F. Scott Fitzgerald’s character Gatsby, as has often been said, represents the irony of American history and the corruption of the American dream. While this certainly is true, yet even here, with this general legend, Fitzgerald has rung in his own characteristic changes, doubling and redoubling ironies. At the center of the legend proper there is the relationship between Europe and America and the ambiguous interaction between the contradictory impulses of Europe that led to the original settling of America and its subsequent development: mercantilism and idealism. At either end of American history, and all the way through, the two impulses have a way of being both radically exclusive and mutually confusing, the one melting into the other: the human faculty of wonder, on the one hand, and the power and beauty of things, on the other.
The Great Gatsby dramatizes this continuing ambiguity directly in the life of Gatsby and retrospectively by a glance at history at the end of the novel. Especially does it do so in the two passages in the novel of what might be called the ecstatic moment, the moment when the human imagination seems to be on the verge of entering the earthly paradise. The two passages are (1) the real Gatsby looking on the real Daisy, and (2) the imaginary Dutchmen, whom Nick conjures up at the end of the novel, looking on the “green breast” of Long Island.
Here is the description of Gatsby and Daisy:
Out of the corner of his eye Gatsby saw that the blocks of the sidewalks really formed a ladder and mounted to a secret place above the trees—he could climb to it, if he climbed alone, and once there he could suck on the pap of life, gulp down the incomparable milk of wonder.
His heart beat faster and faster as Daisy’s white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning-fork that had been struck upon a star. Then he kissed her. At his lips’ touch she blossomed for him like a flower and the incarnation was complete.
And below is Nick’s imaginative reconstruction of the legendary Dutchman. He is sprawled on the sand at night, with Gatsby’s mansion behind him and Long Island Sound in front of him:
And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old Island that flowered once for Dutch eyes—a fresh green breast of the new world. Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.[Fitzgerald wrote: “… until gradually I became aware of the old island here that flowered once for the Dutch sailors’ eyes—a fresh, green breast of the new world.” The Great Gatsby, pp. 217-218. [A.M.]]
The repetition in the two passages of the words “wonder” and “flower” hardly need comment, or the sexuality, illicit in the Dutchmen’s and both infantile and mature in Gatsby’s—or the star-lit, moon-lit setting in both. For these are the central symbols in the book: the boundless imagination trying to transfigure under the stars the endlessly beautiful object. Now, of course, the Dutchmen and Gatsby are utterly different types of being and going in different directions. The Dutchmen are pure matter, momentarily and unwillingly raised into the realms of the spirit, while Gatsby is pure spirit coming down to earth. They pass one another, so to speak, at the moment when ideal and reality seem about to converge. Historically, the Dutch, legendarily stolid, pursued their mercantile ways and produced finally a Tom Buchanan but also, it should be remembered, a Nick Carraway. But their ecstatic moment hung on in the air, like an aroma, intoxicating prophets, sages, poets, even poor farm boys in twentieth-century Dakota. The heady insubstantiability of the dream and the heavy intractability of the reality were expressed by Van Wyck Brooks (who could well have been Fitzgerald’s philosopher in these matters) in his The Wine of the Puritans as follows:
You put the old wine [Europeans] into new bottles [American continent] … and when the explosion results, one may say, the aroma passes into the air and the wine spills on the floor. The aroma or the ideal, turns into transcendentalism and the wine or the real, becomes commercialism.
No one knew better than Gatsby that nothing could finally match the splendors of his own imagination, and the novel would suggest finally that not only had the American dream been corrupted but that it was, in part anyway, necessarily corrupted, for it asked too much. Nothing of this earth, even the most beautiful of earthly objects, could be anything but a perversion of it.
The Great Gatsby, then, begins in a dramatization, as suggested, of the basic thesis of the early Van Wyck Brooks: that America had produced an idealism so impalpable that it had lost touch with reality (Gatsby) and a materialism so heavy that it was inhuman (Tom Buchanan). The novel as a whole is another turn of the screw on this legend, with the impossible idealism trying to realize itself, to its utter destruction, in the gross materiality. As Nick says of Gatsby at the end of the novel:
… his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.
Yet he imagines too that Gatsby, before his moment of death, must have had his “realization” of the intractable brutishness of matter:
… he must have felt that he had lost the old warm world, paid a high price for living too long with a single dream. He must have looked up at an unfamiliar sky through frightening leaves and shivered as he found what a grotesque thing a rose is and how raw the sunlight was upon the scarcely created grass.
