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F.ScottFitzgerald•LifeandCareer•MajorWorks•FitzgeraldandtheJazzAge•TheAmericanDream•CaseStudyOutline•BorninSt.Paul,MinnesotaonSeptember24,1896•HadanexpensiveeducationinprivateschoolsatPrinceton.•Duetoillnessandneglectofacademicstudy,helefttheuniversityin1917withoutgraduation.Lifeandcareer•MarriedZeldaSayre,whoexertedastronginfluenceonhisliterarycareerandhispersonallife.Shewastheprototypeofaseriesofrich,beautifulwomenwhofigureprominentlyinhisfiction.•Theyoungcouplefrequentlywentabroadandlivedextravagantlyaluxuriouslife.•Tokeepearningenoughmoney,Fitzgeraldwroteshortstoriesandnovelsatarapidspeed.•The1930sbroughtrelentlessdeclineforFitzgeraldwithaseriesofmisfortunes:hisreputationdeclined,hiswealthfell,hishealthfailed.•Zeldahadsufferedfromsomeseriousmentalbreakdownswhichconfinedherinasanitarium(疗养院)fortherestofherlife.•Alcoholism,lonelinessanddespaircombinedtoruinFitzgerald.Hediedin1940ofaheartattack.Majorworks•novel•ThisSideofParadise《天堂的另一面》:Hisfirstnovel.Itwonforhimwealthandfame.•TheBeautifulandDamned《漂亮冤家》又名《美丽与毁灭》•TheGreatGatsby《了不起的盖茨比/长岛春梦》:Hismasterpiece.ItmadehimoneofthegreatestAmericannovelists.•TenderistheNight《夜色温柔》.•TheLastTycoon《最后的大亨》:Hislastnovel.Itremainsunfinished.Majorworks•shortstories:•FlappersandPhilosophers(1921)《时髦女和哲学家》•TalesoftheJazzAge(1922)《爵士乐时代的故事》•AlltheSadYoungMan(1926)《一代悲哀的年轻人》•TapsatReveille(1935)《早晨的起床号》•BabylonRevisited（1931）《重访巴比伦》FitzgeraldandtheJazzAge•TheJazzAge:Itreferstothe1920s,atimemarkedbyfrivolity(轻松快活),carelessness,hedonism(享乐主义)andexcitementinthelifeoftheflamingyouth.Fitzgeraldislargelyresponsibleforthetermandmanyofhisliteraryworksportrayit.TheJazzAgeisbroughtvividlytolifeinTheGreatGatsby.FitzgeraldandtheJazzAge•MostcriticshaveagreedthatFitzgeraldisbothaninsiderandanoutsideroftheJazzAge.Fitzgerald'sfictionalworldisthebestembodimentofthespiritoftheJazzAge,inwhichheshowsaparticularinterestintheupper-classsociety,especiallytheupper-classyoungpeople.FitzgeraldandtheAmericanDream•theAmericanDreamisapopularbeliefthatpeoplecanachievesuccess,whetheritiswealth,fameorlovethroughhonesthardworkinginanewworldofliberty,equality,chancesandpromises.Fitzgerald'sfictionsoftendealwiththebankruptcyoftheAmericanDream,whichishighlightedbythedisillusionmentoftheprotagonists'personaldreamsduetotheclashesbetweentheirromanticvisionoflifeandthesordidreality.•Fitzgerald‘sownlifewasamirrorofthe1920s.Hewasthevictimofhis“AmericanDream.”Hewasfascinatedwithmaterialwealthononehandbywritinghardtoaccumulatewealthtoliveanextravagant(铺张的)life,yetwasbewildered(使迷惑)withthewealthontheother,fullyawareoftheunderlyingspiritualdisorientationandmoraldecay.Finallyinhislife,alcoholism,lonelinessanddespaircombinedtoruinhim.FitzgeraldandtheAmericanDreamCasestudy(1)Therewasmusicfrommyneighbor’shousethroughthesummernights.Inhisbluegardensmenandgirlscameandwentlikemothsamongthewhisperingsandthechampagneandthestars.AthightideintheafternoonIwatchedhisguestsdivingfromthetowerofhisraft,ortakingthesunonthehotsandofhisbeachwhilehistwomotor-boatsslitthewatersoftheSound,drawingaquaplanesovercataractsoffoam.•Onweek-endshisRolls-Roycebecameanomnibus,bearingpartiestoandfromthecitybetweennineinthemorningandlongpastmidnight,whilehisstationwagonscamperedlikeabriskyellowbugtomeetalltrains.AndonMondayseightservants,includinganextragardener,toiledalldaywithmopsandscrubbing-brushesandhammersandgarden-shears,repairingtheravagesofthenightbefore.•整个夏天的夜晚都有音乐声从我邻居家传过来。在他蔚蓝的花园里，男男女女像飞蛾一般在笑语、香摈和繁垦中间来来往往。下午涨潮的时候，我看着他的客人从他的木筏的跳台上跳水，或是躺在他私人海滩的热沙上晒太阳，同时他的两艘小汽艇破浪前进，拖着滑水板驶过翻腾的浪花。每逢周末，他的罗尔斯一罗伊斯轿车就成了公共汽车，从早晨九点到深更半夜往来城里接送客人，同时他的旅行车也像一只轻捷的黄硬壳虫那样去火车站接所有的班车。每星期一，八个仆人，包括一个临时园丁，整整苦于一天，用许多拖把、板刷、榔头、修技剪来收拾前一晚的残局。WritingStyle•FitzgeraldisconsideredasagreatstylistinAmericanliterature.Hisstyle,closelyrelatedtohisthemes,isexplicitandchilly.Hisaccuratedialogues,hiscarefulobservationofmannerism,styles,modelsandattitudesprovidethereaderwithavividsenseofreality.Heusedthescenicmethodinhischapters,eachoneofwhichconsistsofoneormoredramaticscenes,sometimeswithinterveningpassagesofnarration,leavingthetediousprocessoftransitiontothereaders‘imagination.•Fitzgerald‘sproseissmooth,sensitive,andcompletelyoriginalinitsdictionandmetaphors.Atthebeginningofthischapter,Gatsby’spartiesbring1920swealthandglamourintofullfocus,showingtheupperclassatitsmostlavishlyopulent.However,whatliebehindthoseluxuriouspartiesaremeaninglessnessandemptiness.HereFitzgeraldgivesgreatattentiontothedetailsofcontemporarysociety:Gatsby'spartyisbothadescriptionandparodyofJazzAgedecadence.Analysis(2)“Whatdoyouthink?”hedemandedimpetuously.“Aboutwhat?”Hewavedhishandtowardthebook-shelves.“Aboutthat.Asamatteroffactyouneedn’tbothertoascertain.Iascertained.They’rereal.”“Thebooks?”Henodded.“Absolutelyreal—havepagesandeverything.Ithoughtthey’dbeanicedurablecardboard.Matteroffact,they’reabsolutelyreal.Pagesand—Here!Lemmeshowyou.”Takingourscepticismforgranted,herushedtothebookcasesandreturnedwithVolumeOneofthe“StoddardLectures.”“See!”hecriedtriumphantly.“It’sabona-fidepieceofprintedmatter.Itfooledme.Thisfella’sareg