The Great Gatsby and Jazz Age Values

From Rags to Riches: The American Dream in US American Literature The Spacious Gatsby: Jazz Age Values and Their Reflection Upon the American Dream Tefficient of Contents Introduction 3 Winding Voice 3 Culture4 Technology6 Intemperance 7 Disillusionment9 Conclusion 10 Works Cited 11 Introduction The Spacious Gatsby has been acclaimed as one of the most grave innovatings of the 20th eldership, and has belook an American, and smooth globe, chaste.
Fitzgerald has not merely been heralded for his erudite affection in the congeniality of this innovating, but to-boot for his impeccably considerate portrayal of the Jazz Age incompact The Spacious Gatsby.Fitzgerald has raisebalance been accredited delay coining the signal “Jazz Age. ” It has succeed to average “[a] new era of ‘relaxation’. ” This age raise uses its call from “prevailing voice, which saw a terrible surge in prevailingity” (Boland). Incompact the castistic concerns and trends of the date were “the common hug of technological developments typically seen as progress—cars, air peregrination, and the telephone—as polite as new modernist trends in collective action, the arts, and amelioration” (Boland).
The Spacious Gatsby fulfills its role of portraying the Jazz Age considerately, illustrating luteous of the prizes of this continuance date, key incompact them winding, purity, intemperance, and disillusionment. These prizes entertain in adapt reproduce-exhibited a very injurious role upon the notion of the American Dream, inevitefficient to the explicit demand of this notionlized globe. Winding First, one of the amplest disquisitions of the Jazz Age is winding. Some of the most prevalent creates of winding graphic incompact The Spacious Gatsby were in voice, amelioration, and technology. Musical Winding Prior to the 1920s, mainstream American voice in-great-measure consisted of folk tunes.

The conclude was on trite concretion education to reproduce-exhibit for themselves and their families and messmates at residence. By the twenties, the obscure legend of the Mississippi Delta ceruleansmen had begun to strain through the “hot towns” of Chicago and New York City producing a strong voice not constantlyyone could reproduce-exhibit (Kersh). The relatively new phonograph and radio undisputed antecedently regional voice relish the ceruleans to be heard nationwide, creating the elevatedest Jazz Age stars (Kersh). Indeed this changing affection of voice is what fueled not merely Gatsby’s luteous parties but to-boot the public move of the innovating.
These parties defied legend, consisting of “a perfect pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and elevated drums” (Fitzgerald, 26). The voice had a incontrovertible issue on the guests; it hypnotised them, and they let their bodies order as if on slender air. As the voice launched, they reacted to it and began to jump; they were “holding each other tortuously, fashionably…and a spacious sum of single girls dancing individualistically” (Fitzgerald, 31).
They were temporarily in another globe and were liberal to jump at-last they felt relish.This new voice spectacle undisputed for self-expression and individualism, distinctly incompact the women. It farthestly aided a irrelative affectness of dowager to escape. Cultural Winding The Jazz Age to-boot saw the surfacing of the “New Woman”: the flapper. The flapper was “smart, mientious, brash, and animated. These women…drank and partied fair as inexplicableenedened as the men” (Boland).
The flapper unicreate to-boot detoured expressively from legendal modest costume of humility and conservatism: the unicreate defenseless abundance peel (in fair the exact arranges) to dispose the observation of the exact boys.It external cajole to the dowager’s body—her superb uniform, bobbed hair, beaming jewelry, and harmonized limbs melting concurrently to the rhythm of the voice, Jazz (Boland). Expression, speciality, and single liberaldom were the most grave notionls to the flapper dowager, another conclude for the instant hit of Jazz voice.
Jordan Baker epitomized the flapper to a elevateder rectify arrange than did Daisy incompact The Spacious Gatsby. Jordan indicates the “new dowager” of the 1920s: carping, childish, and self-centered. Jordan is fragrant, but to-boot dishonest; she cheated in prescribe to win her elevatedest gold tournament and perpetually bended the credulityfulness to get her way.Though Daisy to-boot observablely embodies the flapper in her grace and incantation, she is to-boot too “fickle, drilled, simple, and sardonic” to be a gentleman flapper dowager (SparkNotes).
Further, Gatsby himself can be seen as a disaffection of legend. He is a self-made man, begining as a very mean apprentice to a sea chief, then going on to belook a very fruitful entrepreneur. “His parents were improvident and futile farm concretion—his apprehension had nconstantly truly received them as his parents at all. The credulityfulness was that Jay Gatsby of West Egg, Long Island, sprang from his Platonic reason of himself” (Fitzgerald, 63).
His methods of achieving prosperity are to-boot a proteoffice resisting the norm; he uses any instrument inevitefficient including betting and smuggling alcohol during the Prohibition. Society’s scene on these methods of attaining abundance was drastically irrelative than legendal ones, raise alluding to a cultural winding: “Real-estate singleities were elevatedly esteemed for their alleged bootlegging beneath Prohibition… At the onslaught of Prohibition, a bootlegging toil flourished from the begin, and drinking became balance in way than constantly.Upper-arrange citizens createed prestige by donation outlawed alcohol to their family guests and by directing messmates to prevailing speakeasies” (Moss, 151).
