피츠제럴드는 대표작인 《위대한 개츠비》를 통하여 재즈 시대인 1920년대의 미국 사회와 ‘미국의 꿈’을 둘러싼 진실을 포착해낸다. 낭만적 이상주의자이자 물질주의자이며 도덕주의자였던 피츠제럴드는 물질적인 성공을 추구하면서도 도덕성과 순수함을 유지해 나가고자 했었다. 이러한 그의 양면성이 두 인물인 개츠비와 닉의 창조에 잘 나타나 있다. 피츠제럴드는 개츠비를 통하여 물질에 대한 갈망이라는 자신의 한 면을, 서술자이자 인물인 닉을 통하여는 물질적 부가 도덕성에 끼치는 악 영향을 우려하는 또 다른 자신의 모습을 구현한다. 개츠비의 이야기를 전하는 닉의 공감 ...
피츠제럴드는 대표작인 《위대한 개츠비》를 통하여 재즈 시대인 1920년대의 미국 사회와 ‘미국의 꿈’을 둘러싼 진실을 포착해낸다. 낭만적 이상주의자이자 물질주의자이며 도덕주의자였던 피츠제럴드는 물질적인 성공을 추구하면서도 도덕성과 순수함을 유지해 나가고자 했었다. 이러한 그의 양면성이 두 인물인 개츠비와 닉의 창조에 잘 나타나 있다. 피츠제럴드는 개츠비를 통하여 물질에 대한 갈망이라는 자신의 한 면을, 서술자이자 인물인 닉을 통하여는 물질적 부가 도덕성에 끼치는 악 영향을 우려하는 또 다른 자신의 모습을 구현한다. 개츠비의 이야기를 전하는 닉의 공감 어린 서술을 통해 피츠제럴드는 이상사회를 향한 추구를 인정하면서도 다른 한편으로는 그 추구의 허상과 왜곡상을 비판하고 있다. 《위대한 개츠비》에 나타난 피츠제럴드의 양면성은 작품 성공의 - 138 - 핵심 요소이자 그의 인격 및 작품의 특징 연구에 있어서 중요한 참고자료이다. 그의 양면성이 형성된 배경은 실제 그 자신이 겪은 체험에 있다. 그는 물질만능주의자인 여성을 차지하려다 정신 없이 물질을 추구하지만 다른 한편으로는 이에 대해 통렬한 도덕적 반성을 해왔던 것이다. 피츠제럴드는 비극적인 자신의 인생을 통해 물질적 부로 이상세계를 실현하고자 하는 것은 환상에 불과하고, 도덕성을 희생한 채 물질을 쫓는 왜곡적인 추구는 악몽만 초래할 뿐이라는 진실을 깨달았다. 때문에 그는 《위대한 개츠비》라는 소설을 통하여 자신의 양면성을 실감나게 표현할 수 있었고 더 나아가 인생추구의 새로운 방향을 설득력 있게 제시할 수 있었다.
피츠제럴드는 대표작인 《위대한 개츠비》를 통하여 재즈 시대인 1920년대의 미국 사회와 ‘미국의 꿈’을 둘러싼 진실을 포착해낸다. 낭만적 이상주의자이자 물질주의자이며 도덕주의자였던 피츠제럴드는 물질적인 성공을 추구하면서도 도덕성과 순수함을 유지해 나가고자 했었다. 이러한 그의 양면성이 두 인물인 개츠비와 닉의 창조에 잘 나타나 있다. 피츠제럴드는 개츠비를 통하여 물질에 대한 갈망이라는 자신의 한 면을, 서술자이자 인물인 닉을 통하여는 물질적 부가 도덕성에 끼치는 악 영향을 우려하는 또 다른 자신의 모습을 구현한다. 개츠비의 이야기를 전하는 닉의 공감 어린 서술을 통해 피츠제럴드는 이상사회를 향한 추구를 인정하면서도 다른 한편으로는 그 추구의 허상과 왜곡상을 비판하고 있다. 《위대한 개츠비》에 나타난 피츠제럴드의 양면성은 작품 성공의 - 138 - 핵심 요소이자 그의 인격 및 작품의 특징 연구에 있어서 중요한 참고자료이다. 그의 양면성이 형성된 배경은 실제 그 자신이 겪은 체험에 있다. 그는 물질만능주의자인 여성을 차지하려다 정신 없이 물질을 추구하지만 다른 한편으로는 이에 대해 통렬한 도덕적 반성을 해왔던 것이다. 피츠제럴드는 비극적인 자신의 인생을 통해 물질적 부로 이상세계를 실현하고자 하는 것은 환상에 불과하고, 도덕성을 희생한 채 물질을 쫓는 왜곡적인 추구는 악몽만 초래할 뿐이라는 진실을 깨달았다. 때문에 그는 《위대한 개츠비》라는 소설을 통하여 자신의 양면성을 실감나게 표현할 수 있었고 더 나아가 인생추구의 새로운 방향을 설득력 있게 제시할 수 있었다.
