On The Tragic Sense of Love

in仇e Novels of F. Sco耽Fitzgerald

―chieflyin the Case of The Last Tycoon

　　　　by

Seiwa FUJITANI

　　　　　　　　　　　　　　　　　　I　On the Deterioration

　　Fitzgerald has been illustrating tragedies in which love causes　heroes' deterioration.

Though T he Last Tycoon is an uncompleted　novel, his philosophy　on　life in this novel

can be clearly seen. His letter to his daughter indicates us his determination　to　write

　　　　　　　　　　　Dhis philosophy on life:

　　　　Anyhow l am alive again－getting by that October did something　with allits strains and

　　necessitiesand humiliations and struggles.l don't drink. l am not a great man but sometimes l

　　think the impersonal and objective quality of my talent and the sacrifices of it, in pieces, to

　　preserve its essentialvalue has some sort of epic grandeur.

　　Λs the setting of The Last Tycoon Fitzgerald uses Hollywood in which the protagonist

Monroe Stahr　lives and works. The fact gives us some significance　in reading this story

since the American dream is one of his themes. Gatsby and Diver have been trying to

rea】ize the American dream but Stahr is manufacturing the dreams or illusions.

　　Hollywood is an empire that Stahr has created and he gives unity to the movies

that he produces. Stahr is a leader who thinks a writer's“brains belonged to me－because

　　　　　　　　　　　　　2)l know how to use them." Stahr is a pioneer of a new　frontier America's last－Hollywood,

California. In the first episode of "The plane," we can find Stahr sitting with　the pilot

and identifing　himself with　the　pilot. Cecilia Brady who is in the movie world sees

Stahr through her worshipping eyes :

　　　　He had flown up very high to see, on strong wings, when he was young. And while he was

　　up there he had looked on allthe kingdoms, with the kind of eyes that can stare straight into

　　the sun。　Beatinghis wings tenaciously－finallyfrantically－andkeeping on beating them. he had

　　stayed up there longer than most of us, and then. remembering all he had seen　from his great

　　height of how things were, he had settledgradually to earth(p.20).

Stahr is contemplating Los Angels，from the sky. with the eyes “that can stare straight

into the sun." In other words. Stahr as Icarus is flying with his man一made wings. The

landing of　Stahr's plane at Hollywood is symbolic of the beginning　of　Stahr's tragedy.

　　In The Great Gatsby　the tragedy of Gatsby lies in his failure in pursuing Daisy. The

unsatisfactory love affair forms the core of The Great Gatsby. In Stahr's haunting search

65

On the Tragic Sense of Love in the Novels of F. Scott Fitzgerald

for the woman who resembles his dead　wife, Stahr　resembles Gatsby. But unlike The

Great Gats by and Tende･r Is the Night, this novel　does　not deal　with the　protagonist's

deterioration through the love affair with the heroine.

　　Stahr is no longer the one who idealizes the woman　he loves. Unlike Gatsby, Stahr

does not idealize Kathleen. Gatsby finds his　dream realized in Daisy whose “voice is

full of money." But it is his dream that leads him to his deterioration. “Warren money"

buys Diver for Nicole. As a result. Diver is spoiled by the "sweet poison" under the

name of love. Gatsby and Diver idealize the American dream too much　to　the　degi-ee

where they can not have their identity and self in the real life.

　　Fitzgerald illustrates Stahr as the movie tycoon in Hollywood. Stahr is“the king," "the

helmsman," "the oracle." For the first time, Fitzgerald uses business world to　illustrate

this movie tycoon. Henry Dan Piper quotes Professor E. E. Cassady as saying that “the

businessman has never been presented in our literature as 'a large-minded　generous,

　　　　　　　　　　　　　　　　　3)disinterested, heroic character.'" Fitzgerald's conception of Stahr as the movie tycoon is

crystallized in the following paragraph :

　　　　He spoke and waved back as the people streamed by in the darkness, looking, l suppose, a

　　littlelike the Emperor and the Old Guard. There is no world so but it has itsheroes. and Stahr

　　was the hero.　Most of these men had been here a long time－through the beginnings and the

　　great upset. when sound came, and the three years of depression, he had seen that　no harm

　　came to them. The old loyaltieswere trembling now, there were clay feet everywhere ； but still

　　he was their man, the last of princes.　And their greeting was a sort of low cheer as they went

　　by （p. 27）.

