Comparison: The Great Gatsby and The Crucible
The Great Gatsby and The Crucible are two films that can be compared.
The novels “The Great Gatsby” and “The Crucible” are both regarded classics of American literature, and both are set in the United States. It is a distinct period in American history that both films deal with, and they both demonstrate how groups of people behave in certain ways under specific conditions. The similarities between the two works are apparent in the way in which group delusion has played a role in the formation of American history and culture. One difference between the two works is that, although one of these communal delusions is denounced utterly in one work, the other is shown to be a necessary component of what it means for specific individuals to live and work in America in the other. This will be demonstrated in this study by examining significant moments from both of the works in question.
Immediately upon reading “The Great Gatsby,” it becomes evident that the novel’s world is one that straddles the line between the real and the fantastic. It is also made apparent that taking part in this dream is something that many individuals are prepared to do, despite the fact that the events mentioned are detailed as if they could not possible be true in real life. Whenever Fitzgerald writes about the parties hosted by Gatsby, he does it with a purposeful and dreamlike tone. As an illustration, consider the following:
‘In his [Gatsby’s] azure gardens, men and women came and went like moths, flitting between whispers, champagne, and the night sky.’ While his two motor-boats sliced the waters of the Sound, dragging aquaplanes through cataracts of froth, I stood on the beach and watched his visitors dive from the tower of his raft or soak up the sun on the hot sand of his beach during the afternoon high tide” (Fitzgerald, 2005, p. 26).
As is Fitzgerald’s use of color throughout the novel to distinguish between different and also between different individuals, this chapter is both vibrant and bizarre in both its language and its imagery. The mood created by the words is thick, and it gives the idea that everyone is somehow involved in Gatsby’s lavish fantasy.
“The Crucible,” like Fitzgerald’s work, is concerned with the effects of a powerful state of dream on its main protagonists. This dream-state, on the other hand, is one that is much more directly associated with power than it is with happiness in Miller’s example. As early as the first act, and particularly with regard to Abigail and Proctor’s interactions with one another, it becomes evident that the fuzzy border between dream and reality can be exploited to the advantage of some persons. Abigail, for example, informs Proctor at one point, “I remember how you grasped my back behind your house and sweated like a stallion anytime I came near! ” Or did I have a dream about it? You can’t claim it was you that threw me out because it was her. I watched your expression when she threw me out, and I knew you loved me then, and you continue to love me now! Miller (2000, p. 30) defines formalized formalized formalized formalized (Miller, 2000, p. 30).” People’s vision of reality is beginning to be affected by rumors of witchcraft in Salem, as seen by the speaker’s assertion that it is becoming impossible to differentiate between a dream and reality. At the same time, though, it is also evident that Abigail can take use of these rumors in order to acquire control over Proctor, a guy who she has a strong yearning for. This results in an initial sense of community illusion being generated; however, it does not indicate that this results in widespread employment, but rather is simply an exercise in power-playing between different people.
In addition, there is a significant difference in the manner that both pieces view the necessity of delusion. Nick is plainly broken hearted and disillusioned at the conclusion of “The Great Gatsby,” but he also demonstrates that the kinds of illusions that Gatsby fostered are vital for different people’s lives, and that this applies to both classes of people and individuals. In the final chapter, Nick describes Tom and Daisy as “careless people” who “smashed up things and beings and then retreated back into their money or their huge carelessness or whatever it was that held them together…” (paraphrased). (2006) (2005, p. 191). The type of people that Tom and Daisy represent are those who can only survive by deluding themselves and by being irresponsible in their actions. Gatsby himself is shown as a noble character towards the conclusion of the story because he is able to defy the dictates of reality and trust in his own vision of the American dream. The following is what Nick says about Gatsby: “Gatsby believed in the green light, the orgastic future that is receding before us year by year.” It eluded us at the time, but it doesn’t matter because tomorrow we will run faster and stretch our arms further…” (See p. 193). Although Gatsby’s existence was built on deception and he encouraged others to believe in it as well, these passages make apparent that Gatsby’s life was nevertheless a noble one, and it featured elements that Nick admired. Consequently, illusion is shown as potentially having a recessionary effect on the American way of life.
A direct parallel may be drawn between this and the conclusion of “The Crucible.” When we reach the final act of the play, it is abundantly evident that hysteria has completely engulfed Salem, and that many innocent people have died as a result of it. But at no point is this delusion revealed to be a good thing, or to hold any type of noble quality; rather, it is criticized and demonstrated to be wicked throughout the film. The drama concludes, in fact, with an attempt to recover reality from a situation in which delusion has almost completely taken over. Because of this, Proctor concludes the play by declaring that he cannot confess to the practice of witchcraft. He claims that this is due to the fact that “it is my name! Because I am unable to have another person in my life! Why? Because I lie and sign my name to my lies. Because I am not worth the dust that collects on the feet of those who dangle. What will I do if I don’t have a name? “I have given you my soul; please remember to leave me my name!” The year is 2000, and the page number is 146. Despite the fact that it would result in his death, this statement shows Proctor’s attempt to preserve and cling on to the truth of his own innocence.
It can be argued that the two climax sequences are competently antagonistic to one another in this regard. While Fitzgerald says that truth and beauty can be found in daydreaming and refusing to accept reality, Miller suggests that the truth must be held on to at all costs, even if it involves dying for what one believes to be true. At the end of the day, it is this that separates the works and explains their disparate attitudes on what it means to be a member of American culture.
For the sake of this thesis, it has been argued that both “The Great Gatsby” and “Crucible” are directly concerned with the history of America and demonstrate how this history contains instances of collective illusion and delusion. Although both films indicate that deluding oneself can be joyful and even noble, the former criticizes deluding oneself and concentrates only on a redemptive moment of truth that may occur if one refuses to lie even in the face of death, the latter condemns deluding oneself. In fact, it is this difference in the way in which they both relate to the act of lying, as well as how this lying may affect and even define a person’s life, that is the most significant distinction between them.
References
F. Scott Fitzgerald is a fictional character created by American author F. Scott Fitzgerald (2005). The Great Gatsby is a novel written by F. Scott Fitzgerald. Penguin’s headquarters are in London.
Arthur Miller is a writer who lives in the United States. (2000). The Crucible is a four-act play written by Arthur Miller. Penguin London is a publishing house based in London.
