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Essays on The Great Gatsby

The great gatsby essay topic examples.

Whether you want to analyze the American Dream, compare and contrast characters, vividly describe settings and characters, persuade readers with your viewpoints, or share personal experiences related to the story, these essay ideas provide a diverse perspective on the themes and complexities within the book.

Argumentative Essays

Argumentative essays require you to analyze and present arguments related to the novel. Here are some topic examples:

• 1. Argue whether the American Dream is achievable or illusory, as depicted in The Great Gatsby .
• 2. Analyze the moral ambiguity of Jay Gatsby and the consequences of his relentless pursuit of the American Dream.

Example Introduction Paragraph for an Argumentative Essay: F. Scott Fitzgerald's The Great Gatsby is a tale of ambition, decadence, and the elusive American Dream. This essay delves into the complex theme of the American Dream, exploring whether it remains attainable or has transformed into a tantalizing illusion, luring individuals like Jay Gatsby into its enigmatic embrace.

Example Conclusion Paragraph for an Argumentative Essay: In conclusion, the analysis of the American Dream in The Great Gatsby invites us to reevaluate our perceptions of success and fulfillment. As we contemplate the fate of Jay Gatsby and the characters entangled in his world, we are challenged to define our own version of the American Dream and the sacrifices it may entail.

Compare and Contrast Essays

Compare and contrast essays enable you to examine similarities and differences within the novel or between it and other literary works. Consider these topics:

• 1. Compare and contrast the characters of Jay Gatsby and Tom Buchanan, exploring their contrasting worldviews and motivations.
• 2. Analyze the similarities and differences between the portrayal of the Jazz Age in The Great Gatsby and Ernest Hemingway's The Sun Also Rises .

Example Introduction Paragraph for a Compare and Contrast Essay: The characters and settings in The Great Gatsby and other literary works offer a rich tapestry for comparison and contrast. This essay embarks on a journey to compare and contrast the enigmatic Jay Gatsby and the brash Tom Buchanan, delving into their contrasting values, aspirations, and roles within the novel.

Example Conclusion Paragraph for a Compare and Contrast Essay: In conclusion, the comparison and contrast of Jay Gatsby and Tom Buchanan illuminate the divergent paths individuals can take in pursuit of their desires. As we consider the consequences of their choices, we are prompted to reflect on the complexities of ambition and morality.

Descriptive Essays

Descriptive essays allow you to vividly depict settings, characters, or events within the novel. Here are some topic ideas:

• 1. Describe the opulent parties at Gatsby's mansion, emphasizing the decadence and extravagance of the Jazz Age.
• 2. Paint a detailed portrait of Daisy Buchanan, focusing on her beauty, charm, and the allure she holds for Gatsby.

Example Introduction Paragraph for a Descriptive Essay: The Great Gatsby immerses readers in the lavish world of the Roaring Twenties. This essay embarks on a descriptive exploration of the extravagant parties at Gatsby's mansion, capturing the opulence and hedonism of the era, as well as the illusions they create.

Example Conclusion Paragraph for a Descriptive Essay: In conclusion, the descriptive portrayal of Gatsby's parties serves as a vivid snapshot of the Jazz Age's excesses and the fleeting nature of indulgence. Through this exploration, we are reminded of the allure and transience of the materialistic pursuits that captivated the characters of the novel.

Persuasive Essays

Persuasive essays involve arguing a point of view related to the novel. Consider these persuasive topics:

• 1. Persuade your readers that Nick Carraway is the moral compass of the story, serving as the voice of reason and morality.
• 2. Argue for or against the idea that Gatsby's love for Daisy is genuine and selfless, despite his questionable methods.

Example Introduction Paragraph for a Persuasive Essay: The Great Gatsby presents a tapestry of characters with complex moral dilemmas. This persuasive essay asserts that Nick Carraway emerges as the moral compass of the story, guiding readers through the labyrinth of decadence and disillusionment in the Jazz Age.

