The Great Gatsby: Character Profile ¡V Nick Carraway
Summary:
Nick¡¦s main role in The Great Gatsby is to uncover internal
binary conflicts, such as his struggle between capitulating to the romantic
nature of dreams and recognizing their impracticality, loving the glamorous New
York lifestyle while finding it grotesque and damaging, and characterizing himself
as open-minded but showing signs of partisanship.
Quotations &
Analysis:
Page |
Quotation |
Analysis |
1 |
¡§In consequence, I¡¦m inclined to
reserve all judgments, a habit that has opened up many curious natures to me
and also made me the victim of a few veteran bores [...] I come to the
admission that it has a limit¡¨ |
Nick, from the start, points out how
he tries to not be judgmental but he knows that it is inevitable that he
cannot have unbiased views of people he meet. The fact that he says being a
good listener has made him a ¡§victim¡¨ of being bored already hints at how he
cannot keep his promise of being nonjudgmental. |
2 |
¡§No Gatsby turned out alright at
the end; it is what preyed on Gatsby, what foul dust floated in the wake of
his dreams that temporarily closed out my interest in the abortive sorrows
and shortwinded elations of men.¡¨ |
Here, Nick makes a clear differentiation
between Gatsby and all other characters in the book; Gatsby is in one
category while all other men and their ¡§shortwinded elations¡¨ are in the
other. The distinctive trait between the two groups is that Gatsby possessed
this ability to dream, while the ¡§elations¡¨ or dreams of men are only ever
¡§shortwinded¡¨. The undercurrent of Nick¡¦s tone suggests his appreciation for
this characteristic, classifying it as a redeeming trait. |
7 |
¡§He was a sturdy strawhaired man of
thirty with a rather hard mouth and a supercilious manner. Two shining
arrogant eyes had established dominance over his face and gave him the
appearance of always leaning aggressively forward [...] It was a body capable
of enormous leverage a cruel body.¡¨ |
Through Nick¡¦s words here, readers
are already exposed to his bias towards Tom as he is depicted as a ¡§cruel¡¨
and ¡§arrogant¡¨ character. The word ¡§supercilious¡¨ adds on to the arrogant
image created of Tom as the sibilance creates the impression of Tom being
haughty and menacing. The synecdoche used in Tom¡¦s ¡§shining arrogant eyes¡¨
also allows readers to know clearly what Nick¡¦s stance is on Tom¡¦s character,
and the word ¡§shining¡¨ creates the impression of how Nick only sees the
arrogance emanating from Tom, as if it is obvious by his physical appearance.
The image of Tom being a menacing character is also emphasized by the words
¡§aggressively forward¡¨ as the gutturals in the word ¡§aggressively¡¨ creates
jarring sounds that help create the impression of Tom being a harsh and cruel
man. The word ¡§forward¡¨ creates the image of Tom towering over others, which
further adds onto the image of his arrogance and sense of superiority. |
11 |
I looked at Miss Baker, wondering
what it was she ¡§got done¡¨. I enjoyed looking at her.¡¨ |
Although this quotation is Nick¡¦s
description of Jordan, it essentially sums up his thoughts on the whole
glamorous lifestyle of NewYork. He ¡§enjoyed looking at her¡¨ as he enjoys the
glamorous lifestyle and this suggests a somewhat shallow and superficial
portrayal of Nick which reveals that, although he eventually finds the lives
of the wealthy somewhat repulsive, he is, at least at the start, attracted to
that kind of nonetheless. |
57 |
¡§At first I was flattered to go
places with her, because she was a golf champion, and everyone knew her
name.¡¨ |
The fact that Nick is ¡§flattered to
go places¡¨ with Jordan, not because he enjoys her company but because ¡§she
was a golf champion, and everyone knew her name.¡¨ indicates Nick¡¦s
shallowness as a character and his attitude towards the rich and wealthy. He
doesn¡¦t attend Gatsby¡¦s parties because he genuinely enjoys being there, but
because there are rich and famous people at the party. Ultimately, he enjoys
the status and stature that comes with the glamorous lifestyle more than the
actual lifestyle itself. |
58 |
¡§Jordan Baker instinctively avoided
clever, shrewd men, and now I saw that this was because she felt safer on a
plane on a plane where any divergence from a code would be thought
impossible.¡¨ |
In this quotation, Jordan Baker is
revealed to be more dishonest than she may have initially appeared. Nick
realises that Jordan purposely avoided ¡§clever, shrewd men¡¨ who may be able
notice her deceitfulness. In essence, ¡§she was incurably dishonest.¡¨ as if
lying and the art of deception had become something that was intrinsic to
Jordan. This idea is further emphasized when Nick reveals that Jordan
¡§instinctively¡¨ avoided clever men. Indicating that dishonesty was something
that is inseparable from Jordan, just as deceit and corruption are components
that are inseparable from the glamorous lifestyle of the affluent
NewYorkers. |
58 |
¡§It made no difference to me.