　　Untill　Fitzgerald　wrote The　Last Tycoon, he　had　been　dealing with　the tragic

ambiguities imbedded in ordinary, everyday American　bourgeois　eχperience.　　Gatsby

and Diver are destroyed in a dilemma between　their　moral　values　and the American

dream symbolized by money. Unlike Gatsby and Diver, Stahr is n0　longer the　genteel

romantic hero.　There is no need for him to seek for dreams.　To the contrary, he makes

dream for people :

　　　　Our condition is that we have to take people’sown favoritefolkloreand dress it up and give

　　it back to them. Anything beyond that is sugar. So won't you give us some sugar, Mr. Boχley?"

　　（p.105）

To Stahr movies seem the power which makes the dreams　America dream. In Stahr's

projection room, “Dreams hung in fragments at the far end of the room, suffered analy-

sis, passed－to be dreamed in crowds, or else discarded" （p， 56）.

　　Then what is Stahr's tragedy? Kathleen is not the direct cause of his tragedyバn

The Great Gats by, Gatsby is betrayed by Daisy. In Tender Is the Night, Diver is spoiled

by Nicole. In this novel, it is Stahr who does not accept Kathleen. The women　Gatsby

and Diver love are the grace. the class, the wealth. Daisy and Nicole are identified as an

embodiment of innocence or of corruption by Gatsby and Diver. However　Fitzgerald's

　　　　　　　　　　　　　　　　　　　　　　　－66 －

Seiwa FuJlTANI

comments about Kathleen in his preliminary notes quoted by Piper says :“Stahr, for

instance, was to have thrown her over　because she was 'poor, unfortunate and tagged with

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　≪a middle-class eχterior, which doesn't fitin with the grandeur Stahr demands of life.'"

There is no need for Stahr to pursue the American dream, the wealth and the class. He

has acquired it in Hollywood which is a new world on the　far frontier, a“mining town

in lotus land" （p. 11）. The American dream pursued by people from Long Island seems

to have arrived at Hollywood.

　　　　　　　　　　　　　　　　II　On the Setting- of Hollywood

　　When we consider his choice of Hollywood for the setting of this novel, Fitzgerald

succeeded in making the best use of it. He knew the effect of it. He had worked　as a

script writer in Hollywood before writing this novel and found the artistic impulse was

blighted and frustrated by an industrial organization. For a creative artist it is unbearable

to face a dilemma every day. One has to make a compromise to live in a social life.

　　In　this　sense, unlike　Gatsby and Diver, Stahr　is not an idealist but　a rationalist.

Hollywood　is a　world　of rationalists. It compels everybody to become a machine. Men

like Schwartz can not live in Hollywood which has an equivocal milieu. He goes to the

Hermitage　Home of Andrew Jackson, to get“nourishment." But Cecilia who is“of the

movies but not in them" does not show any interests in the Hermitage. This episode

gives us an ironical conception of Hollywood.