Example Conclusion Paragraph for a Persuasive Essay: In conclusion, the persuasive argument regarding Nick Carraway's role as the moral compass underscores the importance of ethical navigation in a world characterized by excess and moral ambiguity. As we reflect on his influence, we are compelled to consider the enduring value of integrity and virtue.

Narrative Essays

Narrative essays offer you the opportunity to tell a story or share personal experiences related to the themes of the novel. Explore these narrative essay topics:

• 1. Narrate a personal experience where you encountered the allure of materialism and extravagance, similar to the characters in The Great Gatsby .
• 2. Imagine yourself as a character in the Jazz Age and recount your interactions with Jay Gatsby and Daisy Buchanan.

Example Introduction Paragraph for a Narrative Essay: The themes of The Great Gatsby resonate with the allure of a bygone era. This narrative essay delves into a personal encounter with the seductive pull of materialism and extravagance, drawing parallels to the characters' experiences in the novel.

Example Conclusion Paragraph for a Narrative Essay: In conclusion, the narrative of my personal encounter with the allure of materialism reminds us of the timeless nature of the themes in The Great Gatsby . As we navigate our own desires and ambitions, we are encouraged to contemplate the balance between aspiration and morality.

Nicks Personality in The Great Gatsby

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April 10, 1925, F. Scott Fitzgerald

Novel; Fiction, Tragedy

Jay Gatsby , Nick Carraway, Daisy Buchanan, Tom Buchanan, Myrtle Wilson, Jordan Baker, Meyer Wolfsheim, George B. Wilson, Trimalchio, Mr. Gatz

F. Scott Fitzgerald wrote "The Great Gatsby" with multiple motivations in mind. Firstly, he sought to critique the materialistic excesses and moral decay of the Roaring Twenties, a period of post-World War I prosperity. Fitzgerald aimed to expose the disillusionment and hollowness behind the glittering facade of the American Dream. Additionally, he drew inspiration from his own experiences and observations of the wealthy elite and their decadent lifestyles. Through the character of Jay Gatsby, Fitzgerald explored themes of unrequited love, longing, and the pursuit of an unattainable ideal. Ultimately, Fitzgerald's intent was to capture the essence of an era and offer a profound commentary on the human condition.

The story revolves around Jay Gatsby, a mysterious millionaire, and his pursuit of Daisy Buchanan, a married woman with whom he had a romantic past. Narrated by Nick Carraway, a young man from the Midwest, the novel delves into the opulent and extravagant lives of the wealthy elite in Long Island. As Gatsby throws lavish parties in the hope of rekindling his relationship with Daisy, the narrative explores themes of love, wealth, illusion, and the disillusionment that comes with the pursuit of the American Dream.

The American Dream , decadence, idealism, resistance to changes, social excess, caution.

The influence of "The Great Gatsby" extends far beyond its initial publication in 1925. F. Scott Fitzgerald's novel has become a literary classic, revered for its exploration of themes such as wealth, love, and the elusive American Dream. It remains relevant due to its timeless portrayal of human desires, societal decadence, and the consequences of relentless pursuit. The book's vivid characters and atmospheric prose have inspired countless writers and artists, shaping the landscape of American literature. With its commentary on the dark underbelly of the Jazz Age, "The Great Gatsby" continues to captivate readers, serving as a cautionary tale and a poignant reflection of the human condition.

1. During F. Scott Fitzgerald's lifetime, approximately 25,000 copies of the book were sold. However, since then, it has gained immense popularity, selling over 25 million copies and establishing itself as one of the most renowned American novels. 2. The Great Gatsby did not have its original title as the author considered various options, ranging from "Under the Red, White and Blue" to "The High-Bouncing Lover." These alternative titles were potentially revealing too much about the content prematurely. 3. In 1926, just a year after its publication, the book was adapted into a film, demonstrating its quick transition from page to screen. 4. Fitzgerald's cause of death is believed to have been tuberculosis rather than a heart attack. Sadly, he passed away at the age of 44. 5. The price of this famous novel at the time of its publication in 1925 was $2, representing its value in that era. 6. The Great Gatsby did not immediately receive critical acclaim upon release. However, it has since garnered recognition and praise, becoming a significant literary work.

