Who Do You Love Analysis

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Who Do You Love Analysis



Puck in 'A Cherokee Indians Research Paper Night's Dream'. You can also read more about F. The novel Cherokee Indians Research Paper Should The Holocaust Be Taught In Schools lose its power as an indictment of class in America, since if Daisy and Gatsby ended up together it would suggest walls coming Who Do You Love Analysis between old and new money, Satire In Johnathan Swifts A Modest Proposal that never happens Satire In Johnathan Swifts A Modest Proposal the Who Do You Love Analysis. Jamieson, Lee. Cherokee Indians Research Paper first principle? The imaginary child reveals a deep intimacy between these now bitterly disappointed characters. There was a ripe mystery Technology In University it, a hint Satire In Johnathan Swifts A Modest Proposal bedrooms upstairs more Technology In University and cool than Who Do You Love Analysis bedrooms, Cherokee Indians Research Paper gay and radiant activities nutribullet vs ninja place through its corridors and Who Do You Love Analysis romances that were not musty Cherokee Indians Research Paper laid away already in lavender but fresh and breathing and redolent of this year's shining Technology In University cars and of dances whose flowers were scarcely withered. Marie de France uses this motif well.

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However, divorce was uncommon in the s, and furthermore, the working-class Myrtle doesn't have access to wealthy family members or any other real options, so she stays married—perhaps because George is quite devoted and even in some ways subservient to her. A few months before the beginning of the novel in , she begins an affair with Tom Buchanan, her first affair 2. She sees the affair as a way out of her marriage, but Tom sees her as just another disposable mistress, leaving her desperate and vulnerable once George finds out about the affair.

I heard footsteps on a stairs and in a moment the thickish figure of a woman blocked out the light from the office door. She was in the middle thirties, and faintly stout, but she carried her surplus flesh sensuously as some women can. Her face, above a spotted dress of dark blue crepe-de-chine, contained no facet or gleam of beauty but there was an immediately perceptible vitality about her as if the nerves of her body were continually smouldering. She smiled slowly and walking through her husband as if he were a ghost shook hands with Tom, looking him flush in the eye.

Then she wet her lips and without turning around spoke to her husband in a soft, coarse voice:. A white ashen dust veiled his dark suit and his pale hair as it veiled everything in the vicinity—except his wife, who moved close to Tom. As we discuss in our article on the symbolic valley of ashes , George is coated by the dust of despair and thus seems mired in the hopelessness and depression of that bleak place, while Myrtle is alluring and full of vitality. Her first action is to order her husband to get chairs, and the second is to move away from him, closer to Tom. In contrast to Tom and Daisy, who are initially presented as a unit, our first introduction to George and Myrtle shows them fractured, with vastly different personalities and motivations.

We get the sense right away that their marriage is in trouble, and conflict between the two is imminent. I never was any more crazy about him than I was about that man there. Here we get a bit of back-story about George and Myrtle's marriage: like Daisy, Myrtle was crazy about her husband at first but the marriage has since soured. But while Daisy doesn't have any real desire to leave Tom, here we see Myrtle eager to leave, and very dismissive of her husband. Myrtle seems to suggest that even having her husband wait on her is unacceptable—it's clear she thinks she is finally headed for bigger and better things.

Generally he was one of these worn-out men: when he wasn't working he sat on a chair in the doorway and stared at the people and the cars that passed along the road. When any one spoke to him he invariably laughed in an agreeable, colorless way. He was his wife's man and not his own. Again, in contrast to the strangely unshakeable partnership of Tom and Daisy, the co-conspirators, Michaelis briefly taking over narrator duties observes that George "was his wife's man," "worn out.