Dishonesty in a woman is a thing you never blame deeply I was casually
sorry, and then I forgot.¡¨ |
Although this quotation is Nick¡¦s
judgement on Jordan, it also represents the way in which he sees the
glamorous lifestyle of the rich and wealthy. Despite discovering Jordan¡¦s
dishonesty, it made no difference to him. Just as ¡§dishonesty in a woman is a
thing you never blame deeply¡¨, the ¡§grotesque¡¨ and monstrous world of the
wealthy does not seem to bother him. Nick¡¦s description of his own feelings
as ¡§casually sorry¡¨ suggest the superficiality of his emotions as he forgets
Jordan¡¦s flaws and dishonesty and indulges in her company nonetheless. |
66 |
¡§My incredulity was submerged in
fascination now; it was like skimming hastily through a dozen magazines.¡¨ |
Nick¡¦s readiness to believe Gatsby
despite his earlier ¡§incredulity¡¨ reveals his uncontrollable desire to
believe in Gatsby and his stories. The fact that his suspicions were ¡§submerged¡¨ suggests this
uncontrollable tendency to lean towards trusting Gatsby as opposed to being
suspicious for too long. The simile reemphasizes this idea, where ¡§skimming¡¨
through these magazines is so rapid that a close inspection of the actual
situation is impossible. The active voice suggests that Nick controls this
skimming, as though he does not want this close inspection. To summarize,
Nick¡¦s easy forgetting his suspicions suggests his internal conflict between
being suspicious and being fascinated and the way in which he is ultimately
won over by Gatsby. |
95 |
¡§There must have been moments even
that afternoon when Daisy tumbled short of [Gatsby¡¦s] dreams not through
her own fault, but because of the colossal vitality of his illusion.¡¨ |
Nick¡¦s interpretation of how Gatsby
stops being ¡§a beautiful fool¡¨ for moments is telling of Nick¡¦s own awareness
of the limited capacity of expecting reality from dreams, despite his desire
to believe in them. Nick¡¦s certainty in his analysis, underscored by the
¡§must¡¨, reasserts the idea that Nick firmly believes in what follows. He
believes that Daisy ¡§tumbles¡¨ short of Gatsby¡¦s dreams and expectation and
this word suggests an awkward inability to reach the fully realize his
dreams. He blames this on the ¡§colossal vitality of dreams¡¨, where the
romanticized language underscored by the importance of ¡§colossal¡¨ and ¡§vital¡¨
implies the intensity of dreams being intense. In this scene, therefore, we see Nick
blame the vast expansiveness of dreams as the reason why Daisy cannot live up
to Gatsby¡¦s expectations, while at the same time revealing the beauty of
dreaming through his romanticized language. |
110 |
¡§I wouldn¡¦t ask too much of her,¡¨ I
ventured. ¡§You can¡¦t repeat the past.¡¨ ¡§Can¡¦t repeat the past?¡¨ he cried
incredulously. ¡§Why of course you can!¡¨ |
This quotation exemplifies Nick¡¦s
practical, realistic view that the hope that dreams can be converted into
reality is futile. Fitzgerald juxtaposes Nick¡¦s stable, reasonable
¡§venturing¡¨ tone with an ¡§incredulous¡¨, wild tone that Gatsby carries to
accentuate the fact that Nick¡¦s thoughtful tone seems more logical and
reasonable than Gatsby¡¦s wild tone, suggesting the impracticality to
dreaming. From this, it can be seen that Nick mentally recognizes the limited
potential of dreams to transform into reality. |
111 |
¡§I was reminded of something an
elusive rhythm, a fragment of lost words, that I had heard somewhere a long
time ago.¡¨ |
Shortly after his conversation with
Gatsby on p.110, Nick seems to contradict his earlier practical statement
with this clearly romanticized account of dreams. While Nick previously
viewed them as impractical, this romanticization reveals his belief in the
redemptive nature of dreams that is exemplified most prominently in Gatsby. |
142 |
¡§Jordan put her hand on my arm. Won¡¦t
you come in, Nick? No, thanks. I was feeling a little sick and I wanted to be
alone. But Jordan lingered for a moment more. I¡¦d be damned if I¡¦d go in; I¡¦d
had enough of all of them for one day, and suddenly that included Jordan
