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F. Scott FitzgeraldA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
F. Scott Fitzgerald’s writing is full of allusions, or references to other figures or works. These moments demonstrate his education and create associated meanings for the readers.
First, as part of establishing the upper-class society dance, he suggests the matrons give their “deductions […] such as the one which states that every young man with a large income leads the life of a hunted partridge” (356). This is an allusion to, and humorous rephrasing of, the opening line of Jane Austen’s Pride and Prejudice: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” With that novel in mind, Fitzgerald suggests how the traditional upper-class mindset is still present but starting to be resisted in his Jazz Age.
Two other literary allusions are more direct. First, when Marjorie and Bernice are discussing the right ways to treat one another, Bernice asks, “Don’t you think common kindness—” and Marjorie interjects, “Oh, please don’t quote ‘Little Women’!” (365). Second, when Bernice is borrowing Marjorie’s clever conversation topics, she notes that “Marjorie had culled this from Oscar Wilde” (370). Together, these allusions help clarify the differences between Bernice’s and Marjorie’s mindsets. Bernice is clinging to the traditional propriety of the late-Transcendental/early-Realist writer Louisa May Alcott, while Marjorie has embraced the biting social critique of Wilde’s late Victorian novels and plays.
Other sources that Fitzgerald references include the Bible and Greek mythology. At the climax of the story, “Marjorie turned swiftly and with serpentlike intensity to Warren” (378). Like the snake in the Garden of Eden that tempted Eve into eating fruit from the Tree of Knowledge and being cast out of paradise, Marjorie tempted Bernice into playing the social game and being rejected. The snake imagery also appears later when Marjorie is compared to Medusa, a Greek mythological figure with snakes for hair. These connections are especially condemning of Marjorie and help the audience understand the characters better.
Anagnorisis is the moment a character sees something in a new light or understands their situation from a new perspective. Rather than being a moment of joyful clarity, though, anagnorisis is most often used in tragedy when the character realizes their downfall is imminent or has been set into motion and now is beyond their control. In this case, the moment comes when Bernice’s hair is being let down, or fully freed, only to be cut, and fully lost: “For a second she was near breaking down […] she clinched her hands under the white cloth, and there was a curious narrowing of her eyes” (10). When Bernice sees her bobbed hair, she understands not only how Marjorie has set her up but how alignment with current trends has resulted in a personal failure. Rather than being her moment of social acceptance, it causes her social ostracization. Though she bears the moment with resolve, she is irrevocably changed afterward.
Stories that begin in medias res begin in the middle of the action rather than with initial foregrounding. This story begins during a party, introducing first the social setting and crowd before any of the central characters. The party’s action gives a sense of being caught up in a moment, especially dominated by the thrill of courtship and the danger of social ridicule. With those features established, the reader can better understand why Bernice would agree to follow Marjorie’s advice, and why she would want to fit in with this thrilling crowd. Many side characters are quickly named, suggesting the issue of having a wide array of acquaintances with few close personal relationships. The swirl of activity also foreshadows how Bernice could get caught up beyond her control and be unable to resist social pressure until it is too late.
The story features an omniscient narrator who provides insights into the thoughts and feelings of various characters. However, rather than providing interiority throughout, Fitzgerald is selective about which character’s thoughts are revealed and when. For example, the story opens with Warren as the focus, who wanders through the crowd at the dance and is unimpressed by Bernice. This revelation of Warren’s opinions shows how people in this society judge one another, which motivates Bernice to become more popular. Later, the cutting of Bernice’s hair is paired with richly detailed descriptions of her thoughts and feelings. In contrast, Warren is technically present in that scene but is sparingly mentioned, revealing how quickly he withdraws from her when she falls from grace. Overall, the selectively omniscient narration aligns with the Detachment in Modern Relationships, in that even closely linked characters cannot fully connect with each other’s thoughts and feelings.



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