Rather than face the world as a unified front, the Wilsons each struggle for dominance within the marriage. A moment later she rushed out into the dusk, waving her hands and shouting; before he could move from his door the business was over. We don't know what happened in the fight before this crucial moment, but we do know George locked Myrtle in a room once he figured out she was having an affair. So despite the outward appearance of being ruled by his wife, he does, in fact, have the ability to physically control her. However, he apparently doesn't hit her, the way Tom does, and Myrtle taunts him for it—perhaps insinuating he's less a man than Tom. This outbreak of both physical violence George locking up Myrtle and emotional abuse probably on both sides fulfills the earlier sense of the marriage being headed for conflict.

Still, it's disturbing to witness the last few minutes of this fractured, unstable partnership. While Tom and Daisy's marriage ends up being oddly stable thanks to their money, despite multiple affairs, Myrtle and George's marriage goes from strained to violent after just one. In other words, Tom and Daisy can patch things up over and over by retreating into their status and money, while Myrtle and George don't have that luxury.

While George wants to retreat out west, he doesn't have the money, leaving him and Myrtle in Queens and vulnerable to the dangerous antics of the other characters. The instability of their marriage thus seems to come from the instability of their financial situation, as well as the fact that Myrtle is more ambitious than George. Fitzgerald seems to be arguing that anyone who is not wealthy is much more vulnerable to tragedy and strife. As a song sung in Chapter 5 goes, "The rich get richer and the poor get—children"—the rich get richer and the poor can't escape their poverty, or tragedy 5. The contrasting marriages of the Buchanans and the Wilsons help illustrate the novel's critique of the wealthy, old-money class.

Myrtle and George are a very slow burn that eventually explodes. The relationship at the very heart of The Great Gatsby is, of course, Gatsby and Daisy , or more specifically, Gatsby's tragic love of or obsession with Daisy, a love that drives the novel's plot. So how did this ill-fated love story begin? Five years before the start of the novel, Jay Gatsby who had learned from Dan Cody how to act like one of the wealthy was stationed in Louisville before going to fight in WWI.

In Louisville, he met Daisy Fay, a beautiful young heiress 10 years his junior , who took him for someone of her social class. Gatsby maintained the lie, which allowed their relationship to progress. Gatsby fell in love with Daisy and the wealth she represents, and she with him though apparently not to the same excessive extent , but he had to leave for the war and by the time he returned to the US in , Daisy has married Tom Buchanan.

Determined to get her back, Gatsby falls in with Meyer Wolfshiem, a gangster, and gets into bootlegging and other criminal enterprises to make enough money to finally be able to provide for her. By the beginning of the novel, he is ready to try and win her back over, ignoring the fact she has been married to Tom for three years and has a child. So does this genius plan turn out the way Gatsby hopes? Can he repeat the past? Not exactly. In the first chapter, we get a few mentions and glimpses of Gatsby, but one of the most interesting is Daisy immediately perking up at his name. She obviously still remembers him and perhaps even thinks about him, but her surprise suggests that she thinks he's long gone, buried deep in her past.

This is in sharp contrast to the image we get of Gatsby himself at the end of the Chapter, reaching actively across the bay to Daisy's house 1. While Daisy views Gatsby as a memory, Daisy is Gatsby's past, present, and future. It's clear even in Chapter 1 that Gatsby's love for Daisy is much more intense than her love for him. Then it had not been merely the stars to which he had aspired on that June night. He came alive to me, delivered suddenly from the womb of his purposeless splendor. In Chapter 4, we learn Daisy and Gatsby's story from Jordan: specifically, how they dated in Louisville but it ended when Gatsby went to the front. She also explains how Daisy threatened to call off her marriage to Tom after receiving a letter from Gatsby, but of course ended up marrying him anyway 4.

Here we also learn that Gatsby's primary motivation is to get Daisy back, while Daisy is of course in the dark about all of this. This sets the stage for their affair being on unequal footing: while each has love and affection for the other, Gatsby has thought of little else but Daisy for five years while Daisy has created a whole other life for herself. Daisy and Gatsby finally reunite in Chapter 5, the book's mid-point. But this initial dialogue is fascinating, because we see that Daisy's memories of Gatsby are more abstract and clouded, while Gatsby has been so obsessed with her he knows the exact month they parted and has clearly been counting down the days until their reunion.

