菲茨杰拉德

The Great Gatsby was published in 1922 by F. Scott Fitzgerald. At first glance, the novel appears to be a simple love story, but further examination reveals Fitzgerald's masterful scrutiny of American society during the 1920s and the corruption of the American dream.
F. Scott Fitzgerald's The Great Gatsby (1926) is, at first sight, a novel about love, idealism and disillusionment. However, it soon reveals its hidden depths and enigmas. What is the significance of the strange "waste land" between W est Egg and New Y ork, where Myrtle Wilson meets her death, an alien landscape presided over by the eyes of T J Eckleburg whose eyes, like God's, "see everything"? And what are we to make of the novel's unobtrusive symbolism (the green light, the colour of American dollar bills, which burns at the end of Daisy's dock, the references to the elements - land, sea and earth - over which Gatby claims mastery, the contrast between "East" and "W est"), or its subtle use of the personalised first narrator, the unassuming Nick Carraway?
It is a novel which has intrigued and fascinated readers. Clearly, as a self-proclaimed "tale of the W est", it is exploring questions about America and what it means to be American. In this sense Gatsby is perhaps that legendary opus, the "Great American Novel", following
in the footsteps of works such as Moby Dick and Huckleberry Finn.
W e will return to this aspec t?? of the novel in more detail later on. However, we also need to be aware that it is a novel which has much to be say about more abstract questions to do with faith, belief and illusion. Although rooted in the "Jazz Age" which Fitzgerald is so often credited with naming, it is also a novel which should be considered alongside works like The W aste Land, exploring that "hollowness at the heart of things" which lies just below the surface of modern life.
Eliot himself remarked that the novel "interested and excited me more than any new novel I have seen, either English or American, for a number of years". V iewed from more distant perspectives it is possible to see Gatsby as an archetypally tragic figure, the epitome of idealism and innocence which strives for order, purpose and meaning in a chaotic and hostile world. In this sense Gatsby contains religious and metaphysical dimensions: the young man who shapes a "Platonic vision of himself" and who endows the worthless figure of Daisy with religious essence, eventually passes away into nothingness, with few at the funeral to lament the passing of his romantic dream
解读《伟大的盖茨比》：
1 盖茨比的身份的解读
2象征手法的运用
3圣经文化原形
4尼克在文中的作用
司各特·菲茨杰拉德<了不起的盖茨比〉的作者，村上春树好象很推崇他，从看村上的《挪威的森林〉才知道这位作家，下面是他的介绍：
弗兰西斯•司各特•菲茨杰拉德于1896年9月24日出生在美国明尼苏达州圣保罗市一个商人家庭。

他在中学时代就对写作产生了兴趣，在普林斯顿大学学习期间也热衷于为学校的刊物和剧社写稿，1917年辍学入伍后，更在军营中开始了长篇小说的创作。

1918年，在亚拉巴马的蒙哥马利附近驻扎期间，菲茨杰拉德爱上了18岁的南方少女泽尔达•赛尔，对以写作来获得成功有了比以往更强烈的渴望。

退伍后，他继续坚持写作，终于在1920年发表了第一部长篇小说《天堂的这一边》。

《天堂的这一边》的出版让不到24岁的菲茨杰拉德一夜之间成为了美国文坛一颗耀眼的新星。

一个星期后，他与泽尔达在纽约结了婚。

菲茨杰拉德和泽尔达年轻，迷人，拥有金钱和名望，是一对令人艳羡的金童玉女。

他们活跃于纽约的社交界，纵情地享受爱情、年轻的生命以及成功的欢乐，过着夜夜笙歌、觥筹交错的生活，后来又长年在欧洲居住。

但由于讲究排场，挥霍无度，他们的生活渐渐捉襟见肘。

泽尔达因精神病多次发作被送进精神病院，菲茨杰拉德也染上了酗酒的恶习。

1940年12月21日，菲茨杰拉德因为心脏病突发死于洛杉矶，年仅44岁。

在二十多年的创作生涯中，菲茨杰拉德发表了《了不起的盖茨比》、《夜色温柔》和《最后一个巨头》等长篇小说，以及一百六十多篇短篇小说。

其中1925年出版的《了不起的盖茨比》是菲茨杰拉德写作生涯的顶点。

这部小说人木三分地刻画了财富和成功掩盖下的未被满足的欲望，反映了20年代“美国梦”的破灭，深刻地揭示了角色性格的矛盾和内心的冲突，同时也淋漓尽致地展现了菲茨杰拉德杰出的才华和写作技巧。

