Chapter 4


Some key features for a critical approach to this chapter

(form structure language)


Satire of social Group

American Dream

Realism / film set

20th century tragedy

Urban Drama

Discourse on social and financial divisions




  • Gatsby embarrassed on meeting Tom 48
  • The letter 49


  • ‘Late in July’ (1922) 41.  1917 – 48.  ‘By the next year’ 48.   ‘By the next autumn’ 49.  ‘That was in August’ 50.  ‘The next April’ 50.  ‘Six weeks ago’ 50

First person narrator:

  • ConfirmsJordan’s view of Gatsby 42
  • ‘Then it was all true’ 43
  • Angry with distaste for the ‘overpopulated town’ 43.
  • Resists Jay’s disarming ‘smile’ 46
  • Indignant/shocked by break of faith with 50 millionpeople 47
  • Links Daisy with Gatsby’s behaviour at end of Ch 1
  • ‘There are only the pursued, the pursuing, the busy and the tired.’ 51
  • Has no dream-girl so kissesJordan52

Intradiagetic narrators

  • Gatsby 42
    • ‘swallowed/choked’ on ‘Oxford’ 42
    • San Francisco as Middle West 42
    • ‘Argonne Forest’ unlikely 42
    • Regards Jordan as ‘great sportswoman’ 46
  • Jordan49
    • Setting description includes the onomatopœic/metaphoric ‘tut-tut-tut-tut’
    • Narrates story of meeting Jay and Daisy 48, Daisy’s marriage day and France in chronological order.
    • Mentions motif of Daisy’s voice 50
    • Reveals Gatsby’s plan to Nick


  • Names of guests 40.  Fitzgerald’s symbolic reference to ‘grey’ names in the ‘Disintegrating timetable’ 39
  • Jordan
    • See above under ‘Structure
    • ‘clean, hard, limitedperson, who dealt in universal scepticism’ 51
  • Wolfsheim
    • Gloomy and  corrupt
    • Prefers the Metropole where they shot Rosy Rosenthal (actual event)
    • ‘business gonnegtion’ 45
    • ‘I had a wrong man’ (idiosyncratic grammar) 45
    • Human molar cufflinks 47
    • Gives view of Gatsby
      • ‘never so much as look at a friend’s wife’ – ironic
      • Gambler.
      • Fixed The World Series (actual event but it was Rothstein)
  • Gatsby (see ‘Structure’ above)
    • ‘Old sport’ 41
    • The medal and the photographs – props!


  • Filmic aspects
    • ‘sunlight through the girders making a constant flicker’ 44
    • ‘A dead man passed us’ 44
    • Cut to ‘Roaring noon’ 44
    • Cut to 1917 –  48
  • Jordan’s description of setting, see ‘Structure’ above
  • Children’s voices
    • Innocent yet morally ambivalent re ‘Sheik of Araby’ 50

Also see:

Chapter 2 Notes

Chapter 3 Notes

Chapter 5 Notes

Chapter 6 Notes

Chapter 7 Sample essay

Chapter 8 Guided reading 


You are free:
  • to Share — to copy, distribute and transmit the work
  • to Remix — to adapt the work
Under the following conditions:
  • Attribution — You must attribute the work in the manner specified, as above, by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
  • Noncommercial — You may not use this work for commercial purposes.
With the understanding that:
  • Waiver — Any of the above conditions can be waived if you get permission from the copyright holder.
  • Public Domain — Where the work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
  • Other Rights — In no way are any of the following rights affected by the license:
    • Your fair dealing or fair use rights, or other applicable copyright exceptions and limitations;
    • The author’s moral rights;
    • Rights other persons may have either in the work itself or in how the work is used, such as publicity or privacy rights.
  • Notice — For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link to this web page.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s