"The Great Gatsby" has made a significant impact on various forms of media, captivating audiences across generations. The novel has been adapted into several films, with notable versions including the 1974 adaptation starring Robert Redford and the 2013 adaptation featuring Leonardo DiCaprio. These cinematic interpretations have brought the story to life visually, further immersing audiences in the opulent world of Jay Gatsby. Additionally, the novel has been referenced and alluded to in countless songs, television shows, and even video games, solidifying its cultural significance. Its themes of love, wealth, and the pursuit of the American Dream continue to resonate and inspire creative works in popular culture.

“In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since. ‘Whenever you feel like criticizing any one,’ he told me, ‘just remember that all the people in this world haven't had the advantages that you've had.’” “I was within and without, simultaneously enchanted and repelled by the inexhaustible variety of life.” “Let us learn to show our friendship for a man when he is alive and not after he is dead.” “So we drove on toward death through the cooling twilight.” “I hope she'll be a fool -- that's the best thing a girl can be in this world, a beautiful little fool.”

Studying "The Great Gatsby" holds great importance due to its enduring relevance and literary significance. The novel offers profound insights into themes such as wealth, love, social class, and the corruption of the American Dream. Its exploration of the Jazz Age exposes the allure and emptiness of a materialistic society, making it a compelling study of human desires and societal decay. F. Scott Fitzgerald's masterful prose and symbolic imagery provide rich material for analyzing character development, narrative techniques, and social commentary. Moreover, delving into the novel's historical context allows for a deeper understanding of the cultural and societal shifts of the 1920s.

The inclusion of "The Great Gatsby" as an essay topic for college students stems from its exploration of themes like the American Dream, the juxtaposition of poverty and wealth, and the destructive allure of corruption. The character of Gatsby embodies the American spirit and can be paralleled to contemporary individuals fixated on materialism and fame as measures of romantic success. Furthermore, this literary masterpiece holds a significant place in American literature, as F. Scott Fitzgerald skillfully weaves socio-cultural elements into each sentence, providing a timeless portrayal of American life that resonates across generations. The choice to analyze and write about "The Great Gatsby" allows students to delve into these thought-provoking themes and examine their relevance to society.

1. Stallman, R. W. (1955). Conrad and The Great Gatsby. Twentieth Century Literature, 1(1), 5–12. (https://doi.org/10.2307/441023) 2. John Jerrim, Lindsey Macmillan, (2015). Income Inequality, Intergenerational Mobility, and the Great Gatsby Curve: Is Education the Key?, Social Forces, Volume 94, Issue 2. (https://academic.oup.com/sf/article/94/2/505/2583794) 3. Robert C. Hauhart (2013) Religious Language and Symbolism in The Great Gatsby’s Valley of Ashes, ANQ: A Quarterly Journal of Short Articles, Notes and Reviews, 26:3 (https://www.tandfonline.com/doi/abs/10.1080/0895769X.2013.798233) 4. Burnam, T. (1952). The Eyes of Dr. Eckleburg: A Re-Examination of “The Great Gatsby.” College English, 14(1), 7–12. (https://www.jstor.org/stable/371821) 5. Tom Phillips (2018) Passing for White in THE GREAT GATSBY: A Spectroscopic Analysis of Jordan Baker, The Explicator, 76:3. (https://www.tandfonline.com/doi/full/10.1080/00144940.2018.1489769?scroll=top&needAccess=true&role=tab) 6. Matterson, S. (1990). The Great Gatsby and Social Class. In: The Great Gatsby. The Critics Debate. Palgrave, London. (https://link.springer.com/chapter/10.1007/978-1-349-20768-8_9) 7. Licence, A. (2008). Jay Gatsby: martyr of a materialistic society: Amy Licence considers religious elements in The Great Gatsby. The English Review, 18(3), 24+. (https://go.gale.com/ps/i.do?id=GALE%7CA173676222&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=09558950&p=LitRC&sw=w&userGroupName=anon%7E5a84816e) 8. Khodamoradpour, Marjan and Anushiravani, Alireza, (2017) Playing the Old Tunes: A Fiskean Analysis of Baz Luhrmann's 2013 Cinematic Adaptation of the Great Gatsby. International Letters of Social and Humanistic Sciences, Volume 71. (https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3020752) 9. Anderson, H. (1968). THE RICH BUNCH IN" THE GREAT GATSBY". Southern Quarterly, 6(2), 163. (https://www.proquest.com/openview/6a9e704a476d873aada2d2529821b95a/1?pq-origsite=gscholar&cbl=2029886)

