Gatsby and Jesus: A Sympathetic Allegory

INTRODUCTION

The Great Gatsby has captivated the Western imagination for nearly a century.  Adolescents and elderly alike pour over the pages inspired by the extravagance of Gatsby’s final Long Island summer. Beyond the artistry of F. Scott Fitzgerald’s pen lies a beckoning green light: an allegory. Through discussing F. Scott Fitzgerald’s early Catholic influence, his textual introductions of major characters, and the scene of Gatsby’s death, we will discover that The Great Gatsby is a direct New Testament allegory of Jesus’ crucifixion. 

F. SCOTT FITZGERALD AND CHRIST

It is well documented that F. Scott Fitzgerald was acquainted with major Christian themes. First, F. Scott Fitzgerald was baptized and raised in Catholic schools and therefore would have been well versed in Biblical narratives. He married Zelda, a Protestant, in a Catholic church and was eventually buried in a Catholic cemetery. F. Scott Fitzgerald would not have haphazardly included specific narrative details in The Great Gatsby similar to narrative details found in The Bible. Analyzing the main characters in The Great Gatsby reveals an allegory for the crucifixion narrative. 

CHARACTER INTRODUCTIONS

Jordan Baker

Let us consider Daisy’s friend, Jordan Baker, as a character representing Death. 

She is first introduced as, “extended full length at her end of the divan, completely motionless, and with her chin raised a little, as if she were balancing something on it which was quite likely to fall” (Fitzgerald 8). This imagery not only evokes a still, corpse-like posture but further establishes a relationship with the precariousness of “the fall”—the event which brought death into the world and establishes a connection between humanity and death. To further substantiate the cadaverous imagery, Jordan then exclaims, ‘I'm stiff . . . I've been lying on that sofa for as long as I can remember’” (Fitzgerald 10). Lastly, Fitzgerald describes her as, “a slender, small-breasted girl (with) gray sun-strained eyes” (Fitzgerald 11). Jordan is not a picture of fertility.  Her lack of curves and breasts suggest that she is not physically life-giving. Further, Fitzgerald describes Jordan as a girl, rather than a woman. However, in order to confirm that she is not prepubescent, he juxtaposes the youthful imagery with more withered descriptors: gray sun-strained eyes. Jordan is a woman but she is incapable of producing life.

Tom Buchanan

Tom Buchanan, Daisy’s husband, represents Satan. 

Tom, like Satan, has fallen from heaven. “Among various physical accomplishments, (Tom) had been one of the most powerful ends that ever played football at New Haven—a national figure in a way, one of those men who reach such an acute limited excellence at twenty-one that everything afterward savors of anticlimax” (Fitzgerald 6). New Haven is allegorical to Heaven because prior to Satan’s fall, he was top angel. This was when Heaven was relatively new, prior to humanity, hence New Haven.  Everything Satan has done since cannot compare to the identity he lost as an angel of God.  Tom has directly analogous struggles in his identity crisis. Fitzgerald continues, “Tom would drift on forever seeking a little wistfully, for the dramatic turbulence of some irrecoverable football game” (Fitzgerald 6). Tom, like Satan, lives his life seeking to stir up conflict but will never be fruitful in the grand scheme of things. 

Tom is also described as having satanic attributes: “Two shining arrogant eyes had established dominance over his face and gave him the appearance of always leaning aggressively forward” (Fitzgerald 7). After Satan was banished from Heaven, his name was changed from Lucifer (meaning “morning star”) to Satan (“adversary”).   Satan and Tom are similarly arrogant, dominant, and aggressive. 

Moreover, Satan is contemptuous against God the Father. Likewise, Tom is described as having, “paternal contempt . . . even toward people he liked” (Fitzgerald 7). Revelation 12:10 states, “the Accuser of our brothers, who accuses them day and night before God, has been thrown out!”(Complete Jewish Bible, Revelation 12:10).  Satan is the accuser. Similarly, Tom consistently bombards all within earshot with accusations and criticisms.  

Furthermore, Satan is a liar. John 8:44 states, “he has never stood by truth, because there is no truth in him. When he tells a lie, he is speaking in character; because he is a liar - indeed, the inventor of the lie!” (Complete Jewish Bible, John 8:44). Tom frequently fabricates. He proudly declares he will stay in East Egg, though he scurries away at the end of the novel. He also proclaims, “I’d be a God damned fool to live anywhere else” (Fitzgerald 10). God damned, indeed. 

Daisy Buchanan

Daisy Buchanan represents the Church. 

As we approach her, readers are beckoned into the room by a flurry of bridal imagery. The ceiling resembles a, “frosted wedding cake” and the room is furnished with a “wine-colored rug” (Fitzgerald 8). The curtains are “pale flags” twisting in the wind like a wedding vale (Fitzgerald 8). Daisy, like the Church, is the Bride of Christ.

Daisy also embodies a zeal for life that starkly contrasts with the other occupier of the room: Jordan. Instead of lying motionless, Daisy, “leaned slightly forward with a conscientious expression—then she laughed, an absurd, charming little laugh” (Fitzgerald 8). Daisy is conscientious, and alive, and laughing—a characteristic of the woman of Proverbs 31 who “can laugh at the days to come” (Complete Jewish Bible, Proverbs 31:25). This woman is also described as the wife of noble character. 

