Society and the laws by which it is governed are set by one thing and only one thing; humans. Normal people set and agree upon the laws, and abide by them in their daily lives, but not everyone is a normal person. The laws set by society do not apply to everyone, whether that be by legal exceptions, or just an immense amount of money and power. This is especially touched upon in F. Scott Fitzgerald’s book, The Great Gatsby. In the book, Fitzgerald’s depiction of the problems of Tom Buchanan and Jay Gatsby face, and how they handle them relative to the lower class, illustrates that money and status make those who wield it invulnerable to the laws by which the rest of society are held to.
Mr. Capulet also refuses his Lady’s wishes for him not to fight because he felt like he was too good not to fight. Romeo and Juliet were scared to tell anyone about their marriage because of this feud. It’s also the reason that Juliet had to fake her death when it came to marrying Paris. Mr. Capulet is the the reason why Romeo and Juliet died because he was too proud of his family and he kept the feud going
Myrtle is not just unsatisfied with Wilson but it is also the life that he can’t provide for her. Myrtle wants desperately to live the life that Daisy lives with the big house, the elegant dresses, and the money but she can’t because her husband can’t provide that for her, and that is the reason Myrtle decides to have an affair with Tom because she gets to live another life with him that she is in love with. We often hear about Tom and his multiple affairs throughout the book, but are slightly unclear to the reason he cheats on Daisy or why he is unsatisfied. In chapter 2 during the party at the apartment with Myrtle, Nick is told by Myrtle’s sister, Catherine, that “Neither of them (Tom or Myrtle) could stand the person they are married to” (Fitzgerald, 33) In chapter 7 during the Mason 2 confrontation between Gatsby and Tom we hear Tom say “The trouble is sometimes she gets foolish ideas in her head and doesn’t know what she’s doing.” (Fitzgerald, 131) and that may be the reason he doesn’t always enjoy their relationship, because he doesn’t always agree with her and her
He places her in the nursery of the colonial mansion, despite her requests to be placed otherwise, “I don 't like our room a bit. I wanted one downstairs... but John would not hear of it” (Gilman, 2). The narrator’s husband dictates all aspects of her life to the point where she internalizes her husband 's authority, accepting his dominance over her, “I sometimes fancy that in my condition if I had less opposition and more society and stimulus—but John says the very worst thing I can do is think about my condition, and I confess it always makes me feel bad,” (Gilman, 2). Even though the narrator knows what she needs is to be active surrounded by people instead of cooped up alone in a house out in the countryside, she abruptly stops her train of thought as she remembers John’s instructions to not think about her condition.
Xavier now loses the will to survive the war. After Elijah finds out about Xavier’s encounter with Lisette he is upset that, “[He] paid a lot of money for her time with [him]. If [he] knew [Xavier] was going to fall in love like a fool, [he] wouldn’t have done it.” (257).
Even though Lord Capulet did nothing to Romeo, he did something very ungrateful to his daughter. He told her to move out if she’s not going to marry Paris and
As The Hunger Games Katniss Everdeen defies the capital for the betterment of her people, so do many other literary figures. Some of these characters include Mark Twain’s Huckleberry Finn and Sophocles’s Antigone. Both of these characters convey the theme of rejecting society, as they rebel against society or authority to stay true to themselves. Huckleberry ignores society because he wants his independence and doesn’t want to be held back by anyone. On the other hand, Antigone only stands up to her uncle, the king, because she wants to bury and pay her respects to her dead brother, who rebelled against the city.
Daisy, despite being completely at fault, allows Gatsby to take the blame, even though she claims to have once loved him. This shows how desperate she is to keep society’s view of her untainted. She wants to remain pure in their eyes, and killing someone with a car would shatter her image. She could not claim it was an accident for it would make her look inattentive, while if she claimed it was not an accident, it would make her look callous, neither of which would benefit her reputation. Her only option left was to let Gatsby take the blame and walk away with no consequences.
”(Fitzgerald 130). Gatsby knew that Daisy was self-centered and only cared about wealth, because if she truly loved him, she would wait for him to return back. Daisy believes that money resolves problems. This reflects on Tom’s and Daisy’s marriage. Even though, Tom treats Daisy poorly and betrays her, Daisy does not seem to care because of Tom’s wealth.
Finally, the opposing side could argue that Aunt Clara told George to take care of Lennie not kill him. This claim is false because Aunt Clara also would not want Lennie to keep on killing people and putting George through a lot of
After Myrtle answers Catherine questions and why she married George Wilson which indicates that Myrtle doesn 't think he is fit enough to be her husband. She was basically using him for the things she thought he had. And now she 's saying that he isn 't even worthy enough to lick her shoes. This is basically saying that he is worthless. During this time people consume more alcohol than nowadays and alcohol is a great want and need for the lives of most people to get away from stressful times, to have fun or to make a living.
Not only is avarice a major issue, but the likes of pride and envy lurk in the murky waters of the Long Island Sound. The previous offenders, repeat again here. Starting with Gatsby, who embodies the classic rags to riches stories of the time. When his past is brought out from behind a curtain, it is discovered that it may be not so classic after all. James Gatz admires the well-to-do people, like Dan Cody.
F. Scott Fitzgerald’s The Great Gatsby is written as a mockery of American ideals, and emphasizes materialism, sexual immorality, and selfishness. Though it appears at first glance to be a love story about Jay Gatsby and Daisy Buchanan, The Great Gatsby is actually a satirical take on American culture, especially in the 1920s. In the 1920s, known as the “Roaring Twenties”, America’s economy was booming, jazz was immensely popular, and alcohol had been banned. Organized crime ran rampant, and Americans seemed to lose their moral values.
The American Dream is originally about the discovery of success, but by the 1920´s, this dream took a different path; a path where people fought for the desire of wealth by any means in a battle between what was considered legal vs. moral. This mentality was product of capitalism, which introduces the mentality that money would bring happiness and success. This is why F. Scott Fitzgerald creates each setting of The Great Gatsby with a purpose, whether it was to illustrate how the roaring twenties changed the American society, or to symbolize how each setting represent the mentality of each character from the novel. The Great Gatsby tells the story of Jay Gatsby and his life into the world of the social elite as he works to gain Daisy's love. Fitzgerald focuses on how money and wealth can create a change in people, and throughout the novel, the setting represents part of this message, each location representing a different social class and a different perspective of life among the ones living in it.
Romagnolo fixes her ideas of a false dichotomy by acknowledging the complexity and interconnectivity within two main types in her 2011 paper Initiating Dialogue: Narrative Beginnings in Multicultural Narratives. In it she states, “Although several critics have established the importance of beginnings, they have yet to excavate the links between the ways narratives begin (formal beginnings) and the ways they address the concept of beginning (conceptual beginnings)” (Romagnolo, 183). It seems that since her 2003 paper, she has recognized the spectrum in which narrative beginnings operate, not just falling in one of two places, but sometimes belonging to both, neither, or an undefined category. If more critics were to acknowledge this, I think