　　In The Great Gats by and Tender Is the Nighi, to the people. the party is the place where

their significant time is spent.　What is the people? The bourgeoisie. In this novel the

party does not give any significance to the people. It is the work or the usual social life

that gives the meaning of life to the people in Hollywood. Fitzgerald says in his letter

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　5）to Maxwell Perkins that this novel is“distinctly not about Hollywood."　On this point

Michael Millgate makes interesting comments :“Many of Fitzgerald's difficulties derived

from the fact that he was, in effect, writing two novels in one ； a 'psychological' novel

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　6）about Monroe Stahr　and a 'social' novel about Hollywoodグ　Fitzgerald intended to write

a“psychological" novel within the social framework of Hollywood. With Stahr's tragedy.

he tried to describe a philosophical way of living. In its scope, T he Last Tycoon resembles

Tender Is the Night more than The Great Gatsby. The great difference　is that the pro-

tagonist no longer blames the　bourgeoisie　for their carelessness　or the corruption of

moral. It is Slahr who is to blame. But his tragedy has the social and the psychological

framework.

　　Here l would like to quote Fitzgerald's letter to his daughter to illustratehis idea on life.;

　　　　〇nee one is caught up into the material world, not one person in ten thousand finds the time

　　to form literarytaste,to examine the validityof philosophic concepts for himself or to form what,

　　for lack of a better phrase, l might call the wise and tragic sense of life.

　　　　By this l mean the thing that lies behind all great careers, from Shakespeare's to iVbraham

　　Lincoln's and as far back as there are books to read一the sense that lifeis essentiallya cheat

－67－

On the Tragic Sense of Love in the Novels of F. Scott Fitzgerald

and its conditions are those of defeat,and that the redeeming things are not "happiness and

pleasure" but the deeper satisfactionsthat come out of the struggle. Having learned this in

theory from thelives and conclusions of great men, you can get a hell of a lot more enjoymentn

out of whatever bright things come your way.

Fitzgerald intended to describe "the wise and tragic sense of life" in The Last Tycoon

by illustrating the people working in Hollywood. Man tend to seek the "happiness and

pleasure." But what is the "happiness and pleasure?" What do Gatsby and Diver get as a

result? Do they have "the deeper satisfactions that come out of the struggle?" What they

get are disappointment and their own deterioration. In comparison with The Great

Gatsby and Tender Is the Night, Fitzgerald's intention about the theme of The Last

Tycoon is obviously different: "Unlike Tender Is the Night, it is not the story of deterio-8)

ration―it is not depressing and not morbid in spite of the tragic ending."

When we consider the meaning of "social" in terms of Fitzgerald's conception about

reality,it is clear that Hollywood is the best setting. In the world of Hollywood the

movies are reality.It is the world of illusion, where the place is a set, its people extras,

its life interchangeable. The tragedy of its human beings is that they take the fact for

granted. Here lies the tragedy of the American dream. They only regard the surface of

"happiness and pleasure" and do not try to see the world which lies under them. What

are the "happiness and pleasure?" What is the motivation that makes the human being

seek for them? Hollywood represents our modern world very well in this regard.

In a social sense, work has been love for Stahr. Meshed in an organization of Holly-

wood, Stahr's emotion is lost. But he is "the oracle" : "There was nothing to question or

argue. Stahr must be right always, not most of the time, but always―or the structure

would melt down like gradual butter" (p. 56). In this sense, Stahr differs from Gatsby

and Diver who envy the rich. He does not seek for the American dream. Living in the

American dream, in Hollywood, he is manufacturing dreams. Hollywood's atmosphere is

just like that of Gatsby's party. It is brilliant and dazzling. But after Gatsby's death, his

mansion seems to Nick to be "the night scene by El Greco." Nick comes back to the

9)Middle West from the East where "foul dust floated in the wake of his dreams." Nick

seems to withdraw from "the night scene by El Greco" but it stillexists in the Middle

West and even in the West. On this point Stahr's flight from the East to the West is

symbolical. For Stahr "foul dust" is his "nourishment." Unlike Gatsby and Diver, Stahr

does not need any emotional feeling. Nor does he want everybody to have moral be-

cause he is moral in Hollywood. Making movies or manufacturing dreams is his moral.

Ill On the Use of Heroine

Daisy's betrayal of Gatsby tellsNick "what a grotesque thing a rose is and how raw

the sunlight was." But in this novel, Stahr learns the emotional feeling through the love

for Kathleen.

