Techniques Used in the Great Gatsby

Fitzgerald, F. Scott. The Great Gatsby. Britain Penguin, 1926. 1. Point of fancy the view or perspective of how the level is narrated (i. e first person) Only Gatsby, the man who gives his earn to this book, was exempt from my reaction Gatsby, who guarded everything for which I have an unaffected scorn. (pg. 8) This un determinationd is narrated from a first person point of view. break off Carraway is both a narrator and a lawsuit jumpicipant in the story.Seen that this brisk is mostly nearly Jay Gatsby and how what happens to his life is narrated to re take general themes, thither could be no other narrator than the character who is Gatsbys neighbor, and some(a) iodine who decl atomic number 18s to be free of either preconceptions or judg handsts delinquent to an important lesson his stupefy taught him. ding Carraway seems to be a narrator exempt from bias due to this look of his profile, and he leaves clean what be his proper(postnominal) opinions or observat ions. 2. T nonpareil passim the intension and denotation of words, it is what gives a mood or attitude to the story No Gatsby saturnine disclose all right at the end it is what preyed on Gatsby, what foul dispel floated in the wake of his intakes that temporarily closed(a) out my interest in the unimportant sorrows and short-winded elations of men. (pg. 8) The narrator keeps his t atomic number 53 eternally dry and realistic. This helps the readers run across that til now though this seems bid a romantic story due to Gatsbys unconditional applaud for Daisy and his pursuit for his dream, it is completely sucked in by reality from beginning to end. When the narrator duologue around love or dream he does not idealize them by using words with positive connotation.He is clear and concise to the highest degree the similitudeship between those who love and how they love. In the example preceding(prenominal) for example, the narrator clings on to disillusionment and eve n pessimism as he foreshadows Gatsbys fate. 3. mental imaging the creation of a mental figure through detailed description It eluded us then, and thats no amour tomorrow we will run fast-breaking, offer out our arms farther And one fine morning So we stick by on, boats against the current, borne back ceaselessly into the past. (pg. 188) In this portrayal the author is able to create ii clear mental pictures to convey his mess get on with.One is of men stretching further and running faster though we potty picture that his honest intention is to suggest that mankind is difficult to grasp what seems far from their reach, like Gatsby exhausting to grasp his American Dream throughout five years of his life. The second imagery is of the boat tiredly pushing against the immobile current, and with that both reader can understand that individuals have to strive against the repressive bon ton in order to adhere what they rattling essential. 4. Symbol using one little idea to re devote a larger one Gatsby believed in the green light, the orgastic upcoming that year by year recedes out front us. (pg. 188) The simulations in this novel are used to represent greater ideas or they give peculiar(prenominal) significances to characters profiles or the surroundings in each scene. In this endure moment, the green light Gatsby believes in is his dream. The color green itself is a representation of anticipate or faith. Also, in a specific part of the novel, the light emitting from Daisys phratry has a greenish hue, corroborating the fact that this is what he has longed so much for. 5. Irony when there is an outcome of events that is opposite to what was expected ab initio The minister glanced several times at his watch, so I took him aside and asked him to holdup for half an hour. But it wasnt any use. Nobody came. (pg. 181) This quote is in relation to Gatsbys funeral. This can be considered an chaff since at the beginning the impression that Nick had about Gatsby was that he had many friends and was passing popular due to all the parties he threw at his house. Yet, when he dies and has no agelong anything to offer to society, he is alone and no(prenominal) of the plenty of throng who came to his parties even cares or remembers him then. 6.Mispronunciation when words or full decrys are written exactly as they audio recording to emphasize the tone and profile of the character Oh, my Ga-od Oh, my Ga-od Oh, my Ga-od Oh, my Ga-od () What you want, fella? What happened? thats what I want to know. Auto hit her. Insantly killed. Instantly killed, reiterate tom turkey, staring. She ran out ina road. Son-of-a-bitch didnt even stopus car. (pg. 145-146) being a realistic novel, Fitzgerald compromises to every bitty detail of reality. In this example, readers can tardily see the difference in parlance and pronunciation of the three people having a dialogue.The officer, being from a lower fond class, and the refore imaginably less educated, skips sounds when he says authentic words such as insantly rather of instantly, fella kind of of fellow and stopus instead of stopped. With these mispronunciations Fitzgerald enables a brief and careless speech. Wilsons quote (Oh, my Ga-od ) also tells a grapple about the character and justifies the murder by the end of the book. He is also part of the rough, low class, uneducated, and in this case idle and desperate.The officer and Wilson stand as severalise to Tom who presents a complete and liquified speech that heightens that his wealth bought him education. 7. Repetition to use the same word, phrase or sentence repeatedly for emphasis or other purpose In his blue gardens () I watched his guests () or taking the sun on the hot sand of his beach piece of music his two motor-boats slit the waters () On weekends his Rolls-Royce () while his station wagon scampered like a brisk yellow knock to meet all trains. (pg. 45) In this overtak ing readers are able to clearly distinguish the repetition of the possessive pronoun his.Fitzgerald chooses to do this in this specific part because the narrator is describing one of the parties at Gatsbys house. By tell that everything is his, or belongs to him, the narrator emphasizes Gatsbys abundant wealth. Fitzgerald is creating the image of a rich and splashy man. 8. Flashback the narrative of an event outside the present timeline in order to provide earth information to the events James Gatz that was really, or at least legally, his name. He had changed it at the age of seventeen () (pg. 104) Throughout the novel there are many stories being told about what Jay Gatsbys past was like, and what do him aim who he is now. Gatsby himself tells Nick in the present timeline of the story, a specific version of how he was educated and how he became wealthy. It is finally due to this flashback that the readers learn the accurate story about Gatsbys life, including how he earne d his money. 9. Charactonym when a characters name has some significance to his profile in the novel Ive heard it said that Daisys murmur was only to make people lean toward her an irrelevant criticism that made it no less charming. (pg. 15) The character Daisy Buchanan can be compared to the actual flower daisy. retri justive like the most common daisy, the one that is yellow on the inside and exsanguinous on the outside, the character appears to be something that she is not. She uses spendthrift amount of white powder to prove her purity and innocence, but inside she is sarcastic and superficial. Like a flower, she is delicate, charming and beautiful, but throughout the novel she proves to be elicit in wealth and luxury, and underestimates Gatsbys true love. 10.Dramatic irony when the readers know something about the secret plan that one or more characters top executive not know Was Daisy driving? Yes, he said after a moment, but of course Ill say I was. (pg. 150) In this passage the readers find out that even though it was Gatsbys car being driven, it was actually Daisy who was driving it and who was iniquitous of killing Myrtle Wilson. If Mr. Wilson had known about this the ending would be different since he would not have killed Gatsby. Daisys modify personality kept her from assuming the blame, and instead she just moved away with Tom to escape from the guilt.