The Great Gatsby: Chapter Seven

Chapter where a large amount of action takes place, drastically changing the course of the narrative...

Narrative perspectives/ voices:
Narrated by Nick- quite laid back approach; largely concentrates on others- evidence shown by the fact he only finds out at end of chapter that it was his ‘birthday’.

Time Period:
Some of the timings mentioned in this chapter, include: ‘the lights on his house failed to go on one night’ ‘Daisy comes over quite often – in the afternoons’ ‘only the hot whistles of the National Biscuit Company broke the simmering hush at noon.’  ‘it was in nineteen-nineteen, I only stayed five months.’
Setting:
The first setting of this chapter is in ‘Gatsby’s house’- Nick calls by but only gets a rude butler in response: ‘who? He demanded rudely’. They then take a trip to Tom and Daisy’s house in the ‘salon’, get shown in and meet them there. Here is the first time Gatsby meets Daisy’s child, putting a melancholic tone in the air, probably because Gatsby has a very innocent and past view of Daisy, which is far from the reality both of them now live in. After a tense conversation involving Tom, Daisy and Gatsby, they all drive to ‘town’ and stay at the apartment. Controversially, Daisy chooses to drive with Gatsby rather than Tom, and this is the first time when it sinks in for Tom that Daisy loves Gatsby, and takes this out on Nick and Miss Baker: ‘you think I’m pretty dumb, don’t you? Whilst they drove back, an accident on the road took place. Daisy ran Myrtle over, without the knowledge to the reader whether Daisy knew what she was doing; this is never revealed, so leaves doubts in the mind of the reader as to whether Daisy is genuine or ‘full of money’. Mr Wilson’s garage: here, Tom finds out that he has lost Myrtle and ‘sobs’ as he is back in the car. Eventually, they come home from a day each one of them wished had not happened. Gatsby watches the house to check that Daisy is safe, and Nick leaves. Almost like an end of an era for Nick, because he knows what each character is now truly capable of.

Narrative Techniques, Elements and Themes:

Poetic prose (style); ‘they were gone, without a word, snapped out, made accidental, isolated, like ghosts, even from our pity.’ ‘so we drove on toward death in through the cooling twilight’

Descriptive detail; ‘Then I turned back to Gatsby – and was startled at his expression. He looked – and this is said in all contempt for the babbled slander of his garden – as if he ‘killed a man’. For a moment the set on his face could be described in just that fantastic way.’

Sensual (physical) description; ‘flung open the door, blocked out its space for the moment with his thick body’

Use of dramatic dialogue; repetition of ‘Oh, ma ga-od’ at Myrtle’s death [Wilson] ‘’Did you see any trouble on the road?...’ ‘Yes’’ He hesitated. ‘Was she killed?’ ‘Yes.’’

 Descriptive writing; ‘his hand, trembling with his effort at self-control, bore to his lips the last of his glass of ale’ ‘picking up Wilson like a doll, Tom carried him into the office, set him down at a chair, and came back.’ ‘so I walked away and left him standing there in the moonlight-watching over nothing.’

 Surreal description; ‘the automobiles which turned expectantly into his drive stayed for just a minute and then drove sulkily away’ ‘her voice is full of money’ ‘watching over nothing’ ‘picking up Wilson like a doll…’

Colloquial (slang, informal) language; ‘Self-control!’ Repeated Tom incredulously. ‘I suppose the latest thing is to sit back and let Mr Nobody from Nowhere make love to your wife. Well if that’s the idea you can count me out....’ ‘‘Nope.’ After a pause he added ‘sir’.’ ‘I’ve got something to tell you old sport,’

Use of sounds; ‘only the hot whistles of the National Biscuit Company broke the simmering hush at noon.’ ‘against the singing breeze of the fan’ ‘as Tom took up the receiver the compressed heat exploded into sound and we were listening to the portentous chords f Mendelssohn’s Wedding March from the ballroom below’

Time references; ‘the lights on his house failed to go on one night’ ‘Daisy comes over quite often – in the afternoons’ ‘only the hot whistles of the National Biscuit Company broke the simmering hush at noon.’ ‘it was in nineteen-nineteen, I only stayed five months.’

Use of names; talking about Myrtyle as being Mr Wilson’s property: ‘’My wife and I want to go West’ ‘your wife does,’ exclaimed Tom startled’

Language of altercation; “Did you see that?” demanded Tom. “See what?” He looked at me keenly, realizing that Jordan and I must have known all along. “You think I’m pretty dumb, don’t you?” he suggested. “Perhaps I am, but I have a — almost a second sight, sometimes, that tells me what to do. Maybe you don’t believe that, but science —” He paused. The immediate contingency overtook him, pulled him back from the edge of the theoretical abyss. “I’ve made a small investigation of this fellow,” he continued. “I could have gone deeper if I’d known ——” “Do you mean you’ve been to a medium?” inquired Jordan humorously. “What?” Confused, he stared at us as we laughed. “A medium?” “About Gatsby.” “About Gatsby! No, I haven’t. I said I’d been making a small investigation of his past.” “And you found he was an Oxford man,” said Jordan helpfully. “An Oxford man!” He was incredulous. “Like hell he is! He wears a pink suit.” “Nevertheless he’s an Oxford man.” “Oxford, New Mexico,” snorted Tom contemptuously, “or something like that.” “Listen, Tom. If you’re such a snob, why did you invite him to lunch?” demanded Jordan crossly. “Daisy invited him; she knew him before we were married — God knows where!” We were all irritable now with the fading ale, and aware of it we drove for a while in silence.

Colours; ‘white shirtwaist’ ‘silver idols’ ‘white dresses’ ‘on the green sound’ ‘slowly, the white wings of the boat moved against the blue cool limit of the sky’ ‘silver curve of the moon’ ‘high in a white palace the king’s daughter, the golden girl’

Themes; fear – ‘I think he was afraid they would dart down some side street and out of his life forever’ ‘I heard a low husky sob’