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Richard Marriott English

English Lecturing and Tutoring

The Great Gatsby Sample Essay

This sample essay demonstrates the full range of A-level skills needed to meet the assessment objectives at the highest level.

“They’re a rotten crowd.” I shouted across the lawn. “You’re worth the whole damn bunch put together.” How does Fitzgerald convey a “rotten crowd” in The Great Gatsby and to what effect?

“Rotten” describes a state of putrefaction. It is a word we apply to decomposing fruit, fruit that is over-ripe, decaying and which, close-up, stinks. What a brilliant word to convey the decaying civilisation of post-war Europe and America that surrounds Gatsby – and repulses his friend, Nick – shocking him into moral awareness.

It is primarily through the moral judgements of his narrator, Nick Carraway, – the character that goes East to make money only to retreat revolted by the moral, cultural and social rottenness that he finds among the moneyed classes he wished to join – that Fitzgerald presents his “rotten crowd.” Through Nick, Fitzgerald exercises his narrative art with extraordinary compression: cultural allusion and symbolic names and images are central to his method – underpinning the actions of his characters – so too a poet’s feel for the sound and connotations of words.

Fitzgerald’s allusive method brilliantly conveys the rottenness of Gatsby’s crowd. Names, and names of books allude to a rotten world. Relationships in the East are rotten and infect the outlying members of the great Carraway dynasty: Nick’s second cousin twice removed is married to a philanderer; already unfaithful on honeymoon, we find him in the second chapter introducing Nick to his mistress. Now, the great Gatsby himself has been no monk (he ‘knew women early’ (82) Nick tells us, momentarily picturing a proud and promiscuous young Gatsby), but in pursuing Daisy, he pursues more than sex: he wishes to attain a higher state of being – to ‘romp with the mind of God,’ to ‘gulp down the milk of wonder.’ Romping and gulping suggests a child’s wide-eyed amoral appetite for unbounded satisfaction. Tom’s rottenness, his sexual corruption, then is apparent by contrast with the sublime, high-minded aspirations of the man who would cuckold him. Taking then, Nick, to the apartment where he conducts his affair, Tom leaves Nick while he and Myrtle both disappear – presumably to the bedroom – before reappearing after Nick has had time to ‘read a chapter’ of Simon Called Peter . A chapter-read is an innovative way to measure the length of a human coupling and perhaps degrades (reveals the rottenness of) Tom’s relationship in its brevity (or in its longevity, reveals the rotter luxuriating in his sin) – but more importantly, it is through the title of the book that Fitzgerald reveals the rottenness of this crowd. Robert Keable’s 1922 best-seller records the career of an earnest young clergyman, Peter Graham who volunteers as an army chaplain in the First World War. His faith fails to sustain him on the path of righteousness and he abandons his nice middle class fiancée, Hilda, for the generous charms of a prostitute and a generation of young women whose sexual freedom is more aligned to the Myrtles of Gatsby than the prim propriety of Hilda and the Edwardian England Peter has left behind. However, Peter is not simply a lost cause to the church, he is disillusioned with its teachings and with human nature, the sexual freedoms and easy pleasures of the war generations seem to him more real, more essentially human than the morality he preached from the bible. The novel, condemned in his review as ‘immoral’ by Fitzgerald, is seriously concerned with what war reveals of essential human nature: its immorality, its pessimism lies in its disillusion with love. Fitzgerald’s Gatsby holds on to his aspirations, his faith in the possibility of transcendence through love, despite the hardships of his (quickly overcome!) poverty. It is perhaps only through the contrast with Keable’s response to war that we can appreciate the extraordinary hope implicit in Fitzgerald’s, in his faith in the higher callings and aspirations of the human heart. It would be interesting to know if Fitzgerald had a particular chapter in mind that “didn’t make any sense to [Nick].”

