portion of the chapter expands on the critique of social hierarchy and foreshadows Gatsby's final party, which emphasizes the contrast between the new and old wealthy residents of West and East Egg. Nick's emotional connection with Gatsby strengthens as he aligns himself more closely with him, a sentiment that is echoed by Gatsby at his last gathering.

Gatsby perceives the world he has constructed from Daisy's perspective, and in her social attitudes, it seems wild and intoxicated, akin to Miss Baedeker or the 'massive and lethargic' lady who desires Daisy to join her for a game of golf. The negative term 'appalled' is reiterated, signifying Daisy's response to the gathering. Expressions like 'the rest offended her' and 'she saw something awful' also communicate her repugnance. Additional negative phrases such as 'inutterable depression' and words like 'desolate', 'discarded', and 'crushed' expose Gatsby's realization of the brutal reality and his dream's eventual downfall. The dream crumbles around him, laying bare the unfiltered truth. Once the party concludes, the beach appears grim while the lights remain unlit.

The morning is portrayed as "soft black" and there are "shadows" moving against the dressing room blind, forming an ambiguous procession. This imagery presents the concept of an

illusion, where one can only perceive the shadow and not what or who it represents. The shadows, being intangible, emphasize the illusory nature of Gatsby's dream, while the dark colors highlight the presence of a corrupt undercurrent. Nick's perception of the lives of the newly rich is that they are empty, guided by an unstoppable force called "fate" from a state of "nothing to nothing." This parallels the image of shadows, which lack substance and are influenced by a stronger force, such as the sun determining their position and existence. Additionally, the use of darkness falling creates a foreboding atmosphere as it signifies the unraveling of the dream and loss of hope, represented by the meaningless green light and light in general. This also foreshadows the death that occurs in the subsequent chapter.

Gatsby reveals to Nick his dream's anticipated climax—a scenario in which Daisy would abandon the past five years and return to him. As he shares this, Gatsby walks amidst the remnants of the party, which Nick vividly describes as a "desolate path of fruit rinds and discarded flavors and crushed flowers." This description mirrors the aftermath of Gatsby's illusory dream and differs greatly from the abundance of "crates of oranges and lemons" depicted in chapter three. This deliberate distortion of images underscores the fleeting nature of Gatsby's dream.

The text also includes the past and present, presenting Gatsby's shattered dreams and his realization that they were a sham. This use of contrast effectively criticizes the American dream and creates a vivid image in the reader's mind. Gatsby finds it saddening to see things he once adjusted to with new eyes, demonstrating Nick's perceptive understanding

of Gatsby and emphasizing Gatsby's realization of the illusion. Additionally, Nick points out to Gatsby that the past cannot be repeated, but Gatsby naively believes otherwise. This showcases his immaturity and inability to live in the present. Chapter six signifies the collapse of Gatsby's dream, which leads into chapter seven, the novel's second climax, where his dream further disintegrates.

The ominous feeling created by the disintegration of the dream is effective as it builds up to a death in the next chapter.