F. スコット・フィッツジェラルドにおけるオランダと北欧のイメジャリ : デビュー前韻文作品におけるロマンティシズムとゴシック

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  • F.スコット ・ フィッツジェラルド ニ オケル オランダ ト ホクオウ ノ イメジャリ : デビュー ゼン インブン サクヒン ニ オケル ロマンティシズム ト ゴシック
  • Romanticism and Gothic in F. Scott Fitzgerald : The Imagery of the Netherlands and Northern Europe in the Pre-Debut Poetry Works
  • F. スコット ・ フィッツジェラルド ニオケル オランダ ト ホクオウ ノ イメジャリ : デビュー マエ インブン サクヒン ニオケル ロマンティシズム ト ゴシック

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説明

This essay aims to figure out how F. Scott Fitzgerald constructed the imagery of ""paradise"" throughout his poetry works before his professional debut by This Side of Paradise (1920). Analyzing the works of this term which mainly consist of the lyrics of the three musicals, Fie! Fie! Fi-Fi! (1914) , The Evil Eye (1915) and Safety First! (1916), that are for Triangle Club, the drama club of Princeton University, we notice two approaches that Fitzgerald took for the purpose above written. One is the use of the American past and the other is the use of oriental/South Seas imagery. With these two motifs that seem so much distanced from the reality, Fitzgerald succeeded in creating the imagery of ""paradise"" as what is totally cut off from the real world. The historical element Fitzgerald adopted is what happened in the America of the seventeenth century, particularly the hegemony of the Netherlands and what it caused. Focusing on the characters that are associated with the Netherlands in the three musicals, we come to realize many Northern European imageries such as those of Sweden which actually had a territorial conflict with the Netherlands in the seventeenth-century America. These imageries appear not only in his pre-debut poetry works but also his prosaic works after 1920, including The Great Gatsby (1925) and Tender Is the Night (1934). Then we remember that these Northern European areas are where the Goths first appeared. The oriental/South Seas imageries that are first understood as the adaptation of English Romantic tradition now become able to be considered as what is inseparable from another theme of this essay, Gothicism. Finding out the link between two big literary topics Romanticism and Gothicism, we come to regard Fitzgerald not only as a ""Romantic"" writer but also a heavily ""Gothic"" one. In other words, the familiar term ""Romantic"" that has been used to describe Fitzgerald’s literary characteristics, has to be reconsidered. He is rather a ""modern-Gothic"" writer who should be located in the genealogy of American Gothic.

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