The analogous exacts and ethics of cheerful were aggravateshadowed by the want to belook fruitful and prosperityful. This continuance date is to-boot the elevatedest era to concretion interrogation the creature of God. In The Spacious 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 contemplate out of no mien, but, instead, from a span of vast yellow spectacles which ignoring aggravate a nonexistent nose…His eyes ruminate on aggravate the devotional dumping reason” (Fitzgerald, 16).
These eyes behold out from the Valley of Ashes, which exemplifies the waning of American fellowship. The concretion of the Jazz Age were striving for esthetic and economic influence, liberaly forgetting environing any imesthetic mien to estate, and in this pains, they gave up their souls in diversify for that influence. The eyes can in adapt be seen as the eyes of a “dead God” contemplateing onto a “dead fellowship”. Tnear are raise slight intimations to God incompact The Spacious Gatsby, but all point to the corresponding notion: the bankruptcy or helplessness of God.
Man to-boot has smooth drifted so abundant severed from antecedent conservatively devotional notionls that he himself is balance worshipped that God. Nick Carrsevered is smooth surprised at this newendow notion; that “one man could begin to reproduce-exhibit delay the credulity of fifty darling concretion” (Fitzgerald, 47) is celebrity that merely God should entertain been efficient to do. Gatsby raise goes on to collate his spirit to that of God. Referring to kissing Daisy he says, “his spirit would nconstantly romp frequently relish the spirit of God” (Fitzgerald, 71).
George Wilson’s proposition “God knows what you’ve been doing, constantlyyunnaturalness you’ve been doing.You may colt me, but you can’t colt God. ” (Fitzgerald, 102) looks relish a disrespect on God. He is the merely cast that makes a intimation to God’s omnipotence and ends up committing a stupendous act of sin: suicide. Technological Winding The twenties were a continuance of ingrained transmutation caused by the luteous changes in technology through new advancements, discoveries, and inventions.
Possibly the most expressive innovations during this continuance were the automobile and the radio. The concretion emanation of the automobile launched by Henry Ford in the 1920s. By 1927 he had manufactured and sold some 15 darling Model-Ts (Cheek).This technological winding is emphasized in The Spacious Gatsby luteously. I conducted my own cause exemplification and counted the sum of continuances the vote ‘car,’ ‘automobile,’ or ‘auto’ were mentioned incompact the extract and the termination was rather sensational: tnear were 66 mentions of this new technology. The newest cars were seen as foothold kinds, so of order the eminenter arrange had to entertain the most odd cars. Gatsby uses a lot of vainglory in his car, and tries to use it as a hireling to win aggravate the dowager of his dreams, Daisy.
Gatsby’s owns twain a Rolls Royce and a ellow office wagon, and they are individualified as “splendid” and “gorgeous,” showing how abundant significance was arranged on observpowerful appearances of influence. I ascertain it rather sensational that this farthest kind of influence, the car, was the farthest vehemence of perdition incompact the innovating. Once Myrtle was run aggravate by Gatsby’s car, each cast ended up to-boot destructing. The other grave windingary catalyst was the radio. In an age delayout television, radio was the interior of entertainment and tidings. Radio supposing a common and helpful way of conveying advice and notions.
The elevatedest unsparinglys were chiefly tidings and globe affairs; succeeding in the decade, radios were used to unsparingly constantlyyunnaturalness from concerts and sermons and constantlyyunnaturalness in among (Cheek). Radio was the main create of instrument that helped propagate other windingary notions, such as the new voice of Jazz and advertisements for the newest cars. Intemperance The disquisition of intemperance in The Spacious Gatsby to-boot goes index in index delay the estheticism and superficiality of the continuance, and as intemperancees go, the Jazz Age was definitely notpowerful by a stupendous growth in consumerism.Some of the aforementioned notions of winding of the Jazz Age to-boot manifestation the intemperance of this fellowship, distinctly the cars, the uniform, the “close through any way likely” mentality, and the mansions.
Leading the way was the increasing prevailingity of the automobile, a emanation that stimulated the U. S. administration balance than any other toil. At the adapt of the 20th eldership, tnear had been merely 8,000 automobiles registered in the United States. By 1920, tnear were 8 darling and by the rest of the decade, 23 darling (Cheek). Gatsby’s car thus not merely kindizes the technology of the decade, but to-boot this spaciouspropagate intemperance.
Gatsby’s car was one that “everybody had seen,” a “fruitful marrow speciousness, bexact delay nickel, pompous near and tnear in its intolerpowerful prolixity delay boastful hat-boxes and supper-boxes and hireling-boxes, and terraced delay a involution of windshields that mirrored a dozen suns” (Fitzgerald, 41). Further, Gatsby’s avoid car, “the fall car,” is a bexact yellow speciousness, dramatically contrasting the standardized bbankruptcy speciousness of most cars of the continuance.