― 68 ―

Seiwa FuJlTANI

　　　　“He has an overwhelming urge toward the girl,who promises to give life back to him一

　　though he has no idea yet of marriage－she is the heart of hope and freshness.‥.　This girlhad

　　a life－itwas very seldom he met anyone whose life did not depend in some way on him or hope

　　to depend on him" （p. 151-2）.

To Stahr who is“the king" Kathleen seems　to be fresh because　she　is　the　person

“whose life did not depend in some way on him." Kathleen's freshness is that she does

not belong to the movie world. She gives Stahr a completely different point of view on life

enabling him to turn his eyes from the world of“foul dust."　On this point, Fitzgerald's

use of heroine is absolutely different from that of Daisy and Nicole who　symbolize　the

American dream leading Gatsby and Diver into their deterioration. In　the West　at

Holtywood, the protagonist Stahr has at last acquired the American dream. In　this novel

it is also the heroine, Kathleen, who, though　indirectlyバeads Stahr to his deterioration.

Great difference is while Daisy and Nicole show Gatsby and Diver “a grotesque thing,"

Kathleen　shows　Stahr　the world　outside　the　movie　world　which　has　an　equivocal

milieu.

　　Fitzgerald has found another point of view on the dealing with the tragedy. as shown

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　11)in his observation in The Crack- Up, which clearly tells his idea on the tragedy :

　　　　Fiftyyears ago we Americans substituted melodrama for tragedy, violence for dignity under

　　suffering.That became a quality that only women were supposed to eχhibitin life or fiction－so

　　much so that there are few novels or biographies in which the American male, tangled in an

　　irreconcilableseries of contradictions,is considered as anything but an unresourceful and cowardly

　　weakwad.

In Fitzgerald's novels, it is heroes who are involved in tragedy, while heroines play a role

of leading heroes to their deterioration. In wi'iting this novel, Fitzgerald described in his

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　12)Note that Stahr was “essentially more of a man's man than a ladies' man."　Stahr likes

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　13）combat: “he was Napoleonic and actually liked combat."　In comparison with Gatsby

and Diver, Stahr is charactei"ized by his masculine philosophy of living. He is a “man's

man."

　　Now what does Fitzgerald intend to connote by “a man" and “a lady?" As we see in

Daisy，Nicole, and Kathleen， Fitzgerald implies that a“lady" symbolizes a human　being's

inner weakness. By “a man" he implies society. Whether one is　a man or a woman,

everybody has both a“lady" and “a man" in his mind. In other words. a human being

has a dichotomy between a rationalistic mind which society requires of a man　and　an

idealistic mind which gives human beings an emotional mind. In this　emotional mind

we find much possibility to make an idea'ist a defeatist in the society which is rationalistic

by nature. Therefore Gatsby and Diver are rather “a ladies's man" than “a man's man."

　　Fitzgerald　tries　to　illustrate　vanitv　of the　American dream　with　a　tragedy of“a

ladies's man" in The Great Gats by and Tender Is the N縦■ht. He does not seem to sue-

ceed in writing a tragedj' in them since　they some what　lack an　ordinary　society's

framework. Tragedy occurs not only to an idealist but to a rationalistlike Stahr. By em-

－69－

On the Tragic Sense of Love in the Novels of F. Scott Fitzgerald

phasizing the society'sframework. Fitzgerald shows us the hero's tragedy :“Show me a

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　14)hero, and l will write you a tragedy "

　　　　　　　　　　　　IV　On the Money Man's Escape into the Past

　　Stahr's illusionis to redeem the past by loving Kathleen who resembles his dead wife.