Francis Scott Fitzgerald was committed to and lived in his time more than any other gifted writers of his generation. His early success combined with his personal expectations to determine his relation with his society. Being a moralist while leading a lavish life, ambitious to be a serious writer w...
Francis Scott Fitzgerald was committed to and lived in his time more than any other gifted writers of his generation. His early success combined with his personal expectations to determine his relation with his society. Being a moralist while leading a lavish life, ambitious to be a serious writer while hastened by money and conventional magazine audience, Fitzgerald suffered the great tension when he decided to chase the glittering American dream. Simultaneously enchanted and repelled by the variety of life, Fitzgerald himself attained mature realization that the romantic ideal is remote from actuality. Fitzgerald integrated the event of his live and his understanding of them into his works, and produced a large number of socially critical and thought-provoking works, among which The Great Gatsby represents the peak of his art perfection. The Great Gatsby’s success not only lies in its elevated theme and organic form, but, in my opinion, owes to a larger extent to Fitzgerald’s two-sidedness, a double vision that is opposite while complementary - 134 - simultaneously. His lavish life, an exemplar role for 1920s American youth and a moralist to the core enable him to juxtapose his romantic ideal quester with a cool judge. The juxtaposition of passionate faith and skepticism threads all his works. Fitzgerald’s hero is charming, intelligent, impressed by the glitter of a sparkling new world, and immersed in the pleasure pursuit. But against the romantic hero he places a moral judgment, a stern rebuke, functioning either within the character or from the outside. In This Side of Paradise (1920) it looms in Amory Blaine’s inner struggle or swing between instant pleasure satisfactions and consciously blaming the emptiness of such activities. In The Beautiful and Damned (1922) it demonstrates in Anthony Patch’s readiness for ideal life and his horror vision of that paradise. The concurrence exists within the protagonists and remains obscure in his early works. But in The Great Gatsby, Fitzgerald is capable of a dissociation of ideal and reality, material carnival and spiritual perfection, decadence and morality. Fitzgerald’s two-sidedness, with one side as a romantic idealist obsessed with glitter of wealth, and the other side, a cool judge and a moralist, is best reflected in The Great Gatsby. The Great Gatsby is a masterpiece of modern fiction and an easy access to Fitzgerald’s artistry. It is a short novel with organic form and highly polished poetic language. Fitzgerald’s double vision not only endows it a structure balanced in symmetry and asymmetry, but a thorough insight into the age he lives in. Through The Great Gatsby Fitzgerald dramatized the grandeur of the Jazz Age, immorality of the wealthy people, beautiful but damned women, charming but disillusionary American Dream with sarcasm. Fitzgerald’s two-sidedness can be demonstrated especially in his eager - 135 - identification with his “dual hero” -his principal protagonists Gatsby and Nick respectively. Gatsby stands for his romantic side that holds infinite faith for the promise of life and takes persistent efforts for the vulgar success dream. Nick represents his another side, the cool moralist who consistently questions and judges with unfavorable sign. Besides, Fitzgerald also successfully characterized the heroine Daisy with his impression of the most important women in his life, Ginevia and Zelda, who confirmed him to believe in the sovereign power of wealth and at the same time aroused a moral revulsion against that power. Beneath his ceaseless pursuit for wealth and lavish life is his traumatic adolescence. He suffered constant failure in self assertion, especially the loss and regain of his Zelda due to his poverty. The latter affirmed his belief in the might of money and enthroned the pleasure principle at the heart of their life. It seems safe to assume that both Fitzgerald and Gatsby are driven by their libidinal desire for Zelda and Daisy despite all their grand dreams, infinite aspiration and the deficiencies of the golden girl as the ideal object of love and marriage. Certainly Fitzgerald’s worship for money and lavish living style comes to a large extent from Zelda. Zelda’s abandoning and resuming their engagement due to his amount of money set the pleasure principle over everything in their life. To forge a qualified image for the gold-nourished girl compelled him to adapt to the prevalent social values. Hence his life became the struggle to realize what American dream implied in the 1920s. Fortunately his dream came true and he could afford a lavish life. But prince like life was his attempts to live a style of high quality, a life to seek the room for his - 136 - imagination in the reality. It is a style incorporating his romantic imagination and his integrity of moral value with the security of his talents and new wealth. It is his revolt or challenge against the cruel reality—a revolt against the dry practical rules of the genteel poor of Middle class and the restlessness and moral corruption of the very rich. Besides he is the true heir of American dream –the mass neurosis that values one’s spiritual worth as well as well-being with commodity one owns in 1920s. While his attempts fails when he realized the futility of self fulfillment through wealth and gold-nourished woman. His life once almost collapses in alchohol and depression. Writing becomes his tunnel to release his anxiety and neurosis, and through writing his opposite ideas into his The Great Gatsby, and in the process of revising his novel and polishing his artistry he could adapt himself to the reality, reordering his confusing and disparate self and share his self-experience with others. Accomplishing The Great Gatsby so becomes a therapy for him to reconcile the opposites, re-erect self and maintain the stable image. The Great Gatsby is also a therapy Fitzgerald offers for his generations to see through the