The mansions are anther very observpowerful create of intemperance. “[The Buchanans’] family was balance mature than [Nick] expected, a cheerful red-and-white Gregorian colonial mansion, aggravatelooking the bay.The lawn launched at the shore and ran towards the face door for a territory of a mile, jumping aggravate sundials and cheerful fellow walls and persistent gardens—finally when it extended the family drifting up the cause in bexact vines as though from the momentum of its run.
The face was docile by a course of French windows, hot now delay reflected gold and spacious unconcealed to the fervent windy behindnoon…. ” (Fitzgerald, 6) Though they are merely one cockney delay a minute daughter, this stupendous mansion is celebrity that they, in their eyes, want to indicate their prosperity and influence. This moreover stresses the prize of intemperance and estheticism during this continuance.Another accessible notion was to close as abundant esthetic prosperity as likely, and then flourish it.
Fitzgerald summed this notion up polite in The Spacious Gatsby by proverb, “Americans, spaceliness sometimes disposed to be serfs, entertain constantly been intractpowerful environing disposition peasantry” (57). Smooth if one didn’t entertain the averages to entertain the best of constantlyything, it was calm?} expected of them. Myrtle was angry when she endow out her wife didn’t waste his own help to his nuptials. “He external 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 significance of esthetic intemperance, to-boot in uniform, when contemplateing at Gatsby’s robes, “It makes me sad consequently I’ve nconstantly seen such—such fragrant shirts before” (Fitzgerald, 59). This concept of intemperance caused concretion to arrange the most significance and averageing on purely observable, esthetic, and farthestly present issues. Disillusionment The intemperance estheticism totally delay a apprehension of ‘newness’ through the windingary technologies of the continuance left an aggravateall moveing of disillusionment upon the eminenter arrange. Each cast incompact The Spacious Gatsby is either himself disillusioned or is artful by disillusionment.
Gatsby can probably be seen as the individual aversion the most beneath this disillusionment consequently constantlyyunnaturalness that he has strived for in estate, all his influence and esthetic create, was for a faithless expectation and cause: Daisy. Though his estate looked liberaly liberal, from the stupendous violent parties during the week to the luteous concretion he enveloped himself delay, he ended up fantastical in his purely esthetic globe. This is blatantly conspicuous at his funeral; “The endure glanced distinct continuances at his guard so [Nick] took him acause 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, principally in their alliance. Tom paraded environing delay mistresses and Daisy was toying delay Gatsby’s heart; twain were in their severed fantasy globes, imagining a estate they subconsciously knew they would nconstantly direct. That is farthestly why they remained concurrently in the end, notwithstanding the adulterous way they treated their alliance. Nick himself was to-boot disillusioned; “Everyone suspects himself of at last one of the excellent virtues, and this is mine: I am one of the few right concretion that I has constantly known” (Fitzgerald, 39), thus castizing himself in resistance to the concretiones.
He is “inclined to constraint all judgments” (Fitzgerald, 3), smoothts in the innovating do not imply to his self-characterization. Though he wants to use the analogous elevated reason, his best messmate ends up disposition probably one of the balance analogously rotten casts, Gatsby. He to-boot says environing Jordan’s imposture during her tournament, “Dishonesty in a dowager is a slenderg you nconstantly reproach deeply—I was by accident vile, and then I forgot” (Fitzgerald, 38).
His sheer awe and portent of this “new globe” clouds his rectify judgments.In then end though, it looks that he as efficient to hold a bit of the credulityfulness: when all the portent, magic, and flash finally fades severed, the worthlessness conciliate arrange in and they conciliate finally apprehension that this purhelp of the American Dream was an error. Conclusion The Jazz Age was a very windingary change-of-place incompact American fact, and has left a rather ample impression on American fellowship.
The prizes of winding, intemperance, and disillusionment reproduce-exhibited a ample role on the purhelp of the American Dream. In substance, the American Dream was established on nounnaturalness but these Jazz Age prizes.The windingary affection of this continuance date led to fellowship’s prize of intemperance and farthest disillusionment.
These faithless prizes made the American Dream look celebrity it is not. In the 1920s, the American Dream was nounnaturalness but an notion of estheticistic influence and extrinsic pleasures. The extend for this rather unattainefficient Dream indicateed the failure of an America of inexplicableenedened result and cheerful ethics and goals of influence and a skewed prosperityful estate.
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 Spacious Gatsby. Woodsworth Edition. Ware, Hertfordshire: Woodsworth Editions, 1993. Print. Kersh, J. “The Spacious 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 Notefficient Erudite Works and the Historical Events That Influence Them. Vol. 3. Gale, 1997. Print. SparkNotes Editors. “SparkNote on the Spacious Gatsby. ” SparkNotes. com. SparkNotes LLC. 2002. Web. 01 Sept. 2010.