Stahr is very similar to Gatsby in terms of repeating the past. 0n this point Fitzgerald's use

of the episode of Prince Agge is very effective. Prince Agge has been admiring Lincoln

so much that he has been eχpecting to find something attractive in the actor who plays

the role of Lincoln. But he only finds a disappointment and vanity when he sees the

actor Lincoln “raised a triangle of pie and jammed it in his mouth" (p. 49). This epi-

sode is very interesting to know Fitzgerald's sense of the past. This actor really plays the

part of Lincoln, but he is not real Lincoln who Prince Agge has been admiring. It is in

his disappointment and vanity that we can know Fitzgerald's sense of the past. Prince Agge

knows very well that the actor Lincoln is completely different from real Lincoln. But his

conception is limited to the level of his knowledge. So when　he　really　sees　the　gap

between them his shock is great. His mistake is to identify the actor with Lincoln himself.

In other words, he　tries　to confuse the　past with the present : to identify an illusion

with a reality. Bj' this episode, Stahr's mistake to identify Kathleen with his dead wife

is effectively foreshadowed.

　　This is the only eχception in Fitzgerald's works in which we see　“the money men

the rulers"' (p. 45)defeated. Stahr is one of“the money men," but he is different from

Brady. Fitzgerald illustrates Brady as the natural opponent of Stahr。 Brady is the typical.

mean merchant while Stahr is a creative artist who tries to make even "a picture that'll

lose some money" (P,48う.Fitzgerald's use of Brady is effective in dividing the world of

“the money men" into two poles. One is the world of the mean merchant, the other the

world of the creative artist.Tom in The Great Gatsby and Tommy in Tender Is the Night

are　also the people who belong to the world of the mean merchant. They are　careless

people who do not need to repeat the past because their past is full of the “foul dust."

The past has no meaning for the merchant. In this sense. it is significant that Fitzgerald

defined this novel as“an escape into a lavish　romantic past that perhaps will not come

　　　　　　　　　　　　　15)again into our time."　Though money has been one of Fitzgerald's main　themes, the

money man's escape into the past is the first of its kind in Fitzgerald's works･

　　Fitzgerald's sense of the past is another source of his tragic vision. But in this novel.

Fitzgerald successfully shows us the tragic sense of love that tells us the vanitj' of the

American dream : the vanity of an effort to repeat the past. Stahr's love　to　Kathleen is

used to give us an ironical point　of view　to　the　brilliant　world　of the　money men.

Fitzgerald has been interested in illustrating the world of the rich. However his intention

to write these novels with money theme is not his jealousy　to the　rich. 0n this point.

　　　　　　　　　　　　　　　　　　16)Piper's comment is interesting :

－70－

Seiwa FuJlTANI

　It is a mistake to say―as many stilldo－that Fitzgerald was a spokesman for the very rich.

He was Interested in the rich only in their relationshipto the middle class,and he wrote about

them invariably from a middle-class point of view. If his writings are　preoccupied with money,

this is because money is a preoccupation of the middle　class. People with inherited wealth

usuallyinterestthemselves in other things.

　　　　　　　　　　　　　V　On the Tragic and Wise Sense of Love

　　Then what does Fitzgerald imply by love? In his novels heroes are attracted by heroines

and come to love them. But when we analyze the love in these three novels, we can

know a different kind of love in The Last Tycoon in comparison with che other two novels.

What Gatsby and Diver love is not the personality but the class or the wealth. And by

making their sincere love betrayed by careless people like Daisy and Nicole, Fitzgerald

succeeds in emphasizing the corruption of moral which deteriorates idealists in the society.

Here lies a surrender of love to the forces of an organized society. Love which has

the idealistic and creative impulse has no values or virtue in the society of the bour-

geoisie. By illustrating the world where love has no　value, Fitzgerald gives an ironical

touch to the heroes' wish to achieve the American dream. The tragedy of Gatsby and Diver

is that they mistake the meaning of love. To them “love" means to get : to get Daisy or

Nicole－the money. Even in love which is considered as sacred, we find“foul dust" in

The Great Gatsby and Tender Is the Night. However in The Last Tycoon, Fitzgerald illus-

trates the love which abandons illusion by showing us the movie tycoon's love to a“poor

and unfortunate" girl.