《了不起的盖茨比》被誉为当代最出色的美国小说之一，确立了菲茨杰拉德在文学史上的地位。

菲茨杰拉德创造力最旺盛的时期是美国历史上一个特殊的年代。

第一次世界大战结束了(1918)，经济大萧条(1929)还没有到来，传统的清教徒道德已经土崩瓦解，
享乐主义开始大行其道。

用菲茨杰拉德自己的话来说，“这是一个奇迹的时代，一个艺术的时代，一个挥金如土的时代，也是一个充满嘲讽的时代。

”菲茨杰拉德称这个时代为“爵士乐时代”，他自己也因此被称为爵士乐时代的“编年史家”和“桂冠诗人”。

由于他本人也热情洋溢地投身到这个时代的灯红酒绿之中，他敏锐地感觉到了这个时代对浪漫的渴求，以及表面的奢华背后的空虚和无奈，并在他的作品中把这些情绪传神地反映出来。

在他的笔下，那些出入高尔夫球场、乡村俱乐部和豪华宅第的上流社会的年轻人之间微妙的感情纠葛是一个永恒的主题，他们无法被金钱驱散的失意和惆怅更是无处不在。

他的作品经常以年轻的渴望和理想主义为主题，因为他认为这是美国人的特征；他的作品又经常涉及感情的变幻无常和失落感，因为这是那个时代的人们无法逃遁的命运。

虽然菲茨杰拉德最出名的作品是他的长篇小说，他的短篇小说也非常有特色。

事实上，在他的有生之年，是他的短篇小说，而不是他的长篇小说，给他带来了商业上的成功，为他赢得了一般大众的认同和喜爱。

菲茨杰拉德的长篇小说虽然得到文学界的好评，却没有如菲茨杰拉德所希望的那样为他带来可观的收入。

为流行杂志写短篇小说因而成为他维持自己上流社会的生活方式的主要手段。

由于这个原因，菲茨杰拉德的短篇小说一般来说都有很强的娱乐性。

它们布局精巧曲折，文字细腻华丽，风格机智诙谐，经常有欧•亨利式的出人意料的结尾，读起来是一种愉快的享受。

不仅如此，菲茨杰拉德的短篇小说也取得了很高的艺术成就。

菲茨杰拉德是个多才多艺的小说家。

在他发表的一百六十多篇短篇小说中当然也有平庸之作，但其中的上品绝对是美国短篇小说宝库中不可多得的瑰宝。

菲茨杰拉德的魅力来自于他清晰的叙述，优雅的文风，多姿多彩、点铁成金的遣词造句，这种风格在他的短篇小说中得到了最好的体现。

他的每一篇成功的作品都是诗人的敏感和戏剧家的想象力的结晶，都是他的艺术才能发挥到炉火纯青的地步的产物。

由于篇幅所限，我们在这里挑选了他的十六篇作品。

这十六篇作品都是得到文学界高度评价的上乘之作，其中既包括现实主义的杰作《富家公子》，也包括具有魔幻色彩的《本杰明•巴顿奇特的一生》，既有描写20年代年轻人社交场合中“残酷而又跌宕起伏的悲喜剧”的《伯妮斯剪发》，也有反映大萧条对社会的冲击的小品《遗失的十年》。

