The Great Gatsby Symbolism
Fitzgerald uses many symbolic devices to convey the thoughts and motifs of the 1920s.
This symbolism is seen in the green light on Daisy's dock, the billboard on the side
of the highway, the cars, the library in Gatsby's house, and Daisy's appearance.
- From a distance, Gatsby sees a green light on Daisy's dock. This light represents
the pursuit of the American Dream as well as a symbol of new wealth and life. His dream ends tragically, however, after being exposed to the corruption and violence that were a result of prohibition. His dream is simply an illusion.
- Plastered to a billboard, the eyes of Dr. T. J. Eckleburg tower above the side of the
highway in the valley of the ashes. His large blue eyes are symbolic of God's watching over them, who has been reduced to an abandoned billboard. Corruption of spirit in the wasteland is also symbolized by the color blue, which represents the destruction of reality.
- Fitzgerald uses a gradual change in color to show the symbolism of the car used by Gatsby.
At first, Gatsby's car is a cream color, but it soon evolves into a yellow instrument of death. Yellow symbolizes money and materialism that eventually leads to the destruction of the American Dream.
- Gatsby's library displays the materialism present in the 1920s. When Nick looks at the books on the wall, he notices that the edges of the books have not been cut yet and therefore have not been read. The library is a symbol of Gatsby's status, showing that he is able to afford and own a large collection of books.
- The color white is used by Fitzgerald to describe Daisy's superficiality. White is a
symbol of purity and innocence, and Daisy first appears to be pure. Her actions soon explain, however, that her innocence is only a facade. To make herself appear "white," she drives a white car and even dresses in white. A similarity is seen in an ordinary egg. The outside shell is white, but the inside of the egg is yellow; these characteristics represent Daisy's sin.
Page last updated on April 28, 1999.
Curator: Paul Devoti
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