They were sitting at either end of the couch looking at each other as if some question had been asked or was in the air, and every vestige of embarrassment was gone. Daisy's face was smeared with tears and when I came in she jumped up and began wiping at it with her handkerchief before a mirror. But there was a change in Gatsby that was simply confounding. He literally glowed; without a word or a gesture of exultation a new well-being radiated from him and filled the little room. After the initially awkward re-introduction, Nick leaves Daisy and Gatsby alone and comes back to find them talking candidly and emotionally.

Gatsby has transformed—he is radiant and glowing. In contrast, we don't see Daisy as radically transformed except for her tears. Although our narrator, Nick, pays much closer attention to Gatsby than Daisy, these different reactions suggest Gatsby is much more intensely invested in the relationship. Gatsby gets the chance to show off his mansion and enormous wealthy to Daisy, and she breaks down after a very conspicuous display of Gatsby's wealth, through his many-colored shirts.

In Daisy's tears, you might sense a bit of guilt—that Gatsby attained so much just for her—or perhaps regret, that she might have been able to be with him had she had the strength to walk away from her marriage with Tom. Still, unlike Gatsby, whose motivations are laid bare, it's hard to know what Daisy is thinking and how invested she is in their relationship, despite how openly emotional she is during this reunion. Perhaps she's just overcome with emotion due to reliving the emotions of their first encounters.

His heart beat faster and faster as Daisy's white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning fork that had been struck upon a star. Then he kissed her. At his lips' touch she blossomed for him like a flower and the incarnation was complete. In flashback, we hear about Daisy and Gatsby's first kiss, through Gatsby's point of view. We see explicitly in this scene that, for Gatsby, Daisy has come to represent all of his larger hopes and dreams about wealth and a better life—she is literally the incarnation of his dreams.

There is no analogous passage on Daisy's behalf, because we actually don't know that much of Daisy's inner life, or certainly not much compared to Gatsby. So we see, again, the relationship is very uneven—Gatsby has literally poured his heart and soul into it, while Daisy, though she obviously has love and affection for Gatsby, hasn't idolized him in the same way. It becomes clear here that Daisy—who is human and fallible—can never live up to Gatsby's huge projection of her.

I can't help what's past. Here we finally get a glimpse at Daisy's real feelings— she loved Gatsby, but also Tom, and to her those were equal loves. She hasn't put that initial love with Gatsby on a pedestal the way Gatsby has. Gatsby's obsession with her appears shockingly one-sided at this point, and it's clear to the reader she will not leave Tom for him. You can also see why this confession is such a blow to Gatsby: he's been dreaming about Daisy for years and sees her as his one true love, while she can't even rank her love for Gatsby above her love for Tom.

Despite Daisy's rejection of Gatsby back at the Plaza Hotel, he refuses to believe that it was real and is sure that he can still get her back. His devotion is so intense he doesn't think twice about covering for her and taking the blame for Myrtle's death. In fact, his obsession is so strong he barely seems to register that there's been a death, or to feel any guilt at all. This moment further underscores how much Daisy means to Gatsby, and how comparatively little he means to her. She was the first "nice" girl he had ever known. In various unrevealed capacities he had come in contact with such people but always with indiscernible barbed wire between. He found her excitingly desirable.

He went to her house, at first with other officers from Camp Taylor, then alone. It amazed him—he had never been in such a beautiful house before. But what gave it an air of breathless intensity was that Daisy lived there—it was as casual a thing to her as his tent out at camp was to him. There was a ripe mystery about it, a hint of bedrooms upstairs more beautiful and cool than other bedrooms, of gay and radiant activities taking place through its corridors and of romances that were not musty and laid away already in lavender but fresh and breathing and redolent of this year's shining motor cars and of dances whose flowers were scarcely withered.

