Quenton TrenalMs. Hou English 11 6 November 2013 Women and The Great Gatsby Post WWI life in America, the Roaring Twenties saw many reforms in society and lifestyle of American citizens. F. Scott Fitzgerald published The Great Gatsby in 1925. This period in time is important in pinpointing the marked change in values of women through their behavior. The Great Gatsby does not ignore this important truth since it is evident that throughout the book women are seen transforming. The view of being subjected to men, view of rights and freedom, view of recreation and restrictions all appear to be topics in some point of the book. Pushing the limit in society creates notable changes that some would be willing to accept and some would scornfully view in distaste. The portrayals of women in The Great Gatsby serve to partially perpetuate the female values in society during the 1920s but are paradoxical in that women in the book were described as more flawless, elegant and free than what was realistic for the majority of women during this era. The women of the Roaring Twenties are most particularly associated with liberty, social change and transformation evident in The Great Gatsby. Rebellion is also often perceived by conservative or old-fashioned during this time period. Most flappers are young, independent, and middle-class women that by night, sought to destroy debilitating double standards by making hubbub when at Speakeasies. New and yet common behaviors included drinking heavily with the carefree disregard of Prohibition, taking up smoking, being more sexually unreserved, and dancing more vivaciously as has not been seen in previous generations. Loud, knee-high, flowing dresses with short hair, high heels and full makeup are indications of a flapper. This behavior produced more reckless and sloppy behavior. The novel’s first introduction of women was of Daisy and Jordan lounging and appearing intoxicated, as was previously mentioned as very common, though these wealthier women are never mentioned to attend a Speakeasy. Nick Carraway, the character and narrator converses with Jordan and relays that “It started because she passed so close to some workmen that our fender flicked a button on one man’s coat. ‘You’re a rotten driver,… Either you ought to be more careful or you oughtn’t to drive at all’…‘They’ll keep out of my way’ she insisted. ‘It takes two to make an accident.’… Her grey, sun-strained eyes stared straight ahead, but she had deliberately shifted our relations, and for a moment I thought I loved her” (Fitzgerald 64). This displays the allure and the seduction that set up quite the circumstances some men fall for and tolerate in women now. Jordan’s character is a selfish and independent young woman, which apparently at times attracted Nick to her. The color grey in this novel usually stood for inescapable hopelessness and a destitute situation or location. The mention of Jordan’s “grey, sun-strained eyes” staring ever focused on the journey ahead can mean that her decisions will inevitably lead to dissatisfaction which is evident towards the conclusion, like her sudden engagement to a man shortly after her relationship with Nick. This statement is a front for Jordan to seem unhurt or emotionally stronger or a less sensitive, independent woman in the Jazz Age. The “sun- strained eyes” can be interpreted in another direction; the yellow or golden color of the sun, likened to old money, shows her wanting to be as financially set and desirable to the opposite sex as Daisy. The mention of Jordan’s recklessly bad driving and concern for only her well being convey her motivation to do what ever it takes to be more noticeable and desirable while shrugging off any types of control or restrictions along the way. Daisy’s beautiful and simple-minded character grabbed attention in a different manner than Jordan. In the first chapter of the novel, “It was the kind of voice that the ear follows up and down as if each speech is an arrangement of notes that will never be played again… but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered ‘Listen,’ a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour” (Fitzgerald 12). Early on in the book, it is evident how Daisy’s character captivates a seemingly un-ignorable attention in even the most simple and mundane discussions from her mouth. This captivation seems apparent in the reaction of the narrator, her cousin, and to her true love; Jay Gatsby who seems to give Daisy’s character too much undeserved power and importance. Similar traits and characteristics of Daisy in regular women during the time would not receive so much significance if the women were not as glamorized and wealthy as Daisy. Obviously, such a royal character as Daisy’s cannot reflect the allure of all women during the time and would mean big expectations for all women to act out or big shoes to fill. In The Great Gatsby there exists evidence of class distinctions, therefore bringing a change of behavior and formalities. Though, Daisy’s husband, Tom Buchanan carries on a not so low-key extra marital affair, he still feels the need to maintain dominance while staying somewhat loyal to his wife by refusing to let his mistress mention Daisy, even to the point of injuring her though he is a “brute of a man, a great big hulking physical specimen…” (Fitzgerald 15). The contrast in Daisy and Tom’s mistress, Myrtle, was that “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”(Fitzgerald 28-29). Daisy appears to be young, thin, beautiful and rich while Myrtle carries a thicker frame that she uniquely seems to support with voluptuousness, while being financially limited married to a mechanic she does not love and in contrast with Daisy, Myrtle’s age is given so one can assume she is older. A similarity in both of Tom’s women is that they both are unhappy with their marriages and have a reserved relationship on the side. The final three chapters are very significant in showing the emotions of the women in The Great Gatsby. Ultimately riches are evidently less powerful than love and emotions because they do not bring true happiness. Daisy is growing up in wealth and oblivion; since everything is handed to her, to work would be unfamiliarity to her. With Daisy’s delicateness and popularity as a teen in Louisville “all day long the telephone rang in her house and excited young officers…demanded the privilege of monopolizing her that night, ‘anyways, for an hour!’ ” (Fitzgerald 80-81). Even as a young girl, she was used by most for status and competition; maybe not predominantly a sex symbol but was a level of success and status to a young boastful man who could be seen with such an adored darling. As an adult, not much changes to her because after birthing her daughter this trophy wife said “And I hope she’ll be a fool—that’s the best thing a girl can be in this world, a beautiful little fool’”(Fitzgerald 20). Easily manipulated, Daisy is surrounded by and prescribed to conform without question, to ideals that make her think it only natural to maintain wealth as a woman by staying dumb and pretty constantly appearing unblemished to satisfy rich men. This is not the uncommon thinking and upbringing for some women of wealthy background but for a common middle-class ‘flapper girl’ the purpose would be defeated. The closest character to a flapper in this novel is Jordan Baker’s; which reflects the self- indulgent, independent, materialistic and free-spirited younger generation (Daisy was older than Jordan), yet Daisy stays relevant and young “with a fast crowd, all of the young and rich and wild, but she came out with an absolutely perfect reputation… It’s a great advantage not to drink among hard drinking people”(Fitzgerald 83-84). Her cautious East Egg gracefulness keeps her reputation clean, although true contentment and happiness she lacks being married to the reins of Tom’s dominance like the horses he rides. This conflict in classes of women is what creates the female values to be a bit paradoxical with reality; the kind of submission to man that would be viewed by flappers as taking steps backwards in shaping a new culture of women after the recent suffrage that they boldly capitalize by their actions. More realistic expressions of women in this era are seen sporadically but not emphasized enough as Fitzgerald tried to emphasize Gatsby’s glamorization of Daisy in the past and prospective future. One example of a twisted side of women in this period is that of Dan Cody’s mistress. Though Cody is the reason Gatsby acquired necessary skill in business technique to become as wealthy as he becomes, unlike Cody who had his money mismanaged and taken upon death, Gatsby threw his money and materials (literally) at Daisy. A noticeable regarding mistresses in The Great Gatsby is that Tom’s mistress was similar to Dan Cody’s since she also was taking advantage of the wealth of men but different in that she truly loves Tom to the point of death. Another realization of Daisy being human and not a goddess is evident in Gatsby’s unnecessary loss of composure and muttering “ ‘This is a terrible mistake,’ he said, shaking his head from side to side…‘You’re just embarrassed, that’s all,’ and luckily I added: ‘Daisy’s embarrassed too.’…‘You’re acting like a little boy,’ I broke out impatiently. ‘Not only that but you’re rude. Daisy’s sitting in there all alone’”(Fitzgerald 94). This awkward encounter was glamorized as love but some might fail to notice how scared all men, even Gatsby, can be around women, especially very popular and adored women. The scene depicted in the page shows both of these first-class characters to be as clumsy and shy in a courtship as in High school students, and aids in normalizing their personas. The portrayals of women in The Great Gatsby limitedly perpetuate the female values in society during the 1920s but are paradoxical in that women in the book are described more flawless and elegant than what is practical for the majority of women this era. The book focuses on a certain class of women and men: wealthy and extravagant. Besides the fact that it is evident, money does not make everything better, the book does appropriately show despair and discontentment in both of Tom’s women divided between his love. This novel does not perpetuate realities of the more prevalent flapper girl but only partially examines or hints at that side of the decade’s change in morals regarding Prohibition, wealth and leisure. The focused perspective remains on the wealthier of the decade in the Northeast of America, representing a lesser percent of the total of Americans affected by the Roaring Twenties. Thus, portrayals of women in The Great Gatsby play more of a paradoxical role when trying to perpetuate the changing feminine values of the Roaring Twenties.