Thus Fitzgerald multiplies the ironies of the whole legend: that the mercantile Dutchmen should have been seduced into the esthetic; that Gatsby’s wondrous aspirations should attach themselves to a Southern belle and that in pursuit of her he should become a gangster’s lieutenant; that young Englishmen (“agonizingly aware of the easy money in the vicinity”) should scramble for crumbs at Gatsby’s grandiose parties (the Dutchmen once more); that idealism, beauty, power, money should get all mixed up; that history should be a kind of parody of itself, as with the case of the early Dutch and the contemporary English explorers.
Still The Great Gatsby would finally suggest, at a level beyond all its legends and in the realm of the properly tragic, that it is right and fitting that the Jay Gatzes of the world should ask for the impossible, even when they do so as pathetically and ludicrously as does Gatsby himself. Writing to Fitzgerald about his novel, Maxwell Perkins, after enumerating some specific virtues, said:
… these are such things as make a man famous. And all the things, the whole pathetic episode, you have given a place in time and space, for with the help of T.J.Eckleburg, and by an occasional glance at the sky, or the city, you have imparted a sort of sense of eternity.
A “sense of eternity”—this is indeed high praise, but I think that Perkins, as he often was, was right.
For at its highest level The Great Gatsby does not deal with local customs or even national and international legends but with the permanent realities of existence. On this level nothing or nobody is to blame, and people are what they are and life is what it is, just as, in Bishop Butler’s words, “things are what they are.” At this level, too, most people don’t count; they are merely a higher form of animality living out its mundane existence: the Tom Buchanans, the Jordan Bakers, the Daisy Fays. Only Nick and Gatsby count. For Gatsby, with all his absurdities and his short, sad, pathetic life, is still valuable; in Nick’s parting words to him: “You’re worth the whole damn bunch put together.” Nick, who in his way is as much of this world as Daisy is in hers, still sees, obscurely, the significance of Gatsby. And although he knows that the content of Gatsby’s dream is corrupt, he senses that its form is pristine. For, in his own fumbling, often gross way, Gatsby was obsessed with the wonder of human life and driven by the search to make that wonder actual. It is the same urge that motivates visionaries and prophets, the urge to make the facts of life measure up to the splendors of the human imagination, but it is utterly pathetic in Gatsby’s case because he is trying to do it so subjectively and so uncouthly, and with dollar bills. Still Nick’s obscure instinct that Gatsby is essentially all right is sound. It often seems as if the novel is about the contrast between the two, but the bond between them reveals that they are not opposites but rather complements, opposed together, to all the other characters in the novel.
Taken together they contain most of the essential polarities that go to make up the human mind and its existence. Allegorically considered, Nick is reason, experience, waking, reality, and history, while Gatsby is imagination, innocence, sleeping, dream, and eternity. Nick is like Wordsworth listening to “the still sad music of humanity,” while Gatsby is like Blake seeing hosts of angels in the sun. The one can only look at the facts and see them as tragic; the other tries to transform the facts by an act of the imagination. Nick’s mind is conservative and historical, as is his lineage; Gatsby’s is radical and apocalyptic—as rootless as his heritage. Nick is too much immersed in time and in reality; Gatsby is hopelessly out of it. Nick is always withdrawing, while Gatsby pursues the green light. Nick can’t be hurt, but neither can he be happy. Gatsby can experience ecstasy, but his fate is necessarily tragic. They are generically two of the best types of humanity: the moralist and the radical.
One may well ask why, if their mental horizons are so lofty, is one a bond salesman and the other a gangster’s lieutenant, whose whole existence is devoted to a love affair that has about it the unmistakable stamp of adolescence? The answer is, I think, that Fitzgerald did not know enough of what a philosopher or revolutionary might really be like, that at this point in his life he must have always thought of love in terms of a Princeton Prom, and that, writing in the twenties, a bond salesman and a gangster’s functionary would seem more representative anyway. Van Wyck Brooks might have said, at one time, that his culture gave him nothing more to work with. A lesser writer might have attempted to make Nick a literal sage and Gatsby a literal prophet. But it is certain that such a thought would never have entered Fitzgerald’s head, as he was only dramatizing the morals and manners of the life he knew. The genius of the novel consists precisely in the fact that, while using only the stuff, one might better say the froth and flotsam of its own limited time and place, it has managed to suggest, as Perkins said, a sense of eternity.
John Henry Raleigh is a professor at the University of California and the author of Matthew Arnold and American Culture. His essay in this book is the second of two he wrote on The Great Gatsby for The University of Kansas City Review.
Published in The University of Kansas City Review magazine 24 (Autumn 1957). Text scanned from F. Scott Fitzgerald: A Collection Of Critical Essays ed. by Arthur Mizener (Englewood Cliffs, NJ: Prentice-Hall, 1963).