social conventions & taboos

point 1 - TGG: social class consequences 1920s

Social Class Dictates Morality and Acceptable Behaviour

point 1 quotation - TGG: Jay’s conflict between adhering to social reality and recreating the past

“This is a terrible mistake… a terrible, terrible mistake.” (Chapter 5)

point 1 quotation - TGG: classist double standards » Gatsby’s New Money status seen as suspicious

“He’s a bootlegger…One time he killed a man who had found out that he was nephew to Von Hindenburg and second cousin to the devil.” (ch4, pg50)

point 1 quotation - TGG: Tom’s indignation at Daisy’s infidelity » class n background present who is worthy of love n marriage

“I suppose the latest thing is to sit back and let Mr. Nobody from Nowhere make love to your wife.” (ch7, pg106)

point 1 quotation - TGG: Tom n Daisy’s wealth n status as a shield

“They were careless people, Tom and Daisy—they smashed up things and creatures and then retreated back into their money or their vast carelessness.” (ch9, pg146)

point 1 AO3 - TGG: failures of American Dream

The American Dream promised social mobility, but Gatsby’s failure highlights its limitations—background and birthright still determined one’s fate

point 1 AO4 - TGG: compare to the garden of love

Gatsby’s love for Daisy is not enough for them to get married » she needs social and financial assurances, which he could not provide previously, and as a figure of New Money, perhaps still cannot provide. Blake believes that love should transcend any such barriers and constructs, however

point 1 AO5 - TGG: feminist criticism: Daisy’s lack of agency

Feminist critics highlight how Daisy’s choices are dictated by social conventions rather than personal agency, emphasising women’s lack of autonomy in relationships

point 2 - The Garden of Love: criticism of organised religion

Blake argues that religion should focus on freedom and joy in love, rather than rules and restrictions

point 2 quotation - TGofL: the restrictiveness of religion n love

“and the gates of this chapel were shut/And ‘Thou shalt not’ writ over the door”

point 2 quotation - TGofL: reality of the Garden of Love

“…it was filled with graves/And tomb-stones where flowers should be”

point 2 quotation - TGofL: the restrictive nature of Christianity

“…priests in black gowns were walking their rounds/and binding with briars my joys and desires”

point 2 AO3 - TGofL: Blake, the ‘dissenter’

Blake was devoutly religious, but as a ‘dissenter', expressed criticism of CofE = critical nature of ‘The Garden of Love’

point 2 AO4 - compare to TGG: Gatsby’s naive optimism

Gatsby naively hopes that his love, combined with his efforts to attain wealth would be enough to regain Daisy, moving forward, but it is not

point 2 AO5 - TGofL: Marxist criticism - oppression

A Marxist reading could interpret the Church as an oppressive structure that upholds social control by dictating morality

point 3 - TGG: treatment depending on qualities

Adultery and Desire are Hypocritically Treated Depending on Gender and Class

point 3 TGG - quotation: Mrs Wilson’s taunting met with Tom’s wrath » double standard in gender n class

“Daisy! Daisy! Daisy!” shouted Mrs. Wilson. “I’ll say it whenever I want to! Daisy! Dai—” Making a short deft movement, Tom Buchanan broke her nose with his open hand (ch2, pg32)

point 3 TGG - quotation: Tom’s condemnation of Daisy’s unfaithfulness, despite his own

“I suppose the latest thing is to sit back and let Mr. Nobody from Nowhere make love to your wife.” (ch7, pg106)

point 3 TGG - quotation: fragility of social appearances » while Daisy’s bound by convention, she still desires escape

“You always look so cool,” she repeated. (ch7, pg97)

point 3 TGG - quotation: Gatsby’s idealised desire vs Tom’s casual n indulgent desire

“He had intended, probably, to take what he could and go—but now he found that he had committed himself to the following of a grail” (ch8, pg122)

point 3 AO3 - TGG: flapper movement surface level

The flapper movement of the 1920s challenged traditional gender roles, yet the novel suggests that women like Daisy are still trapped by societal expectations

point 3 AO4: compare to The Ruined Maid

Amelia’s status as a mistress, like Myrtle, elevates her superficially, but she will never genuinely be accepted into that higher class

point 3 AO5 - TGG: feminist criticism: limited power of women

Feminist critics argue that Daisy and Myrtle’s fates illustrate the limited power of women—Daisy must choose wealth over love, and Myrtle is punished for attempting to rise above her social station

point 4 - The Ruined Maid: critique of treatment towards women

Hardy’s poem critiques the Victorian norm of sexually demonising and exploiting women

point 4 TRM - quotation: Amelia’s newfound wealth

“and whence such fair garments such prosperity?”

point 4 TRM - quotation: social mobility through speech?

“your talking quite fits ‘ee for high company”

point 4 TRM - quotation: mistress = sophistication

“some polish is gained with one’s ruin”

point 4 TRM - quotation: ostensible n perceived happiness w/ improved status

“…but at present you seem/To know not of megrims or melancholy”

point 4 AO3 - TRM: strict Victorian outlook on sexuality

sex was not openly discussed. panic over prostitution in 1850s n 60s because of the visible female freedom it afforded. female prostitutes enjoyed economic and personal freedom

point 4 AO4 - TRM: compare to TGG

Myrtle believes she has increased agency in her own life, due to her romance with Tom, whilst Gatsby believes his romance with Daisy can elevate him

point 4 AO5 - TRM: feminist/gender criticism: limited female agency

From a feminist perspective, the poem highlights the limited choices available to women. Amelia’s rise in social status is contingent on her relationship with men, rather than personal agency or merit. This critique aligns with broader feminist arguments about the commodification of women and the societal constraints that force them into exploitative relationships