too.¡¨ |
For Nick, this moment seems to be a
moment of realisation, the moment where he finally begins to take a clear
moral stand. His realisation that he had turned thirty earlier in the chapter
is another indication that Nick had finally ¡§grown up¡¨. He no longer reserves
his judgement and his views on Tom, Daisy and Jordan were now clear. Nick¡¦s
moral conscience seems to have been awakened after Myrtle¡¦s death and as Nick
decides to reject Tom¡¦s offer of inviting him into the house, he is
demonstrating to the reader that ultimately, he is unwilling to sacrifice his
moral conscience in exchange for wealth and power. Nick appears to have
become so disgusted with Tom, Daisy and Jordan that ¡§[he¡¦d] be damned if
[he¡¦d went] in¡¨. Hence, this quotation acts as a
turning point in Nick¡¦s life as he changes from the man who ¡§[is] inclined to
reserve all judgements¡¨ (1) into someone who has become so revolted by the
moral corruption of the wealthy that he refuses to spend any more time with
the Buchanan's and Jordan, who to Nick, represents the morally corrupt
upperclass of New York. |
178 |
¡§What¡¦s the matter, Nick? Do you
object to shaking hands with me? Yes. You know what I think of you.¡¨ |
Nick¡¦s refusal to shake Tom¡¦s hand in
this quotation is a clear indication of his disapproval and disgust at the
moral corruption of the social elite and the line ¡§You know what I think of
you.¡¨ also provides the reader with a indication of Nick¡¦s disapproval of Tom
as he makes his condemnation clear face to face. |
179 |
¡§They were careless people, Tom and
Daisythey smashed up things and creatures and then retreated back into their
money or their vast carelessness, or whatever it was that kept them together,
and let other people clean up the mess they had made¡K¡¨ |
This quotation emphasizes the
grotesque and often distorted morals of the wealthy who, instead of facing
the consequences that result from their actions, choose to hide behind a
shield of money. As a result the wealthy seem to lack a sense of guilt for
their reckless behavior and thus, Fitzgerald utilizes this quotation to
reveal the distorted moral standards that come with money and wealth. |
180 |
¡§... for a transitory enchanted
moment man must have held his breath in the presence of this continent,
compelled into aesthetic contemplation he neither understood nor desired,
face to face for the last time in history with something commensurate to his
capacity for wonder.¡¨ |
Nick¡¦s comparison of all dreams to
what he deems to be one of the greatest dreams in human history suggests his
appreciation for the romanticized beauty of ¡§aesthetic contemplation¡¨. The
awestruck image Fitzgerald paints of the Dutch sailors with their ¡§[breaths
held]¡¨ portrays his, and thus Nicks, appreciation for the beauty of dreams.
However, Nick¡¦s description of the discovery of a whole continent as the
¡§last time in history¡¨ that reality lived up to our dreams expresses his
belief that only a discovery on this scale can actually be capable of
fulfilling our dreams and that, therefore, Gatsby¡¦s realities would
inevitably fall short of his expectations. This internal conflict between the
beauty of having dreams and the way in which reality inevitably falls short
of what has been dreamt of underscores Nick¡¦s internal conflict once again. |
180 |
¡§Gatsby believed in the green light,
the orgastic future that year by year recedes before us. It eluded us then,
but that¡¦s not matter tomorrow we will run faster, stretch out our arms
farther¡K And one fine morning¡¨ |
This quotation ends The Great Gatsby
with the internal conflict that Nick has been struggling with throughout the
course of the novel: between believing in our ability to achieve what we
dream of and the fear that the these dreams will continue ¡§elud[ing] us¡¨.
Yet, this quotation ends unfinished, with hyphens replacing words to indicate
Nick¡¦s faltering as his inability to assert his opinion that we will reach
the dream we are ¡§[running]¡¨ towards. |