In the novel āThe Great Gatsbyā, F. Scott Fitzgerald explores hierarchical structure through the young bootlegger Jay Gatsby, who rockets from his poor childhood in the midwest to Godlike wealth and extravagance, before losing it all again. Fitzgerald delves into the complexity of who the human race is on a fundamental level and what our dreams demand of us, and if one can ever change the structure of who one is through social, economic, or political movement.Ā
The Great Gastby features a number of characters who are searching for something more, regardless of socioeconomic status. The social hierarchy is explored in different facets, from using Tom, the aggressively unintelligent old money caricature, Daisy, the representation of all this is enchanting and unachievable, Nick, the silent eyes of God enchanted by Gatsby, and Gatsby himself. The significance in Gatsby's character comes from his origin. The Gatsby that is projected out into the world is one that āsprang forth from the Platonic conception of himselfā, a veritable Apollo figure, whose parties never stop, and whose radiance never fails to claim the adoration of everyone he meets. That Gastby never defined hierarchy because he was simply ābornā for it. The true Gastby, James Gatz, however, defied every hierarchical norm there was in 1920 society. Upon introduction to the real Gatsby, Nick guesses that āhis imagination has never really accepted them as his parents at all.ā, however the reality was that James was born to a poor, āshiftlessā farming family, from nowhere of significance. Gatsby, in his youth was given a taste of wealth, and had kept dreams of shifting into a higher form of self ever since he wrote into his journals, in order to become Jay Gatsby, millionaire, and owner of Daisy Fayās only affections. This ardore of Daisy was his big first step across hierarchical lines. Daisy had soldiers aplenty to amuse her, and she seemed to not pick favorites, merely stalling her youth until she would have to conform to the pressures and responsibilities that her role as the beautiful foolish daughter of an old money family has. Gatsby fell in love with her, or the idea of her, and created this idea that he was the only one she had ever loved, and he claimed her as his own possession, though he did not financially, socially, politically, or otherwise have any capacity to stake his claim on her. Gatsby crossed lines, perhaps not when he loved her, but what he did after he left to earn her love, or to become someone who deserved her love. In bootlegging, in money laundering, in working with the mob, and in becoming ānew moneyā, in all that he did, or might have done at the service of Mr. Wolfsheim, he crossed lines, and in the way that he did this, he isolated himself from the very class of people that he aspired to join. While his parties were certainly well attended all through the summer, no one left without hearing and passing along rumors of the nefarious nature of their host. Gatsby kept inviting them in, however, hoping to find Daisy in the crowd, feeling that he had earned her in his enormous, empty house that frothed over with guests.Ā He shipped huge crates of fruit and flowers to his mansion, mowed his lawn meticulously, opened the pool he had not once touched all summer, to become one of them. He beat against a current he was never intended for.Ā
In unfortunate ways, however, Gatsby accepted hierarchical structures and obligations that many who lived in his time in high classes indulged in. One of these was the perpetual living in worlds of delusion, comfort, and in the past. Our introduction to the main cast of characters proceeds with Tom Buchannan, a football star who wants to be relevant again, pursuing this through his grotesquely charming house and yard, as well as his obsession with his own racial supremacy and public infidelity. Daisy is the mirror opposite of Tom, she yearns for little more than her own comfort, the first line she ever says being that she is āparalyzed with happinessā.Ā Gatsby longs for things that comfort him, and create relevance for him as well, such as his illusioned notion that he can live in the past, if only he tries hard enough. Gatsby also yearns for relevance, and is constantly trying to prove that everything he does is good enough for Daisy. The parties, the lawn, the house, the shirts, everything he does is to earn her. Yet, he lacks something integral to join the upper class. As soon as Daisy discovers through Tom Gatsbyās past, his means to achieve her favor, she shrinks back into herself, revolting and terrified of his defiance of the very social and hierarchical standards that imprison her. She still, though, expects him to solve her problems for her, and sees him as obligated to cater to her and put down his life for her when Wilson comes around seeking revenge.
The greatest tragedy of this story is that no one, but especially Gatsby could escape who they were. They were westerners who wanted too much, and they were tied to who they were born as. As Gatsby abandoned his dream moments before death, he died James Gatz once more, and no wealthy friends attended his funeral. He could not escape who heĀ was on a fundamental level, but the ending encourages us to keep trying, always keep trying, because escape is the essence of the American Dream.Ā
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