在阅读这些作品的过程中，读者不但可以享受脍炙人口的故事，也可以领略到一代文学天才闪烁的灵感和高超的技艺。

很多作家都善于将自己的生活经历作为写作素材运用到小说创作中去，菲茨杰拉德也是如此。

他的成名作《天堂的这一边》，他最出名的小说《了不起的盖茨比》，都是半自传性质的。

他的很多短篇小说也带有浓厚的自传色彩。

他的小说中描写的那些纸醉金迷、嗜酒如命的红男绿女，那些享受年轻的爱、财富和成功，同时又不得不为挥霍无度和失败而付出代价的人，正是他自己和泽尔达生活的写照。

本书中收录的小说中有相当一部分的主人公身上都有菲茨杰拉德的影子，比如《明智的事》中希望用成功来赢得琼奎儿的爱情的乔治•欧凯利，《最后一个南方女郎》中拜倒在妩媚的南方女孩艾莉•卡尔霍石榴裙下的北方士兵，《捕获的阴影》中热爱戏剧、渴望成功的少年巴泽尔•杜克•李，《疯狂星期日》中多情、
嗜酒、冲动的好莱坞剧作家乔尔•柯尔斯。

法国作家安德烈•莫洛亚说过，“通过写作来表达自己的需要，来自对生活的不适，或无法用行动来解决的内心冲突。

”这个断语对菲茨杰拉德来说应该也是准确的。

由于与一个典型的南方女子结了婚，菲茨杰拉德在小说中表现出对美国南部的极大兴趣。

《松包蛋》是一个彻头彻尾的关于南部的故事，《冰宫》、《明智的事》和《最后一个南方女郎》都讲述了南方少女和北方青年的爱情故事，并对南方与北方在文化上和社会上的差异进行了探讨。

在菲茨杰拉德的笔下，南方是一个炎热、柔软、慵懒、令人微微欲醉的地方，那里有“开满鲜花的炎热黄昏”和“令人回味的木兰花香”，是一个“拥有梦一样的天空、萤火虫的夜晚和喧闹的黑人街市的慵懒的乐园”，在南方“令人昏昏欲睡的如画风景与树林、棚屋、泥泞的小河间，流动的是宜人的、不带任何敌意的热浪，像伟大温暖的乳房滋养着婴孩般的大地”，他甚至认为“诗歌一定是一个北方人关于南方的梦”。

对南方的乡愁和怀旧情绪，与对南方和北方的鲜明对照的清醒认识和无奈，为他的很多小说提供了背景和基调。

值得一提的是，菲茨杰拉德在他的小说中创造了一种令人耳目一新的文学女性形象。

她们新潮、独立，有魅力，有勇气，为了追求自己的幸福不惜付出任何代价，像《近海海盗》中的阿蒂塔，《伯妮斯剪发》中的伯妮斯和玛卓莉。

这些典型的爵士乐时代的女主人公，也成了菲茨杰拉德小说的特征和标志。

但这些女主人公虽然经常表现得毅然决然、义无反顾，她们对自己到底是谁，想要成为什么样子，也有很多的犹疑和惶惑。

比如在《伯妮斯剪发》中，“伯妮斯隐隐地觉得有些痛苦”，因为她知道“女人们被爱都是因为她们拥有一种神秘的女性气质”，却不知道这种气质是什么，也不知道如何获得这种气质。