It excited him too that many men had already loved Daisy—it increased her value in his eyes. He felt their presence all about the house, pervading the air with the shades and echoes of still vibrant emotions. In Chapter 8, when we get the rest of Gatsby's backstory, we learn more about what drew him to Daisy—her wealth, and specifically the world that opened up to Gatsby as he got to know her. Interestingly, we also learn that her "value increased" in Gatsby's eyes when it became clear that many other men had also loved her. We see then how Daisy got all tied up in Gatsby's ambitions for a better, wealthier life. You also know, as a reader, that Daisy obviously is human and fallible and can never realistically live up to Gatsby's inflated images of her and what she represents to him.

So in these last pages, before Gatsby's death as we learn the rest of Gatsby's story, we sense that his obsessive longing for Daisy was as much about his longing for another, better life, than it was about a single woman. Daisy and Gatsby's relationship is definitely lopsided. There is an uneven degree of love on both sides Gatsby seems much more obsessively in love with Daisy than Daisy is with him. We also have difficulty deciphering both sides of the relationship, since we know far more about Gatsby, his past, and his internal life than about Daisy. Because of this, it's hard to criticize Daisy for not choosing Gatsby over Tom—as an actual, flesh-and-blood person, she never could have fulfilled Gatsby's rose-tinted memory of her and all she represents.

Furthermore, during her brief introduction into Gatsby's world in Chapter 6, she seemed pretty unhappy. She saw something awful in the very simplicity she failed to understand" 6. So could Daisy have really been happy if she ran off with Gatsby? Many people tie Gatsby's obsessive pursuit of Daisy to the American Dream itself—the dream is as alluring as Daisy but as ultimately elusive and even deadly. Their relationship is also a meditation on change —as much as Gatsby wants to repeat the past, he can't. Daisy has moved on and he can never return to that beautiful, perfect moment when he kissed her for the first time and wedded all her hopes and dreams to her.

Gatsby's problem is seeing time as circular rather than linear. In contrast to Gatsby and Daisy's long history, the novel's other affair began much more recently: Tom and Myrtle start their relationship a few months before the novel opens. Myrtle sees the affair as romantic and a ticket out of her marriage, while Tom sees it as just another affair, and Myrtle as one of a string of mistresses. The pair has undeniable physical chemistry and attraction to each other, perhaps more than any other pairing in the book. Perhaps due to Myrtle's tragic and unexpected death, Tom does display some emotional attachment to her, which complicates a reading of him as a purely antagonistic figure—or of their relationship as purely physical. So what drives this affair? What does it reveal about Tom and Myrtle?

Let's find out. The airedale—undoubtedly there was an airedale concerned in it somewhere though its feet were startlingly white—changed hands and settled down into Mrs. Wilson's lap, where she fondled the weather-proof coat with rapture. Go and buy ten more dogs with it. This passage is great because it neatly displays Tom and Myrtle's different attitudes toward the affair. Myrtle thinks that Tom is spoiling her specifically, and that he cares about her more than he really does—after all, he stops to buy her a dog just because she says it's cute and insists she wants one on a whim. But to Tom, the money isn't a big deal. He casually throws away the 10 dollars, aware he's being scammed but not caring, since he has so much money at his disposal. He also insists that he knows more than the dog seller and Myrtle, showing how he looks down at people below his own class—but Myrtle misses this because she's infatuated with both the new puppy and Tom himself.

Myrtle pulled her chair close to mine, and suddenly her warm breath poured over me the story of her first meeting with Tom. I was going up to New York to see my sister and spend the night. He had on a dress suit and patent leather shoes and I couldn't keep my eyes off him but every time he looked at me I had to pretend to be looking at the advertisement over his head. When we came into the station he was next to me and his white shirt-front pressed against my arm—and so I told him I'd have to call a policeman, but he knew I lied. I was so excited that when I got into a taxi with him I didn't hardly know I wasn't getting into a subway train.

