illustrated profiles of Amory and Beatrice Blaine

This Side of Paradise

by F. Scott Fitzgerald

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Autobiographical Elements

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Similar to many first novels, This Side of Paradise is largely autobiographical. The main character, Amory Blaine, mirrors Fitzgerald's own teenage years and early adulthood. The narrative follows Blaine from his somewhat pampered childhood, characterized by a strong connection with his mother, through the hurdles of adjusting to the outside world at prep school, and eventually his transformation into a "romantic egoist" during his time at Princeton. The Princeton years provide the first genuinely realistic depiction of American college life, illustrating campus life as both exhilarating and intellectually stimulating. For those dreaming of college, the opening section of This Side of Paradise functioned as a guide, offering advice on social etiquette and insights into the curriculum, referencing sixty-four books and ninety-eight authors. Fitzgerald later referred to the novel as "A Romance and a Reading List," with the romantic element featuring Blaine's failed pursuit of Isabelle Borge.

Moral and Spiritual Quest

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The second part of the book delves into Blaine's journey to achieve his potential through a commitment to a religious vision of morality. Monsignor Darcy, the most compassionate character in the book, aids Blaine in his quest for spiritual meaning. Although Darcy cannot convince Blaine to travel to Rome, he instills in him a strong sense of right and wrong. This moral understanding is tested by two romantic encounters. Blaine is profoundly affected when he loses Rosalind Connage due to his financial limitations but finds comfort in spiritual matters. Following a brief relationship with Eleanor Savage, who is alluring but too erratic for him, he again seeks solace by interpreting his actions through the lens of sin's nature. His efforts to develop "personagehood" to overcome his romantic disappointments symbolize a pursuit to fulfill his destiny by becoming a "leader" who guides others with wisdom and moral insight.

Generational Conflict

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Though Fitzgerald's novel might not seem shocking by today's standards, it created quite a sensation when it was first released. This was due to its depiction of a younger generation intent on distancing itself from the traditions upheld by their predecessors. Amory's self-absorption and vanity, his romantic escapades with young women, his controversial ideas (such as those concerning socialism), and his subtle disdain for nineteenth-century customs struck a chord with a generation that blamed their parents for the horrors of World War I.

This generational conflict played a crucial role in driving the modernist literary movement in America. In This Side of Paradise, the intellectual and artistic aspects of this clash are initially conveyed through Burne Holiday, who significantly influences many of Amory's views against nineteenth-century traditions. Although numerous critics have pointed out that Amory's thoughts and beliefs in “The Egotist Becomes a Personage” might lack depth or coherence, they nonetheless act as an intellectual manifesto for his generation. During a debate with Mr. Ferrenby about socialism, Amory asserts, “I’m a product of a versatile mind in a restless generation.” While his specific intellectual ideas remain vague, and he only lightly engages with socialism without true dedication, this indecisiveness reflects his earlier claim: “I’m in love with change and I’ve killed my conscience.”

This quest for progress away from past generations, without a clear idea of the future direction, led to criticisms of the novel. Edmund Wilson, in his essay “F. Scott Fitzgerald,” remarked: “In short, one of the chief weaknesses of This Side of Paradise is that it is really not about anything: its intellectual and moral content amounts to little more than a gesture—a gesture of indefinite revolt.” Yet, whether this revolt was genuinely “indefinite,” it resonated with and invigorated many readers and played a significant role in establishing Fitzgerald as a representative voice...

(This entire section contains 313 words.)

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for his generation.

Egotism

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Amory's vanity and narcissism go beyond simple character traits; they embody the theme of "egotism" that permeates Fitzgerald's novel. When Amory proclaims himself an egotist, he is not merely admitting to being self-centered; he is emphasizing a core philosophical element of the novel, which is the importance of the self. He expresses this idea most clearly in the final chapter, “The Egotist Becomes a Personage,” with statements like, “This selfishness is not only part of me. It is the most living part.” Like many of his generation, who felt alienated from tradition and deeply changed after World War I, Amory comes to see his sense of self as, in many respects, all he truly owns.

This idea, common in major modernist works (such as Ezra Pound’s influential publication, "The Egoist"), is influenced by Freudian psychology, the modernist generation’s dismissal of past traditions, and the focus on individualism that many writers of the time cherished. Nevertheless, Fitzgerald frequently critiques and satirizes Amory’s egotism, particularly mocking its more superficial aspects of vanity—traits that characterize Amory’s youth and his initial romance with Isabelle. The egotism and pretentiousness of several aristocrats in the novel are qualities that Fitzgerald both mocks and admires. By the end of the novel, it is unclear whether Amory completely embraces egotism, though he seems to recognize its significant artistic and intellectual aspects.

Elitism and the American Aristocracy

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In This Side of Paradise, Amory explores social hierarchies, aristocratic families, elitist behaviors, and vast wealth, offering a distinct view of the American upper class in the early 1900s. As an elitist, Amory often engages with the traditions and customs of upper-class families like the Connages and esteemed institutions such as Princeton University. Fitzgerald delivers a thorough satire of the vanity and hypocrisy within the aristocracy, exemplified when Rosalind opts for a wealthy spouse instead of Amory. He also emphasizes its strong appeal through characters like Beatrice, Monsignor Darcy, and Rosalind, despite their flaws. His satire of the "petting party," where young upper-class women engage in flirtation and make commitments to different men, was particularly shocking to the aristocracy, as was his ridicule of various Princeton clubs and elitist structures.

