In the walk of life. aspiration is the way to success ; and continuity. the substance of ignition required to impel it. When harnessed with unmitigated preciseness. aspiration is a force which can alone indue one with the gems of life. However. if overmastered by aspiration. it is non but a mark of day of reckoning and devastation. ensuing finally in one’s premature death. In Scott Fitzgerald’s The Great Gatsby and William Shakespeare’s Macbeth. many similarities and differences may be exhibited in the characters of the several supporters – Gatsby and Macbeth – through the repeating subject of aspiration. Three polar aspects found in both plants of literature are – foremost – of the huge influence of a adult female upon the determinations of each supporter. the implicit in insecurity and exposure of character of the two work forces. and the presence of looming aspiration in both characters. The collusion of these three go oning subjects impels the supporters of the several plants to parlous highs. ensuing finally. in their inevitable death.
One point of expectedness found in both plants is the mode in which the lives of Gatsby and Macbeth are invariably toyed with – in one manner or another – by a adult female. In The Great Gatsby. Daisy Buchanan – Gatsby’s ageless love – becomes the exclusive motive for Gatsby to populate. Upon being rejected by her during his young person. he conscientiously reinvents himself as a civilized millionaire of high society in an effort to tribunal Daisy’s blessing. However. despite achieving an huge luck. he fails to model with the old blue aristocracies of America. thereby being rejected by Daisy yet once more. His judgement. hindered by his love for Daisy. fails to bespeak to him that Daisy is in fact a low and vulgar immature adult female who values wealth. societal privilege. and position far in front of the love he wishes to portion with her. Her love for Gatsby pickets in comparing to her love for the elite and affluent upper category of America.
Similarly. in Macbeth. Lady Macbeth’s meticulously planned out words of hocus-pocus and use finally compel Macbeth to kill Duncan in order to turn out his manfulness. To carry through her gambit of stirring Macbeth into slaying. Lady Macbeth twits Macbeth continually about his feminine cowardliness stating. “And. to be more than what you were. you would be so much more the adult male. ” ( I. 7. 50-51 ) Although she takes a back place in the latter scenes. her initial influence on Macbeth can non be undermined ; by converting Macbeth into perpetrating this first great offense. she introduces him to evil. subsequently driving him to perpetrate similar unreliable offenses. taking to his descent into savageness. and his eventual ruin. This similarity between the plants. nevertheless. coexists with a difference refering really much the same subject of treatment. That is. while a adult female plays a big function in both plants. in The Great Gatsby. Daisy does non portion a common vision with Gatsby of being one with him.
In fact. she treats his desires with neglect in that she rejects him because although he has expansive wealth. he is still socially inferior to Tom ; her standards for judging work forces is merely constitutional of two factors – wealth and societal position. Her character shows the decomposition of the American dream into a mere pursuit for wealth and she is a byproduct of the morally decadent. elect categories of America. Daisy’s moral decay and adamance is peculiarly apparent when she lets Gatsby take the incrimination for Myrtle’s decease ; alternatively of exposing duty. or possibly merely grasp for Gatsby’s admirable love. she decides it best for her lover to harbour the weight of her offenses while she makes it out clean. Contrarily. in Macbeth. Lady Macbeth and her hubby aspire for the same nonsubjective – obtaining the throne of Scotland. When they foremost run into in the drama. Lady Macbeth says. “Thy letters have transported me beyond this nescient nowadays. and I feel now the hereafter is in the blink of an eye. ” ( I. 5. 56-58 ) Unlike in The Great Gatsby. Macbeth and his Lady are bound together by a strong bond of love and as evident in the extract quoted. both wish to portion a common. charming hereafter.
Another similarity found in the plants of Scott Fitzgerald and William Shakespeare is that although the supporter of each several work appears to be self-confident and successful on the exterior. internally. he in fact exhibits a desperate failing and exposure of character. In the first work. Gatsby’s attainment of every possible worldly desire – but Daisy – leaves him with the feeling that despite holding everything. he has got nil. He continues to look. nevertheless. as a adult male of wealth. position. and privilege. His deluxe parties are host to the some of the wealthiest of America. and yet. they are nil more than an luxuriant theatrical presentation designed to portray a perceptual experience. Nick right points out that Gatsby himself is merely “a mere perceiver of his ain parties. ” While the invitees use an outward show of luxury to conceal their interior corruptness and moral decay. Gatsby uses his parties in such a manner as to wipe out his hapless yesteryear and set up his wealth and position in the eyes of others. specifically Daisy. His stunningly fantastic parties are non but a tool designed to coerce an feeling of his wealth and high quality in the eyes of his womb-to-tomb love Daisy.