为此她不得不放下自尊向表姐玛卓莉求助，却引发了与玛卓莉之间的一场较量。

即使是《近海海盗》中“天上地下，什么也不怕”的阿蒂塔也经常感到茫然，“对事物的转瞬即逝有着近乎恐惧的感知”，“在内心深处，觉得自己追求的幸福中还少了些什么”。

事实上，菲茨杰拉德的很多女主人公都是以泽尔达为原型创作的，她们拥有的很多特质其实正是泽尔达性格的写照。

Francis, Scott Fitzgerald, in 1896 was born on September 24 in the Minnesota a merchant family Sao Paulo. His high school in to interest in writing, Princeton university study period for the school is also in favour of publications and writes a drama club,
in 1917 they drop out, the more in camp began novel creation. In 1918, the Montgomery Alabama stationed near during 18 years of Fitzgerald fell in love with the girl's south jersey of plunger, in writing, to achieve success with more than ever, the strong desire. After retiring from army, he continued to insist on writing, finally published in 1920, the first novel this side of the heaven."
"This side of heaven of the publication of the less than 24 years old to Fitzgerald became an overnight in the literary world in a shining star. After a week, he's in New York with ze to get married. Fitzgerald and ze's young, attractive, of having money and fame, is a pair of is the envy of couple. They active in New York, to indulge in society enjoy love, young life and the joy of success, boys and the life, and will, and long live in Europe. But because the exquisite ostentation and extravagance, profligate, their life is under. Jersey DaYin mental illness, DuoCi attack was sent to a mental hospital, Fitzgerald also caught drinking habits. On December 21, 1940, Fitzgerald because a heart attack death in Los Angeles, just 44 years old.
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This side of paradise 1920
The great Gatsby 1925
Tender is the night 1934
The Side of Paradise人间天堂;
The Beautiful and the Damned美丽的和倒霉;
The Great Gatsby了不起的盖茨比
;Tender in the Night夜色温柔;
The Last Tycoon最后的巨头
Francis Scott Key Fitzgerald was born on September 24, 1896, and named after his ancestor Francis Scott Key, the author of The Star-Spangled Banner. Fitzgerald was raised in St. Paul, Minnesota. Though an intelligent child, he did poorly in school and was sent to a New Jersey boarding school in 1911. Despite being a mediocre student there, he managed to enroll at Princeton in 1913. Academic troubles and apathy plagued him throughout his time at college, and he never graduated, instead enlisting in the army in 1917, as World War I neared its end.
Fitzgerald became a second lieutenant, and was stationed at Camp Sheridan, in Montgomery, Alabama. There he met and fell in love with a wild
seventeen-year-old beauty named Zelda Sayre. Zelda finally agreed to marry him, but her overpowering
desire for wealth, fun, and leisure led her to delay their wedding until he could prove a success. With the publication of This Side of Paradise in 1920, Fitzgerald became a literary sensation, earning enough money and fame to convince Zelda to marry him.
Many of these events from Fitzgerald’s early life appear in his most famous novel, The Great Gatsby, published in 1925. Like Fitzgerald, Nick Carraway is a thoughtful young man from Minnesota, educated at an Ivy League school (in Nick’s case, Yale), who moves to New York after the war. Also similar to Fitzgerald is Jay Gatsby, a sensitive young man who idolizes wealth and luxury and who falls in love with a beautiful young woman while stationed at a military camp in the South.
Having become a celebrity, Fitzgerald fell into a wild, reckless life-style of parties and decadence, while desperately trying to please Zelda by writing to earn money. Similarly, Gatsby amasses a great deal of wealth at a relatively young age, and devotes himself to acquiring possessions and throwing parties that he believes will enable him to win Daisy’s love. As the giddiness of the Roaring Twenties dissolved into the
bleakness of the Great Depression, however, Zelda suffered a nervous breakdown and Fitzgerald battled alcoholism, which hampered his writing. He published Tender Is the Night in 1934, and sold short stories to The Saturday Evening Post to support his lavish lifestyle. In 1937, he left for Hollywood to write screenplays, and in 1940, while working on his novel The Love of the Last Tycoon, died of a heart attack at the age of forty-four. Fitzgerald was the most famous chronicler of 1920s America, an era that he dubbed “the Jazz Age.” Written in 1925, The Great Gatsby is one of the greatest literary documents of this period, in which the American economy soared, bringing unprecedented levels of prosperity to the nation. Prohibition, the ban on the sale and consumption of alcohol mandated by the Eighteenth Amendment to the Constitution (1919), made millionaires out of bootleggers, and an underground culture of revelry sprang up. Sprawling private parties managed to elude police notice, and “speakeasies”—secret clubs that sold liquor—thrived. The chaos and violence of World War I left America in a state of shock, and the generation that fought the war
turned to wild and extravagant living to compensate. The staid conservatism and timeworn values of the previous decade were turned on their ear, as money, opulence, and exuberance became the order of the day. Like Nick in The Great Gatsby, Fitzgerald found this new lifestyle seductive and exciting, and, like Gatsby, he had always idolized the very rich. Now he found himself in an era in which unrestrained materialism set the tone of society, particularly in the large cities of the East. Even so, like Nick, Fitzgerald saw through the glitter of the Jazz Age to the moral emptiness and hypocrisy beneath, and part of him longed for this absent moral center. In many ways, The Great Gatsby represents Fitzgerald’s attempt to confront his conflicting feelings about the Jazz Age. Like Gatsby, Fitzgerald was driven by his love for a woman who symbolized everything he wanted, even as she led him toward everything he despised.
白鲸记(「莫比敌」Moby Dick)是世上伟大的小说之一。

