Kate Mabe
Mrs. Achenbach
AP English 11
19 October 2003
F. Scott Fitzgerald’s The Great Gatsby presents a complex
network of plot twists, ambiguous characters, and uncertain motives, combined
in a novel which requires a deep analysis of its content and the development of
unsure opinions from frequently strange facts. The complexity and ambiguity of
the plot is such that, without proper guidance, its fluctuations could become
overwhelming, and it could enforce specific opinions too strongly. To prevent
these things from occurring, Fitzgerald took measures to make sure that the novel
would only present facts and observations, as untainted by human bias as
possible, while still giving a very personal sense of presence and intimacy.
He
does this mainly through his choice of narration—Nick Carraway, a first person
narrator who takes an almost existentialist stance while observing every
critical scene and not often allowing his personal opinions to impede upon the
delicate facts. As observed by Frederick J. Hoffman, the use of Nick as the
narrator was “one of [Fitzgerald’s] happiest decisions” as it allowed the
reader to perceive the story “through the mind and eye of a narrator only
partially committed to participating in and judging its world.” (1)
Nick Carraway introduces himself as incredibly
honest, and not prone to passing judgment. Nick acts as a faithful observer—he
observes his world almost as an existentialist would, stating and noting the
facts but carefully excluding their effect on his opinions. Because of this, he
becomes trusted and confided in by many, including the main characters of the
novel. His reserved nature also enables him to present a clear and objective
picture without forcing opinions. Fitzgerald carefully preserves the
impartiality of Nick’s observations by not having him further analyze sensory
information. Imagery is impeccably presented, rich with details that incite all
the senses, so that the story is presented through Nick’s eyes, in his world.
At the same time, however, Fitzgerald is careful not to overstep Nick’s
boundaries. Nick never goes a step further—he never analyzes the imagery into
feelings, emotions, or opinions. It is not made perfectly clear what Nick likes
or dislikes, or what his personal suspicions are about the ambiguities and
mysteries that fill the story. The only things revealed are the facts, because those
are all Nick cares to notice. Nick might come across as apathetic, but this is
the ideal perspective through which the story must be told.
Nick remains significantly removed
from the most important and controversial network of The Great Gatsby’s plot. He is neither blamed nor condoned by the
other characters, and neither loved nor hated. He acts as a faithful watcher
and no more. The intricacies of the plot which are the foundation of its
ambiguity are removed from Nick’s life, and he refrains from becoming too
entwined. Fitzgerald keeps him so far away from the essence of the plot in
order to keep the pure judgment of the narrator. That is the beauty of The Great Gatsby—the meaning must be
found, buried like a jewel in Fitzgerald’s elaborate network of words and
mysteries. The meaning and moral of The
Great Gatsby cannot afford to be blatantly given away by its narrator. So
Fitzgerald removes Nick from the deepest action and sets him on the edge to
watch it all unfold beyond his reach, preserving the ambiguity that would
define the novel.
Nick’s avoidance of passing judgment also provides an excuse for him
to be conveniently included in all of the novel’s most critical scenes. As a
silent observer, Nick is taken into the confidence of his acquaintances, and
they seem to enjoy having him around because they can be sure he will not
disappoint them by judging their actions. He consequently becomes a friend of
every party involved in the story, which blots out the danger of showing
partiality to one particular character and sustains the novel’s ambiguity. Nick
can then be safely taken along everywhere, and Fitzgerald can use him as a
medium, which he then moves like a pawn among the scenes in the precise order
he wants them to be presented. Using Nick as such, the story unfolds in a more
linear, precise fashion than it might have had there been no first person
narrator, or had the narrator been more actively involved in the plot. In this
way, Nick’s clear headed following of events begins to make sense of the
novel’s confusion.
The employment of Nick as narrator,
says Hoffman, manages to objectify the novel and “reduce its materials to
scale, and to make its frightening confusion and litter comprehensible and
measurable.” (1) That is to say, Fitzgerald uses Nick to limit the story to the
bare facts, allow for the formation of individual opinions, and organize the
complexity and uncertainty of the plot by processing it first through Nick’s
orderly and forthright mind.
Works Cited
1.
Hoffman, Frederick J.
“Fitzgerald.” Twentieth-Century Literary
Criticism. (Vol. 14). Detroit, Michigan: Gale Research Company.
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