Through Gatsby’s munificent parties and outward show of luxury. it is apparent that he feels insecure and discerning about his underprivileged yesteryear and attempts invariably to curtain it with his current wealth. Similarly. in Shakespeare’s work. Macbeth’s attainment of kingship should function to set his “vaulting ambition” at peace. Nonetheless. the guilt of his evil actions starts to attest itself in the signifiers of horrid incubuss and apparitional hallucinations. He can non happen peace and fulfilment anyplace and in fact enviousnesss Duncan. for he faced decease one time and for all. after which his psyche ascended to a topographic point of peace and harmoniousness. Macbeth. clarifying on his ain psychological unwellness says. “Oh. full of Scorpios is my head. beloved married woman! ” ( III. 2. 39 ) He has come to acknowledge that nature’s justness is impartial and the requital of his oppressive actions will return to torment him. Paralleling this realisation is besides one of the demand to veil his illness of head from the Godheads and Lords of the state so as to avoid eliciting intuition.
Through the actions and ideas of Gatsby and Macbeth. it can be deciphered that both. although holding attained an tremendous sum of stature and success. are insecure. fearful. and ill at head about the implicit in truths which torture their existences. In contrasting their similarity. one will detect that while Gatsby oppresses and veils his true feelings by excepting himself from his ain parties. Macbeth intends to make the same by playing a welcoming and good-time host to the Godheads and Lords of Scotland. Whereas Gatsby isolates his emotions from the universe. Macbeth tries an outward show of felicity and joy to get the better of the fright of the expounding of his truth. As Macbeth starts to steal into choler and concern in the presence of invitees. Lady Macbeth reminds him. “My royal Godhead. you do non give the cheer. ” ( III. 4. 34 ) Because Gatsby and Macbeth are weighed down so to a great extent by their failing and insecurity of head. both work boringly in making semblances to conceal themselves from those around them. Their efforts. nevertheless. are in vena and merely function to elicit more intuition.
The last and critical common trait embossed in the characters of Gatsby and Macbeth is the willingness of both to indulge in actions of wrongfulness to carry through their aspirations. They do non go forth any rock unturned in their battle to achieve the object of their desires. Gatsby is so patient and perseverant in edging his manner into Daisy’s life that he is meriting of being called the regular prototype of sangfroid. Although he does indulge in bootlegging to achieve his luck. he is notably admirable for the mode in which he plans out everything to the last small spot. and extraneously perfects all seeable defects so as to go forth Daisy no room for disapproval. Similarly. Macbeth becomes the slave of his aspiration as he tyrannously slayings many guiltless. vulnerable. and defenceless people to render it certain that nil may convey his ruin and no 1 may forestall him from set uping a dynasty.
Gatsby and Macbeth are otiose in trying to carve out their destinies against the will of fate ; nevertheless. there is contrast between the two in that where as Gatsby pursues his aspiration by indulging in illegal corporate offense. Macbeth strips the basic human rights of guiltless existences and imposes subjugation and dictatorship on an full state merely to fulfill his aspiration. To guarantee that no force might oppose him. he cruelly plans the slaying of Macduff’s household: “Then live. Macduff. What need I fear of thee? But yet I’ll make confidence dual sure. And take a bond of destiny. Thou shalt non unrecorded. ” ( IV. 1. 85-87 ) Contrastingly though. Gatsby commits no such actions which may do injury to guiltless people. However. the two supporters display an inerrable desire for the completion and fulfilment of their aspiration and travel to reeling highs to get the hang their dreams.
Success in life is finally achieved through harnessed aspiration driven by hardy doggedness and committedness. In Scott Fitzgerald’s The Great Gatsby and William Shakespeare’s Macbeth. a scope of similarities and differences are found in the characters of Gatsby and Macbeth through the common subject of aspiration. Both plants of literature usage a adult female who drives the actions and determinations of the supporter. both reveal the supporter as an seemingly successful individual but an internally insecure and weak being. and both besides display a combustion passion in the supporter to lay eyes on his dream and suppress all that stands between him and it. These repeating subjects finally possess the lives of Gatsby and Macbeth. finally ensuing in their tragic death.