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I plan to use this article to argue that Nick’s narrative role, particularly in the early manuscript Trimalchio, is Petronius-esque. Ward Briggs’ “Petronius and Virgil in The Great Gatsby” article demonstrates how Gatsby reflects the character Trimalchio and that Fitzgerald’s desire to scold society in his writing the way that Petronius does. This also raises the question of Daisy being the Sybil of Cumae. Fitzgerald establishes Gatsby as a version of the character Trimalchio, which links to the epigraph of The Waste Land. The second chapter will focus on the characters in The Great Gatsby as reflections or allusions to the characters in The Waste Land. My primary source for this is one of the early manuscripts of The Great Gatsby under the working-title of Trimalchio , which was edited by James L. Robert Emmet Long’s The Achieving of The Great Gatsby contains a chapter that discusses the influence of The Heart of Darkness on the characters in Fitzgerald’s novel, but I will argue that Long does not give enough credit to Eliot’s influence on the characters in The Great Gatsby. These will be most useful to establish connections with both The Great Gatsby and The Waste Land. Also in this first chapter, I will briefly look at, Joseph Conrad’s The Heart of Darkness , and Petronius: The Satyricon . This will be helpful in contrasting Eliot’s vision of America with Fitzgerald’s. To demonstrate Eliot’s development of the poem I will use Valerie Eliot’s edited The Waste Land Facsimile , which offers a history of the publication and contains Eliot’s early draft of the poem that has more American landscape. I can use Rainer Emig’s Modernism in Poetry: Motivations, Structures and Limits to describe some of the themes of modernism and structure styles of Eliot’s poetry and to create a foundation for understanding the medium. I will use Lawrence Rainey’s edited book The Annotated Waste Land with Eliot’s Contemporary Prose and Rainey’s Revisiting The Waste Land to give an understanding of Eliot’s notes and context for the writing. The first chapter will focus on The Waste Land, its publication and allusive form. These sources combined should give theory and application for intertextuality in The Waste Land. The article is a great source for demonstrating how Eliot used allusion and intertextuality to convey meaning in his poetry and gives a framework for how other mediums can achieve this as well. Another source I will use to discuss intertextuality is the article, “Allusion as Form: The Waste Land and Moulin Rouge!” by Stacy Magedanz. As Fitzgerald writes using the same language used to describe the death and rebirth highlighted in Eliot’s work, he’s adding to that collective understanding of those words. One area that should be helpful in Graham’s work is the explanation of Julia Kristeva’s theory on practice and productivity, which argues that words have a social context (Allen 36).
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I intend to use Graham Allen’s Intertextuality to develop that Fitzgerald took up themes in The Waste Land, perhaps even subconsciously. The most common analysis of the connection of the two works is Fitzgerald’s “valley of ashes”, but that is merely a starting point for how Fitzgerald tailored his story with The Waste Land in mind (Fitzgerald 24).įor my introduction I will look at the theory of intertextuality as a starting point for the how Eliot and Fitzgerald wrote. While much has already been said of the connections between these two works published three years apart, there is a not an extensive argument for The Great Gatsby being a prose revision of The Waste Land. I will argue that both works draw from the same allusions for developing their characters and storyline. Eliot’s The Waste Land influenced the characters, imagery, and plot of The Great Gatsby by F.