全书的焦点集中于南太
平洋一条名叫莫比敌的白鲸，以及捕鲸船皮廓德(Pequod)号的船长阿哈(Ahab)
如何对它有不共戴天的仇恨。

阿哈在一次航行中被莫比敌咬掉一条腿，立志报仇，指挥皮廓德号环航全球追踪，终于发现了它。

经过三天放下小艇紧追。

虽然刺中了这条白鲸，但它十分顽强狡猾，咬碎了小艇，也撞沉了大船。

它拖着捕鲸船游开时，绳子套住阿哈，把他绞死了。

全船人尽皆灭顶。

只有一个水手借着由棺材改制的救生浮子而逃得性命。

整个故事以这个水手伊希梅尔(Ishmael)自述的方
式展开。

1850前后
《哈克贝利·费恩历险记》(The Adventures of Huckleberry Finn)1870前后描写小顽童哈克遇到逃离主人的小黑奴吉姆，两人为了躲避一场杀人误会，乘坐一条小木筏沿著密西西比河顺流而下，碰到了各种有趣的遭遇。

其中最紧张刺激的一段，是哈克拆穿骗子「国王」欺骗三姐妹家产的骗局，结果被坏蛋穷追不舍。

而哈克为了应否协助黑奴逃亡也时常内心交战，终於在辗转发展下有了一个完满的收场。

《哈克贝利·费恩历险记》可以说是一幅杰出的美国社会生活风物图。

马克·吐温以幽默的文笔，再现出自己早年在南方的所见所闻，把自己生活经历的浑金璞玉雕琢成精美的文学珍品。

马克·吐温卓尔不群之处在于他通过描写具体的、局部的人与事，反映出人类普遍的思想状况。

马克·吐温的传世佳作《哈克贝利·费恩历险记》，为美国小说的语言带来意义深远的变化，奠定了美国文学口语化风格的基础。

它文笔清新，不事雕琢，词汇和句法简单朴素，语言直接、准确、简明，颇有浑然天成的意味；长句极其少见，句子多为简单句或并列复合句，有时甚至不合语法规则。

而且字句和结构重复出现，使文字生动活泼，获得回旋复沓、蕴涵幽深的效果。

马克·吐温的风格开创了美国小说语言口语化的先河，对后世作家产生了巨大影响。

著名小说家如舍伍德·安德森、欧内斯特·海明威、威廉·福克纳和杰·大·塞林杰等，都是马克·吐温的后继人。

海明威说：“全部现代美国文学起源于马克·吐温的一本名叫《哈克贝利·费恩历险记》的书……前无古人，后无来者。

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The Jazz Age was a movement that took place during the 1920s or the Roaring Twenties from which jazz music and dance emerged. The movement came about with the introduction of mainstream radio and the end of the war. This era ended in the 1930s with the beginning of The Great Depression but has lived on in American pop culture for decades. With the introduction of jazz came an entirely new cultural movement in places like the United States, France and England. The birth of jazz music is often accredited to African Americans[1] but
expanded and modified to become socially acceptable to middle-class white Americans. White performers were used as a vehicle for the popularization of jazz music in America. Even though the jazz movement was taken over by the middle class white population, it facilitated the mesh of African American traditions and ideals with the white middle class society.[2] Cities like New York and Chicago were cultural centers for jazz, and especially for African American artists. In urban areas, African American jazz was played on the radio more often than in the suburbs.[3] 1920s youth used the influence of jazz to rebel against the traditional culture of previous generations.[4] This youth rebellion of the 1920s went hand-in-hand with fads like bold fashion statements (flappers) and new radio concerts. As jazz flourished, American elites who preferred classical music sought to expand the listenership of their favored genre, hoping that jazz wouldn't become mainstream.[5]
As the 1920s wore on, jazz, despite competition with classical music, rose in popularity and helped to generate a cultural shift. Dances like the Charleston,
developed by African Americans, suddenly became popular among younger demographics.[6] With the beginning of large-scale radio broadcasts in 1922,[7] Americans were able to experience different styles of music without physically visiting a jazz club. The radio provided Americans with a trendy new avenue for exploring the world through broadcasts and concerts from the comfort of their living room.[8] The most popular type of radio show was a "potter palm": amateur concerts and big-band jazz performances broadcasted from cities like New York and Chicago.[9] Jazz artists like Louis Armstrong originally received very little airtime because most stations preferred to play the music of white American jazz singers. Big-band jazz, like that of James Reese Europe and Fletcher Henderson in New York, was also popular on the radio.[10]This style represented African Americans in the cultural scene predominately controlled by white Americans.
菲茨杰拉德1896年出生，22岁时在一次舞会上遇见了神秘狂野的贵族女泽尔达（Zelda），泽尔达说，他必须成为“一个口袋里丁零当啷装着钱的人”才能娶他，因此，当他的小说《天堂之爱》一次次地被出版社拒绝的时候，泽尔达离开了他。