　　Fitzgerald has found another world where the tragic sense of love tells everybody the

essence of life. He has been illustrating love which causes heroes' tragedy. But in this

novel　he shows us another kind of love : the tragic and wise sense of love. Stahr no

longer has the preoccupation with money。 His motivation to love Kathleen is not money

but to repeat the past。 Like Gatsby， Stahr learns its impossibility. However, Stahr's love－

the　tragic sense of love－has another meaning　in　abandoning　an　illusion　under　the

equivocal milieu of the American dream.

　　Stahr's love to Kathleen is symbolical ill terms of showing us Fitzgerald's ironical

point of view to the American dream. Hollywood seems to　be　able　to　repeat the past

again. Under that milieu, Stahr's intention seems to　be　possible. Their love affair is

　　　　　　　　　　　　　　　　　　　　　　　　17)“immediate, dynamic.　unusual, physical"　according to the　Note, in comparison with

that in The Great Gats by and Tender Is the Night. The act of love is accomplished in

the skeletal house which is like a movie set. Unlike the love of Gatsby or Diver, we

do not find any dreamバuture，and envy in their love. We only find vanity in the brilliant

atmosphere of Hollywood where the American dream seems t0 lie as its last destination.

And in Stahr's vanit}' we find his power as a“leader" is deprived. Because of his love to

Kathleen，Stahr lets himself be taken “off guard" for the first time. We can　also see

－71 －

On the Tragic Sense of Love in the Novels of F. Scott Fitzgerald

Stahr at his worst,“white and nervous and troubled" (p. 118)／so transparent that you

could almost watch the alcohol mingle with the poison of his eχhaustion" (p. 126).

　　Stahr is a“frail half-sick person" (p. 127)when deprived of his power. However he is

also a man willing to commit murder to preserve his rank within the industry. Whether it

is good or bad. Stahr's real figure which shows us man's ambition to live is seen. Fitzgerald

　　　　　　　　　　　　　　　　　18)wrote in one of his many notes :

　　　“‥. I want to show that Stahr left certain harm behind him just as he left good behind him.

　　That some of his reactionary creations such as the Screen Playwrights existedlong afterhis death

　　just as so much of his valuable work survived him."

　　Stahr's death by the air plane crash symbolically illustrates the end of the American

dream which makes him instrumental in his own ruin: “You couldn't persuade a man

like Stahr to stop and lie down and look at the sky for siχ months. He would much

rather die. He said differently　but what it added up to was the　definite urge toward

total exhaustion that he had run into before" (p. 108). Stahr becomes like a machine.

With Stahr's way of living， Fitzgerald refers to the tragic sense　of love t0 lead the

rationalist Stahr to an idealist.

　　In this novel Fitzgerald shows us a kind of moral awareness that is commonly seen

among Jay Gatsby and Dick Diver. Gatsby and Diver show their moral awareness　from

a point of view of an idealist while Stahr from a rationalist'spoint of view. Icarus Stahr

flies to the sun "vvith the kind of eyes that can stare straight into the sun" (p. 20)，but

falls to the earth at last. It is interesting that Fitzgerald symbolizes man's love as Icarian

desire to fly toward the sun. Like Icarian wings丿ove gives man a motivation to realize

the illusion. Though we know what will happen, we repeat flying. This is the tragic sense

of love of man.

　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　19)　　Fitzgerald's letter to his daughter shows us his idea on man's destiny to tragedy :

　　　l can't give you the particularview of life that l have (which as you know is a tragic one),

　　without dulling your enthusiasm. A whole lot of people have found life a lot of fun。I have not

　　found it so. But, l had a hell of a lot of fun when l was in my twenties and thirties；and l feel

　　that it is your dutv to accept the sadness, the tragedy of the world we live in. with a certain

　　esprit.