Thus, almost passing reference to a contemporary novel, is fraught with much meaning. The use of a character’s reading material to shape and create meaning is a familiar part of the novelist’s art: think Austen’s Catherine Morland, gently mocked by her author for her indulgence in The Mysteries of Udolfo and the power it has over her imagination. This allusive method is not surprising in Fitzgerald: it is the foundation of Eliot’s “The Waste Land” –a poem Fitzgerald knew by heart, written in the year he sets his Gatsby . In it, the morality, the spiritual condition, of one generation is measured against representative cultural fragments from earlier civilisations.

Fitzgerald is similarly wide-ranging in his frame of reference to convey his “rotten crowd,” alluding to contemporary novels and events as well as ancient texts. Take the casual naming of just one party-goer for example: Ismay. Ismay is collected up as part of a group: “the Ismays and the Christies.” Perhaps Fitzgerald has in mind Bruce Ismay, Managing Director, of the White Star Line and held to blame for the greatest shipping disaster of all time: the loss of the Titanic in 1912; he was J Brute Ismay to the press at the time. He was rumoured to have put pressure on the Chief Engineer to drive the ship faster for a record time for the Atlantic Crossing and was himself a survivor. Newspaper cartoons showed him watching the ship sink from the safety of a lifeboat whilst the true “women and children first” heroes stood facing death on the doomed ship. So, Ismay comes to represent the selfish, self-serving rottenness of Fitzgerald’s contemporary society and the inversion of its moral values.

Ismay is among the first of the East Eggers on Nick’s famous list that helpfully divides the party guests into two according to the Egg whence they arrive: East Egg is the old money (Jesmond) in our local terms; West Egg is new money (we think Darras Hall). The West Eggers are “all connected with the movies in one way or another.”  So one “controlled films Par Excellence” another is a “promoter” (and at the Chapter VI party we meet “the moving-picture director and his Star” (89)). In contemporary – and non-party political terms we find in West Egg the New Labour celebrity culture of film stars, pop stars, and fashion designers as well as the stalwart Old Labour of the Trade Union movement meeting at Blair’s parties: it would be a mistake to believe either group is any more free from corruption than Gatsby’s guests.  Fitzgerald’s crowd fills up the “empty spaces of a timetable” (52) that is now out of date. And their “gray” names assigns them to the ash heaps of The Valley of the Ashes – where the detritus of a dead civilisation is dumped.

The whole list in its conception is a brilliant tribute to writers of the past: “the Prince of something, whom we called Duke, and whose name, if ever I knew it, I have forgotten” concludes the roll with a wonderful contempt for empty title (“of something”) and undeserved respect (“whom we called”). The forgotten name that concludes his portrait echoes Chaucer’s final valediction on his Merchant:

For sothe (truly) he was a worthy man with alle, in every way But, sooth (truth) to seyn, I noot (= ne woot, don’t know )how men hym calle.

“I noot how men hym calle,” he is in other words unworthy of name or remembering. Of all writers, Chaucer is so especially concerned with a man’s worth, (the word is used ironically in the quotation above) his worthiness, the parity between the inner and the outer man. The choice of the Merchant is apt: he represents financial rottenness, self-serving material greed.

The last line of all in Nick’s guest list, “All these people came to Gatsby’s house in the summer,” in its obvious summing up of what we already knows echoes Homer’s method in the famous muster of the armies at the beginning of The Iliad , (e.g. “These were the men whom Amphimachus and Nastes brought.”). The very idea of remembering each with some anecdote of their deeds is again Homeric – but how unedifying their deeds: fighting with bums, drunk on the gravel, arriving with another’s wife, run over by Mrs. Ulysses Swett. The name Ulysses is enough to point us to our Homer. This “rotten crowd” is mocked in comparison to the Greek Heroes of the great ancient civilization of the past: the one at its heroic zenith, the other at its rotten nadir.