半年后，修改后的《天堂之爱》终于获得成功，两人结婚，并生了一个女儿。

两人一起度过了黄金的“爵士时代”，《了不起的盖茨比》让菲茨杰拉德成为这个歌舞升平，充满诱惑和罪恶的时代的最佳代言人，泽尔达也成为菲茨杰拉德最大的文学缪斯（不过，按照后来疯了的泽尔达的说法，是最大的“文学剽窃”对象）。

小说中，盖茨比最终没有赢得贪婪的“金钱女人”黛西的心，他的“美国梦”破裂在这个时代中，而菲茨杰拉德和泽尔达共享了“爵士时代”中大约十年的繁华、名声和觥筹交错的上流生活。

但是，“美国梦”也很快离他而去。

对于菲茨杰拉德的文学生涯而言，泽尔达是贵人也是摧毁者。

上世纪30年代她患上了精神分裂症，习惯了富贵生活的菲茨杰拉德为了治疗她的疾病负上高额债务，他一直以来的酗酒问题变得更加严重，为了生活，他不得不给一些通俗杂志写小说，赚回点医疗费和酒钱。

尽管海明威依然相信他能写出更伟大的作品，但即使9年之后菲茨杰拉德写出了《夜色温柔》，这本书在当时也没引起很大的反响，他依旧整日在为才华和金钱的逝去而苦恼。

拉格泰姆ragtime
美国流行音乐形式之一。

产生于19世纪末，是一种采用黑人旋律，依切分音法(Syncopation)循环主题与变形乐句等法则，结合而成的早期爵士乐，盛行于第一次世界大战前美国经济十分繁荣时期。

发源于圣路易斯与纽奥尔良，而后美国的南方和中西部开始流行，它影响了纽奥尔良传统爵士乐的独奏与即兴演奏风格。

拉格泰姆后来发展成结合流行音乐、进行曲、华尔兹与其他流行舞蹈的型式，因此拉格泰姆的歌曲、乐器管弦乐队编制的曲目陆续出现，它不但在黑人乐手与乐迷间流行，也被美国白人中产阶级所接受。

70年代初，随着乔普林及同时代钢琴拉格泰姆的恢复演出，曾再度掀起拉格泰姆热。

“Flapper”是1920年代女性的潮流，更是一个文化符号。

这些年轻的的中产女性不再穿着束绑身体的束腹，她们穿着无袖的衣服和仅仅到膝盖的裙子暴露于人前。

宽松的剪裁、胸部明显被隐藏、腰部和臀部也不起眼（减肥开始变成潮流）。

这种中性的身形和打扮被法国人称为“garçonne”（男孩）。

而一向被视为“妓女专用”的化妆品开始受到广大“flapper”女性欢迎。

丝袜的设计因为得到大量曝光机会而变得讲究起来，各式各样的颜色和图案刺绣爬在穿起丝袜的瘦小的腿上。

“Flapper”们抽烟、喝酒、开车、化浓妆（不容易脱色的化妆品也开始出现）、常常晚上出外跳舞到凌晨、对性开放，各方面挑战社会的传统制度。

她们甚至发明自己一套的俚语，例如以“big cheese”形容重要的人物。

时至今天的美国，一部分的“flapper”俚语仍然通用。