Francis Scott Fitzgerald was committed to and lived in his time more than any other gifted writers of his generation. His early success combined with his personal expectations to determine his relation with his society. Being a moralist while leading a lavish life, ambitious to be a serious writer while hastened by money and conventional magazine audience, Fitzgerald suffered the great tension when he decided to chase the glittering American dream. Simultaneously enchanted and repelled by the variety of life, Fitzgerald himself attained mature realization that the romantic ideal is remote from actuality. Fitzgerald integrated the event of his live and his understanding of them into his works, and produced a large number of socially critical and thought-provoking works, among which The Great Gatsby represents the peak of his art perfection. The Great Gatsby’s success not only lies in its elevated theme and organic form, but, in my opinion, owes to a larger extent to Fitzgerald’s two-sidedness, a double vision that is opposite while complementary - 134 - simultaneously. His lavish life, an exemplar role for 1920s American youth and a moralist to the core enable him to juxtapose his romantic ideal quester with a cool judge. The juxtaposition of passionate faith and skepticism threads all his works. Fitzgerald’s hero is charming, intelligent, impressed by the glitter of a sparkling new world, and immersed in the pleasure pursuit. But against the romantic hero he places a moral judgment, a stern rebuke, functioning either within the character or from the outside. In This Side of Paradise (1920) it looms in Amory Blaine’s inner struggle or swing between instant pleasure satisfactions and consciously blaming the emptiness of such activities. In The Beautiful and Damned (1922) it demonstrates in Anthony Patch’s readiness for ideal life and his horror vision of that paradise. The concurrence exists within the protagonists and remains obscure in his early works. But in The Great Gatsby, Fitzgerald is capable of a dissociation of ideal and reality, material carnival and spiritual perfection, decadence and morality. Fitzgerald’s two-sidedness, with one side as a romantic idealist obsessed with glitter of wealth, and the other side, a cool judge and a moralist, is best reflected in The Great Gatsby. The Great Gatsby is a masterpiece of modern fiction and an easy access to Fitzgerald’s artistry. It is a short novel with organic form and highly polished poetic language. Fitzgerald’s double vision not only endows it a structure balanced in symmetry and asymmetry, but a thorough insight into the age he lives in. Through The Great Gatsby Fitzgerald dramatized the grandeur of the Jazz Age, immorality of the wealthy people, beautiful but damned women, charming but disillusionary American Dream with sarcasm. Fitzgerald’s two-sidedness can be demonstrated especially in his eager - 135 - identification with his “dual hero” -his principal protagonists Gatsby and Nick respectively. Gatsby stands for his romantic side that holds infinite faith for the promise of life and takes persistent efforts for the vulgar success dream. Nick represents his another side, the cool moralist who consistently questions and judges with unfavorable sign. Besides, Fitzgerald also successfully characterized the heroine Daisy with his impression of the most important women in his life, Ginevia and Zelda, who confirmed him to believe in the sovereign power of wealth and at the same time aroused a moral revulsion against that power. Beneath his ceaseless pursuit for wealth and lavish life is his traumatic adolescence. He suffered constant failure in self assertion, especially the loss and regain of his Zelda due to his poverty. The latter affirmed his belief in the might of money and enthroned the pleasure principle at the heart of their life. It seems safe to assume that both Fitzgerald and Gatsby are driven by their libidinal desire for Zelda and Daisy despite all their grand dreams, infinite aspiration and the deficiencies of the golden girl as the ideal object of love and marriage. Certainly Fitzgerald’s worship for money and lavish living style comes to a large extent from Zelda. Zelda’s abandoning and resuming their engagement due to his amount of money set the pleasure principle over everything in their life. To forge a qualified image for the gold-nourished girl compelled him to adapt to the prevalent social values. Hence his life became the struggle to realize what American dream implied in the 1920s. Fortunately his dream came true and he could afford a lavish life. But prince like life was his attempts to live a style of high quality, a life to seek the room for his - 136 - imagination in the reality. It is a style incorporating his romantic imagination and his integrity of moral value with the security of his talents and new wealth. It is his revolt or challenge against the cruel reality—a revolt against the dry practical rules of the genteel poor of Middle class and the restlessness and moral corruption of the very rich. Besides he is the true heir of American dream –the mass neurosis that values one’s spiritual worth as well as well-being with commodity one owns in 1920s. While his attempts fails when he realized the futility of self fulfillment through wealth and gold-nourished woman. His life once almost collapses in alchohol and depression. Writing becomes his tunnel to release his anxiety and neurosis, and through writing his opposite ideas into his The Great Gatsby, and in the process of revising his novel and polishing his artistry he could adapt himself to the reality, reordering his confusing and disparate self and share his self-experience with others. Accomplishing The Great Gatsby so becomes a therapy for him to reconcile the opposites, re-erect self and maintain the stable image. The Great Gatsby is also a therapy Fitzgerald offers for his generations to see through the
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