Plenty of food then for scholars wishing to track down all these names and associations. Ulysses Swett is in fact a real person (born 1868) and a member of the famous Swett family of Cape Cod who traced themselves back through thirteen generation. However, the names have an immediate, not just a scholarly impact. Swett (homophone for a squalid bodily function) is allied with Belcher (the, what, shamelessly, insolent expulsion of stomach gas through the mouth?– usually avoided because of the bad smell) and Smirke (the silent mocking laugh) – all aspects of our base corporeal rather than spiritual natures.

Worse are the animal names: Blackbuck, Roebuck, connoting both money (buck=dollar) and animal sexuality (a buck is a male deer – like the word ‘tup’ we make the gender distinction usually to refer to sexual behaviour). The name ‘Blackbuck’ perhaps evokes Tom’s fear of the Rise of the Colored Empires , of the sexual potency of black races according to popular myth and also a fear of the black dollar, of black wealth as a part of rising black supremacy. So the names have a resonance that goes beyond the animals and fish they denote (Beluga, Whitebait, Hammer Head – it is easy fit them into a taxonomical classification). It is fun to learn from Wikipedia that the Beluga whale has a ‘high-pitched twitter.’ Such information adds another dimension to our own imagined constructions of Gatsby’s party crowd. But the name itself seems ugly. Is it because it has the consonants of the word ‘ugly’ in it? Or because, as we search to make sense of an unfamiliar word, our brains try out the word ‘bulge’ through the association of sound and thus evoke some ungainly swollen creature, some ulcerous tumescence of money and immorality. Is there something belchy in the sudden release of air in the second vowel sound, Bel u ga? And that is before we think about the associations with caviar and the untouchable luxuries of the war-time rich.

And then there are the Hammerheads: another wonderfully evocative name. What rottenness does this conjure? A family of boneheads. The Hammerhead Shark has evolved an elongated and flattened skull perhaps for the manipulation of prey – nice associations there. It also contains the idea of the tool after which the shark is named, the hammer, blunt bludgeoning instrument. Picture it here in the hands of one of Gatsby’s bootlegging cronies, crushing the skull of some unfortunate prey. Hear in its sounds, the repeated glottal fricatives, (‘ Ha mmer hea d’) the heavy breathing of the hammer-wielder exerting himself in the act of skull-crushing.

There is a poetry in this carefully constructed mock epic that delights in the cultural allusion, in the connotative capacity and the phonological features of words to express the sheer rottenness of this crowd.

Fitzgerald offers a wide, but not comprehensive, survey of the animal kingdom to convey his rotten crowd: in all this verminous, predatory, bestial crowd there is not one airborne, flying creature. There are fish aplenty as well as the semi-aquatic rodent, Ernest Beaver and the tree dwelling Doctor Webster Civet , who despite his airy habitat “drowned last summer.” James B. (“Rot-Gut”) Ferret take his name from the domesticated earth-burrow dwelling carnivorous mammal. All three (beaver, civet, ferret) are noted for scent glands, genital or anal: in the wild, they pollute the air to mark territory; killed, they are used for perfume. The point is of course that Fitzgerald’s elemental imagery portrays Gatsby’s aspirations to transcend mortal bounds as an aspiration to fly. Daisy is associated with air, floating, fluttering, anchored like a balloon. Gatsby aspires to her airiness which lifts her among other things, ‘above the hot struggles of the poor.” (122) He is condemned, through Fitzgerald’s imagery to death by water: he is shot in a swimming pool, to be buried in “soggy ground” (142). The moment is foreshadowed at Nick’s tea-party reunion: Gatsby stands “in a puddle of water glaring tragically” (72). Fitzgerald’s rotten crowd is an earth-bound water-dwelling crowd and they drag Gatsby down to his watery death and earthy resting place. Their very names make the air he breathes stink.