Beginning with The Great Gats by, tragedy caused by the American dream has been one

of the themes of Fitzgerald's stories. However Stahr's story does not end with his trage-

dy. In his conscious mind Stahr can not cut off his tragic sense of love. The fact is the

man's destiny. Whether or not man can abandon his illusion and go into real life depends

on his philosophy “to accept the sadness, the tragedy of the world we live in with a

certain esprit."In this sense Stahr's tragic sense of love gives us a significant esprit to life.

一 一 72

Seiwa FUJITANI

Notes

1. F. Scott Fitzgerald,The Crack-Up, ed. Edmund Wilson (New York: A New Directions Paper-

　book, 1945), p. 291.

2.　F. Scott Fitzgerald,The Last Tycoon, ed. Edmund Wilson,(New York : Charles Scribner's Sons,

　1969), p. 125. All further references to this teχtare indicated by parentheses.

3.　Henry Dan Piper, F.Scott Fitzgerald: A CriticalPortrait(London : The Bodley Head, 1965),

　p. 271.

4. Ibid., p. 282.

5.　F. Scott Fitzgerald,The Lettersof F.Scott Fitzgerald,ed. Andrew Turnbull (New York : Charles

　Scribner's Sons, 1963), p. 285･

6.　Michael Millgate,“The Last Tycoon," F. Scott Fitzgerald: a collectionof criticism,ed.Kenneth

　E. Eble (New York : McGraw-Hill, 1973), p. 127.

7. The Crack-Up, p. 306.

8.　F. Scott Fitzgerald,Notes to The Last Tycoon, in The Last Tycoon, ed. Edmund Wilson (New

　York : Charles Scribner's Sons, 1969), p. 141.

　9.　F.Scott Fitzgerald,The Great Gatsby (New York : Charles Scribner's Sons, 1953), p。2.

10. Ibid., p. 162.

11. The Crack-Up, p. 208.

12. Notes to The Last Tycoon, p. 147.

13. Ibid.

14.　The Crack-Up, p. 122.

15. Notes to The Last Tycoon, p. 141.

16. Piper, F. Scott Fitzgerald, p. 292.

17. Notes to The Last Tycoon, p. 139.

18. Ibid., p. 150.

19. The letters,p. 12.

　　　　　　　　　　　　　　　　　　　　　　　Bibliography

Callahan F. John. The Illusions of A Nation: Myth and historyin the novelsof F. Scott Fitzgerald.

　　Urbana:　University of IllinoisPress, 1972.

Eble, E. Kenneth. F. Scott Fitzgerald: a collectionof criticism,ed. Kenneth E. Eble. New York:

　　McGraw-Hill, Inc., 1973.

Fitzgerald,F. Scott. The Great Gatsby. New York : Charles Scribner's Sons, 1953.

Fitzgerald,F. Scott. The Last Tycoon, ed. Edmund Wilson. New York : Charles Scribner'sSons, 1969.

Fitzgerald,F. Scott. The Crack-Up, ed. Edmund Wilson. New York: New Directions, 1945.

Fitzgerald,F. Scott. Tender Is the Night: With the Author's Final Revisions, ed. Malcolm Cowley.

　　New York : Charles Scribner's Sons, 1951,

Fitzgerald,F. Scott. The Letters of I'＼‥ScottFitzgerald, ed. Andrew Turnbull. New York : Charles

　　Scribner's Sons, 1963.

Miller, E. James Jr. F. Scott Fitzgerald: His Art and His Tecli，吻lie.New York : New York Univer-

　　sityPress, 1967.

Perosa, Sergio. The Art of F. Scott Fitzgerald, translated.Charles Matz and the author. Michigan;

　　The University of Michigan Press, 1965.

Piper, Dan Henry. F. Scott Fitzgerald: A CriticalPortrait. London : The Bodley Head, 1965.

Sklar, Robert. F. SCOTT FITZGERΛLD : The Last Laoc弱n. New York:Oxford University Press,

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