Critical analysis of page 41-42 of the Great Gatsby

Fitzgerald strikes the music coming from Gatsbys dramaturgy which is effectively used to foreshadow the controls of music in the troupe later in the passage. He similarly uses the term summer nights which presents the referee with the whim of a continuous troupe and demonstrates more(prenominal) clearly the hedonistic solid ground that the rich inhabited in 1920s America which is save confirm when Fitzgerald refers to the champagne in the next sentence suggesting this expensive delicacy was the atomic number 7 at these lavish parties.The blue gardens in the interest sentence gives the proofreader a vivid picture of the yeting light whilst alike use the metaphor to evoke a hint of beauty regarding Gatsbys party within the readers mind. The image of the comings and goings being like moths gives the idea of the fleetingness of the velocity class guests that have no real purpose or sites notwithstanding to drift at these parties. Fitzgerald uses the term men and gir ls as opposed to referring to the girls as women, perhaps suggesting at the immaturity of these women, so much so that they appeared to be like little girls.The use of the word whisperings creates a sensual feeling in the reader as it appears romantic and furtive but in any case could refer to the gossiping ways of the tight party guests. The image of the stars induces two a vision of peaceful night sky, which contrasts the lively atmosphere of the party and therefore highlighting this further to the reader, but also presents an image of the tight party guests as stars, some in their own rights, and some whom scarcely saw themselves this way.Fitzgerald secerns his Gatsbys raft, his beach and his two-motor boats in the following sentence to present the sense of wealth and grandness of Gatsby and this detailed ocular vision enables the reader to relate with the narrator as they share in his feeling of devotion at Gatsbys affluence. The warm light imagery of the sun on the ho t sand adds to the ongoing sense of romance in the passage, which reflects the legion(predicate) romances and affairs within the book, primarily that of Gatsby and Daisy.Fitzgerald effectively uses a metaphor to describe the Rolls-Royce, a relatively small car, becoming an omnibus to further accentuate to the reader the massiveness of these parties and the copious people that attended. The simile of the station bufflehead scampering like a brisk yellow bug not just makes the inanimate object more virtual(prenominal) to the reader but reflects the indispensableness of the guests to attend these magnificent parties.The immensity of Gatsbys parties is further shown through the literary argument that eight servants, including an extra gardener had to work all of Monday to restore the household to its former grandeur and to get rid of the after effects of the party. The image of several hundred feet of canvas being used just for Gatsbys party once over again indicates his enormo us wealth and success and makes it more graphic to the reader by victimization measurements.Fitzgerald uses colour imagery to describe the party food such as glistening hors-doeuvre, salads of harlequin designs and turkeys bewitched to a twilight(prenominal) gold. This creates a more realistic and physical aspect to the food that makes it more vivid for the reader. The use of the dark gold image also symbolises Gatsbys wealth and the grandeur of the party. Fitzgerald combines the visual images of the gin, liquors and different drinks with the sound imagery of the oboes, trombones and other orchestra instruments in the following paragraph in order to appeal to more of the readers senses.By using sound imagery alongside visual imagery, the party appears more realistic to the reader and they instantly become more involved. The listed instruments depict to the reader the wideness of the orchestra, suggesting it was in competition with the chatter and the vast amounts of party guests. During this paragraph, Nick also changes tense from past to present, as he describes that the bar is in full swing.This also makes the passage more realistic to the reader as it is more inclusive and engages the reader to feel like they are also attending this party. The use of the image of Castile a wealthy Spanish town, indicates the affluence of the people at the party as their fashion was beyond the dreams of even the most wealthy towns. Fitzgerald describes the cocktails as floating rounds indicating how insignificant the party guests persuasion of the servants, so much so that they appeared to be invisible.This shows the shallow, snobbish nature of the wealthy Americans of the time. Personification is used effective to describe the air as alive(predicate) with chatter highlighting to the reader the enormity of the noise of the party that must have been audible for miles around. The idea of the enthusiastic meetings of women who never knew each others names compels the rea der to consider how genuine this enthusiasm was in someone they did not know or whether it was fake interest from perhaps fake and shallow women of the time.There is further light imagery as it grows brighter mentions of the sun which evoke images of wealth and beauty. Fitzgerald creates both visual and sound imagery when he describes the yellow cocktail music in which the light imagery again indicated wealth to the reader and also creates a soft, sensual feel. The opera of voices further highlights the noise of the party and connects both the orchestra noise and that of the guests conversations.The groups changing swiftly gives the purpose of elegance and restlessness, as people are reluctant to stay in the equal place as groups dissolve and form in the same breath. Fitzgerald stresses the self obsessed, egotistical nature of the party guests when he reveals their aim to become centre of attention which, when fulfilled, makes them excited with triumph. The passage comes to a cl ose with the ever recurring light imagery of the constantly changing light perhaps symbolising not only the beauty of the depiction but also the fleetingness of the people that inhabit it.