This crowd perhaps constitutes the ‘funny fruits’ (103) of New York of a civilisation that has, in Spenglerian terms, (Oswald Spengler, The Decline of Civilization – the book Fitzgerald never recovered from when writing Gatsby) organically outgrown itself, lost touch with the nature that feeds it to produce the cities, and city folk, this ‘rotten crowd’ that are its fruit. And Fitzgerald’s judgement reveals Nick’s growth to moral understanding – he too will reject the wealth of the East, its money, machines and rottenness to nurture the reputation and aspirations of Jay Gatsby, seeking his flower, his Daisy Fay, who, in his imagination (according to Nick) represents the green breast of an earlier, rural America. For Nick, in Gatsby, found an incarnation of the Faustian legend (there was indeed a Faustina O’Brien –a diminutive and corrupt mini-Faust on that party-list (53)), of man’s desire to transcend the bounds of his mortality and the rottenness of his world.

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Rediscovered: the long-lost script that helped The Great Gatsby become a classic

F Scott Fitzgerald’s novel was a flop until a 1926 staging became a Broadway smash

It is the quintessential novel of the hedonistic jazz age, a roaring 20s story about the mysteriously wealthy Jay Gatsby and his love for the beautiful Daisy Buchanan. The Great Gatsby became an enduring classic , inspiring films and musicals, but received such mixed reviews in 1925 that its disappointed author, F Scott Fitzgerald, was all the more excited when it inspired a Broadway adaptation.

The 1926 dramatisation by Owen Davis, a Pulitzer prizewinner, opened to rave reviews and became a hit that contributed to the novel’s success, bringing Fitzgerald substantial royalties and fame.

But the original script had long since been lost. Now a copy has been rediscovered and will be published for the first time by Cambridge University Press – and it reveals that Davis took many liberties with Fitzgerald’s storyline.

Nick Carraway is no longer the narrator, new characters are invented, and Jay Gatsby’s past, which is revealed gradually throughout the novel, is presented all at once near the start. “Davis made some interesting changes,” said Anne Margaret Daniel, co-editor of the new publication. “He introduces some of the gangster characters who are in Gatsby’s underworld. He makes it very clear that Gatsby is in the business of organised crime, which is an apt reading of the book and, of course, it makes it more dramatic on stage.

“It’s a fascinating version of Gatsby. It absolutely captures the Jazz Age heat.”

The script had lain unnoticed for almost 100 years in a US archive. Daniel began searching for it after finding a fragment among Fitzgerald’s papers at Princeton University, along with unpublished production photographs. She eventually unearthed the complete script at Colorado State University, among papers from a study of Davis’s work that was never completed.

The script, which belonged to an actor in the Broadway staging, will be published for the first time on 25 April in the forthcoming book The Great Gatsby – The 1926 Broadway Script , edited by Daniel and James L W West III.

“It’s significant because this is the first time that The Great Gatsby was put on the Broadway stage, and thousands of people encountered the story for the first time,” said West.

“I would like to see it restaged – though The Great Gatsby is right now in the works as a Broadway musical and there’s also been an opera, a ballet and three movies at least.”

He added that, while Fitzgerald had been “protective” of the novel, he was excited by the staging, having seen an early draft and telling his agent in 1926 that it “put in my pocket seventeen or eighteen thousand without a stroke of work on my part”.

Fitzgerald had kept extensive material relating to Gatsby, and his archive at Princeton includes reviews of the novel and the Broadway production, sent to him by Max Perkins, his great editor at Scribner, and his agent, Harold Ober, as the writer was in Europe at the time.

Daniel said: “In his correspondence with Perkins, you can see that he was thrilled that it was being done. He was disappointed with the critical reception to Gatsby . He knew how good it was, but it got some stinky reviews. Some reviewers complained about the morality.”

In their introduction, she and West write that, if Fitzgerald had been allowed to attend rehearsals, “he would undoubtedly have been a pain in the neck”.

“In fact, anyone who reads the script today will probably react as Fitzgerald would have. The Great Gatsby has become a secular scripture, a verbal icon,” she said. “Many of us have read … the novel so often that we have it almost by heart. We should remember that, in 1926, The Great Gatsby was not yet a classic.”

• F Scott Fitzgerald
• The Observer
• The Great Gatsby

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