Daisy is prone to fearfulness. When we are introduced to Daisy, her first words are, “I'm p-paralyzed with happiness” (Fitzgerald 8). Though this sounds sincere and continues to evoke her charming levity, truly this is the great foreboding comment that causes the Christian to forsake what is theirs to receive again and again. 

Lastly, Fitzgerald describes her favor by writing, “For a moment the last sunshine fell with romantic affection upon her glowing face” (Fitzgerald 14). Daisy is irrevocably loved. 

Jay Gatsby

Jay Gatsby represents Jesus Christ. 

Unlike the aforementioned characters, Gatsby is spoken about, but not properly introduced, until later in the text, much like Jesus who is prophesied about in the Old Testament but becomes flesh in the New Testament. 

Gatsby is characteristically peaceful and holds himself to the decorum of the upper echelon. Fitzgerald writes, “Something in his leisurely movements and the secure position of his feet upon the lawn suggested that it was Mr. Gatsby himself, come out to determine what share was his of our local heavens” (Fitzgerald 20). Gatsby embodies peace, authority, and dominion. In this way, Gatsby is likened to the “Prince of Peace” described in Isaiah 9:6 (Complete Jewish Bible, Isaiah 9:6). 

Gatsby is linked with identity, as our true identity is found in Christ. When we first meet Jay Gatsby, he smiles: “It was one of those rare smiles with a quality of eternal reassurance in it . . . It faced—or seemed to face—the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself, and assured you that it had precisely the impression of you that, at your best, you hoped to convey” (Fitzgerald 48). Gatsby not only believes in but inspires and evokes your best and true self.  1 Peter 2:9 states, “But you are a chosen people, the King’s cohanim, a holy nation, a people for God to possess! Why? In order for you to declare the praises of the One who called you out of the darkness into his wonderful light” (Complete Jewish Bible, 1 Peter 2:9) Your best identity is found in Christ and Christ believes it, as well!

Last, Gatsby, quite eloquently, reiterates the gospel. Gatsby states, “‘If you want anything just ask for it, old sport,’ he urged me. ‘Excuse me. I will rejoin you later’” (Fitzgerald 48).  This recalls the Sermon on the Mount when Jesus encourages his audience to ask anything in His name and it will be given. Further, as Gatsby will return later, Christ will also return to reign! In essence, Jay Gatsby preaches the gospel. 

THE CRUCIFIXION 

An analysis of Gatsby’s death further solidifies the allegory. Gatsby is killed by a man who has been trapped in a lie spun by Tom. This deceitful act is similar to Judas’ betrayal of Jesus. Gatsby’s gunman, Wilson, proceeds to kill himself close to the scene of the murder. Similarly, after Judas betrays Christ, he hangs himself at Hakeldama—a field beneath the hill where Jesus was crucified. Fitzgerald writes, “It was after we started with Gatsby toward the house that the gardener saw Wilson's body a little way off in the grass, and the holocaust was complete” (Fitzgerald 162).

Christ’s sacrifice allows all who believe in him to have everlasting life and forgiveness of sin. We are joint heirs in Christ. Our debt is paid. We have the choice, however, to turn away from what was bought and walk, coerced by Satan, in fear. Similarly Daisy, like we all have, runs away with Tom (Satan) before she can even comprehend her freedom from fear. She could leave Tom and live without repercussions from her hit-and-run because of Gatsby’s sacrifice. But, fear proves seductive.

Gatsby also briefly hits the stations of the cross. Fitzgerald writes, “Gatsby shouldered the mattress and started for the pool. Once he stopped and shifted it a little, and the chauffeur asked him if he needed help, but he shook his head and in a moment disappeared among the yellowing trees” (Fitzgerald 161). This pool float is the mattress that Gatsby dies upon, making it a cross-like object. Furthermore, Jesus  shouldered the cross and stopped on his way to Golgotha. 

CONCLUSION

In conclusion, The Great Gatsby is not an allegory which serves to precisely detail the cosmic blueprint for the build-up to the crucifixion. No, Gatsby’s self-sacrificing love for Daisy, our sorrow for the ramifications of her fearfully-motivated choices, and our utter distaste for Tom are anything but a sterile, measured account. Fitzgerald who considered himself a “’feeler’ rather than a complex ‘thinker’” would not present a direct allegory that simply dressed Jesus and Judas in 1920s fedoras (Leigh 1).  Instead, The Great Gatsby provides passionate, relatable characters who evoke specific, sympathetic responses, enabling the readers to feel the crucifixion. And in this feeling, we begin to emotionally comprehend his love for us. A love that led Jesus to choose death so that we may choose life through Him forever.

Bibliography

“F. Scott Fitzgerald.” Wikipedia, Wikimedia Foundation, 26 Oct. 2018, en.wikipedia.org/wiki/F._Scott_Fitzgerald#Early_life.

Fitzgerald, F.Scott. The Great Gatsby. Scribner, 2004.

King, David A. “F. Scott Fitzgerald's Identity 'Shaped' By Catholicism.” Georgia Bulletin, 20 June 2013, georgiabulletin.org/commentary/2013/06/f-scott-fitzgeralds-identity-shaped-by-catholicism/.

Leigh, David. “F. Scott Fitzgerald: a Novelist Who Was Catholic, but Not a 'Catholic Novelist'.” America Magazine, 24 Oct. 2017, www.americamagazine.org/arts-culture/2017/09/26/f-scott-fitzgerald-novelist-who-was-catholic-not-catholic-novelist.

Stern, David H. Complete Jewish Bible. Messianic Jewish Publishers, 1998.