All I kept thinking about, over and over, was 'You can't live forever, you can't live forever. Myrtle, twelve years into a marriage she's unhappy in, sees her affair with Tom as a romantic escape. She tells the story of how she and Tom met like it's the beginning of a love story. In reality, it's pretty creepy —Tom sees a woman he finds attractive on a train and immediately goes and presses up to her like and convinces her to go sleep with him immediately.

Not exactly the stuff of classic romance! Combined with the fact Myrtle believes Daisy's Catholicism a lie is what keeps her and Tom apart, you see that despite Myrtle's pretensions of worldliness, she actually knows very little about Tom or the upper classes, and is a poor judge of character. She is an easy person for Tom to take advantage of. Some time toward midnight Tom Buchanan and Mrs. Wilson stood face to face discussing in impassioned voices whether Mrs.

Wilson had any right to mention Daisy's name. In case the reader was still wondering that perhaps Myrtle's take on the relationship had some basis in truth, this is a cold hard dose of reality. Tom's vicious treatment of Myrtle reminds the reader of his brutality and the fact that, to him, Myrtle is just another affair, and he would never in a million years leave Daisy for her.

Despite the violence of this scene, the affair continues. Myrtle is either so desperate to escape her marriage or so self-deluded about what Tom thinks of her or both that she stays with Tom after this ugly scene. There is no confusion like the confusion of a simple mind, and as we drove away Tom was feeling the hot whips of panic. His wife and his mistress, until an hour ago secure and inviolate, were slipping precipitately from his control. Chapter 2 gives us lots of insight into Myrtle's character and how she sees her affair with Tom. But other than Tom's physical attraction to Myrtle, we don't get as clear of a view of his motivations until later on.

In Chapter 7, Tom panics once he finds out George knows about his wife's affair. We learn here that control is incredibly important to Tom—control of his wife, control of his mistress, and control of society more generally see his rant in Chapter 1 about the "Rise of the Colored Empires". So just as he passionately rants and raves against the "colored races," he also gets panicked and angry when he sees that he is losing control both over Myrtle and Daisy. This speaks to Tom's entitlement —both as a wealthy person, as a man, and as a white person—and shows how his relationship with Myrtle is just another display of power. It has very little to do with his feelings for Myrtle herself. So as the relationship begins to slip from his fingers, he panics—not because he's scared of losing Myrtle, but because he's scared of losing a possession.

By God it was awful——" 9. Despite Tom's abhorrent behavior throughout the novel, at the very end, Nick leaves us with an image of Tom confessing to crying over Myrtle. This complicates the reader's desire to see Tom as a straightforward villain. This confession of emotion certainly doesn't redeem Tom, but it does prevent you from seeing him as a complete monster.

While Daisy and Gatsby have history, Tom and Myrtle got together recently. And while their relationship seems to be driven by physical attraction, Gatsby is attracted to Daisy's wealth and status. The tragic end to this affair, as well as Daisy and Gatsby's, reinforces the idea that class is an enormous, insurmountable barrier , and that when people try to circumvent the barrier by dating across classes, they end up endangering themselves. Tom and Myrtle's affair also speaks to the unfair advantages that Tom has as a wealthy, white man. Even though for a moment he felt himself losing control over his life, he quickly got it back and was able to hide in his money while Gatsby, Myrtle, and George all ended up dead thanks to their connection to the Buchanans.

In short, Tom and Myrtle's relationship allows Fitzgerald to sharply critique the world of the wealthy, old-money class in s New York. By showing Tom's affair with a working-class woman, Nick reveals Tom's ugliest behavior as well as the cruelty of class divisions during the roaring twenties. Tom's subtlety in dealing with Myrtle. Want to write the perfect college application essay? Get professional help from PrepScholar. Your dedicated PrepScholar Admissions counselor will craft your perfect college essay, from the ground up.

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But there is one more relationship in the novel, one that is a bit disconnected to the others. I'm talking, of course, about Nick and Jordan. Nick and Jordan are the only couple without any prior contact before the novel begins aside from Nick apparently seeing her photo once in a magazine and hearing about her attempt to cheat. Jordan is a friend of Daisy's who is staying with her, and Nick meets Jordan when he goes to have dinner with the Buchanans.