Episodic Structure and Discursive Novel Theory

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Amory's reflection on his past as a "scrap-book of his life" is a fitting metaphor for the structure of This Side of Paradise, a novel that serves as a verbal scrapbook of F. Scott Fitzgerald’s formative years. The episodic nature of the novel transcends mere lack of narrative distance from its autobiographical elements. While Fitzgerald indeed lacked the temporal separation necessary to differentiate the significant from the trivial in an artist's journey, the fragmented structure of the novel embodies a deliberate stylistic choice. At the time, Fitzgerald embraced the notion that novels should be discursive, a perspective influenced by the theories of H. G. Wells. This approach allowed him to explore incidents and experiences without conforming to a rigid, linear narrative, creating a tapestry of moments that together form the essence of his early artistic vision.

Jazz Age and Changing Mores

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F. Scott Fitzgerald's first novel served as a clarion call, establishing him as an emblematic voice of the Jazz Age. In this work, he vividly captures the shifting social norms of the era, spotlighting the children of Victorian parents who, liberated from strict conventions, embraced a new lifestyle. These young individuals engaged in activities like petting parties, openly flirted, and kissed without restraint, reflecting a broader cultural shift towards more relaxed mores.

The automobile, a symbol of modernity, is portrayed as a liberating force, offering unprecedented freedom and mobility to these young people. Fitzgerald's narrative also transports readers to the vibrant heart of America's college life just before World War I, setting the stage for an era on the cusp of significant change. Yet, beneath these tales of liberation, Fitzgerald explores the darker undercurrents of the time. He examines the disillusionment brought about by the devastating effects of World War I and the moral hypocrisy of Prohibition, highlighting how these societal upheavals failed to deliver the promised moral improvement.

Long before Gertrude Stein coined the term "Lost Generation," Fitzgerald offered a poignant insight into this new epoch. In one of the novel's most memorable passages, he describes a generation "dedicated more than the last to the fear of poverty and the worship of success," a generation born into a world where "all Gods [are] dead, all wars fought, all faiths in man shaken." This powerful observation encapsulates the existential uncertainties that defined the era, making Fitzgerald's work a timeless exploration of the Jazz Age's complexity.

Materialism and Emotional Hollowness

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Fitzgerald deftly captures the emptiness pervading the new social landscape, emphasizing the superficial desires that overshadow genuine connections. His personal experiences with Zelda Sayre and Ginevra King informed his understanding that materialism often obstructs deep emotional bonds. In his novel, this theme is vividly illustrated through the character of Rosalind, who prioritizes financial security over authentic love. Her decision to marry J. Dawson Ryder is guided not by affection but by the wealth he offers, which shields her from life’s challenges. Her most pressing concern becomes whether her "legs will get slick and brown" in the summertime, underscoring the triviality of her worries and the emotional void in her life.

Contradictions and Yearning for Success

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In the tapestry of "This Side of Paradise," contradictions weave through both the narrative and its characters, reflecting the complexities of F. Scott Fitzgerald's own life. Fitzgerald critiques the emotional and intellectual barrenness of twentieth-century America, yet simultaneously, he harbors a deep-seated yearning for the very financial success he criticizes. This paradox is embodied in the protagonist, Amory Blaine, whose disdain for poverty is as fervent as his impoverished circumstances.

Amory's advocacy for socialism is not born from a desire for a more equitable society, but rather from a belief that such a revolution might pave the way for his own advancement. His denunciation of property ownership starkly contrasts with his desperate attachment to the family estate, highlighting the duality of his—and by extension, Fitzgerald's—aspirations and criticisms.

In these contradictions, Amory mirrors Fitzgerald himself. The author penned "This Side of Paradise" as a means to achieve financial success, all the while criticizing the very ethos of success he sought. This pursuit was not only for personal gain but also with the hope of winning the affection of a girl he knew was unworthy. Thus, the novel becomes a reflection of Fitzgerald's inner conflict—his criticism of materialism alongside an undeniable yearning for its rewards.

Nostalgia and Lamentation

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F. Scott Fitzgerald's writing epitomizes an elegiac tone that intertwines nostalgia and lamentation, capturing the essence of the Jazz Age. Unlike a prophet of doom, he does not offer harsh criticisms but rather mourns the loss of a cherished era. The prominent writers of the 1920s, including Fitzgerald, shared the sentiment that their world was missing something invaluable. Fitzgerald, in particular, appears to observe the decade with a retrospective gaze, as if viewing it from the aftermath of the Great Crash and the subsequent Depression. From this vantage point, he reflects on the decade's vanity yet recognizes its undeniable beauty. His perspective is not one of blame but of sorrowful reminiscence, acknowledging both the fleeting nature and the splendor of those times.

Youth and the Writer's Development

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Fitzgerald artfully suggests that the zenith of one's life often coincides with the period of youth, a time imbued with the bliss of innocence. This notion mirrors the sentiments expressed in William Wordsworth’s “Ode: Intimations of Immortality,” and finds a parallel in the journey outlined in Wordsworth’s The Prelude (1850), which chronicles the evolution of a writer’s consciousness. Through his protagonist, Amory, Fitzgerald endeavors to not only explore his personal growth but also delve into the broader trajectory of any writer's development. Ultimately, his conclusion resonates with a Wordsworthian appreciation of the 'egotistical sublime,' asserting that genuine writing necessitates profound self-awareness.

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