Answer: B
Explanation:
When I write a story, I want an emotion. If anything, I want to hurt my readers. I write such tales with "heroic" characters that I end up showing their backstory out of order.
I start from the prettiest and shiniest parts of his story, to finally, the beginning where it shows his roughest and grittiest side. With this idea, I give the impression of a good man, but when I show his gritty and bad side, it will probably make the reader feel betrayed. Like they thought they knew him but they really didn't
Now, if I were to show his backstory in order, we get a generally normal reaction. A man commiting crime turns good and starts fighting crime.
<u>Answer</u>:
Gatsby's attitude toward the forward march of time is that he rejects it, fully believing that it is possible to re-capture the past.
So, the right option is Option D.
<u>Explanation</u>:
In F. Scott Fitzgerald’s “The Great Gatsby,” Gatsby is under the wrong impression that he can manipulate time. This is clear when Nick who thinks that times progression can be reversed tries to make him understand but he rejects it as he believes in the scenario that existed between him and Daisy five years before when he had left for war.
Jay Gatz always dreamt of reuniting with Daisy Fay of Louisville, Kentucky. That’s the reason why he wove a lie of being a wealthy person. He purchased a mansion in West Egg to gaze at the green light at the end of Daisy Buchanan's pier. He throws lavish parties hoping that Daisy Buchanan would show up.
After five years he gets the opportunity to meet his former girlfriend through Nick Carraway at his cottage but nervousness takes him over. He accidentally knocks a clock off the mantle, catches it "with trembling fingers" and replaces it. He puts in all his effort to get Daisy back but all the portrayal of wealth doesn’t erase Jay Gatsby’s fear of time and the thought of not being able to recapture the past. His fruitless actions to regain what young Daisy once was for him comes to a crashing end like that of all tragic heroes.
The topic—"Literary devices in American poetry"—would be a weak topic because such a topic is extremely vague and not specific enough.
American poetry uses many, MANY literary devices—and many of which are not unique to American poetry alone. Also, "American poetry" in general is too broad of topic.