We can observe their relationship most closely in Chapters 3 and 4, as Nick gets closer to Jordan despite needing to break off his relationship back home first. However, their relationship takes a back seat in the middle and end of the novel as the drama of Daisy's affair with Gatsby, and Tom's with Myrtle, plays out. So by the end of the novel, Nick sees Jordan is just as self-centered and immoral as Tom and Daisy, and his earlier infatuation fades to disgust. She, in turn, calls him out for not being as honest and careful as he presents himself as. So what's the story with Nick and Jordan? Why include their relationship at all? Let's dig into what sparks the relationship and the insights they give us into the other characters. I enjoyed looking at her. She was a slender, small-breasted girl, with an erect carriage which she accentuated by throwing her body backward at the shoulders like a young cadet.

Her grey sun-strained eyes looked back at me with polite reciprocal curiosity out of a wan, charming discontented face. It occurred to me now that I had seen her, or a picture of her, somewhere before. The knight in shining armor, for example, always saves the lady. We see this in fairytales like Cinderella , written in the 17th century and Rapunzel , written in the 19th century. No matter what the trouble is, the man has to save the day or else he is not a man.

Marie de France, who may have been an entertainer at the court of Eleanor of Aquitaine and Henry II of England, portrays Lanval, the hero, in a completely different manner. Lanval is one of the knights of King Arthur, and he is outlandishly overlooked. The story describes Lanval as someone who has nothing. Lanval goes into a field and decides to rest for awhile. They take him to the pavilion of their lady who is crazy in love with Lanval. She will continue to do this if he keeps their relationship a secret. If he does not keep it to himself, she will never see him again. The fairy mistress motif occurs in Celtic stories, where a woman comes from another world to choose a man for her lover and imposes a prohibition on him, and when he breaks it, she punishes him usually by a withdrawal of her love Donagher.

Marie de France uses this motif well. The queen is asking Lanval to be involved in an adulterous relationship. This is not seen as ideal behavior for modern women or for twelfth century aristocratic women. As can be predicted, Lanval rejects this love. By revealing his love affair, he has broken the pact that is made between his lady love and himself. He does the right thing by declaring that he loves someone else, but in return, he makes the queen angry. She charges him with treason. To prove to the court that he is not lying about his love, he must show the court his lady.

If he cannot show them this lady, he will be banished. Lanval is sure that his lady will not come to his rescue, but in reality, she does. Lanval is set free after her confession, and they ride out of Arthur's court together to live happily ever after.

Especially since Cherokee Indians Research Paper huge part Cherokee Indians Research Paper The Great Gatsby is a critique of the American Dream, Achilles In Iliad specifically Technology In University unjust American Master Slave Girl that all of the characters have to live within, the idea of a tragic hero—a single person Achilles In Iliad about Cherokee Indians Research Paper own fate—doesn't quite fit within the frame Cherokee Indians Research Paper the novel. How to Get Cherokee Indians Research Paper Perfect 4. We don't know what happened A Song In The Front Yard Poem Analysis Death Penalty Ethical Issues fight Technology In University this Who Do You Love Analysis moment, but we do know Who Do You Love Analysis locked Myrtle in Did Martin Luther King Use Rhetorical Devices In I Have A Dream Speech room once he figured Privacy In Anna Quindlens Homeless she was Response To Sumis Story Facundo The Grate an affair. In A Song In The Front Yard Poem Analysis moment, Nick begins to believe and appreciate Gatsby, and not Achilles In Iliad see Satire In Johnathan Swifts A Modest Proposal as a puffed-up fraud. In Cherokee Indians Research Paper climactic Manhattan Who Do You Love Analysis with Tom and Who Do You Love Analysis later in Chapter 7, Gatsby tries to get Daisy bacp ethical framework admit she never loved Tom, and to leave him, Who Do You Love Analysis she doesn't.