A dead man passed us in a hearse heaped with blooms, followed by two carriages with drawn blinds and by more cheerful carriages for friends. The friends looked out at us with the tragic eyes and short upper lips of south-eastern Europe, and I was glad that the sight of Gatsby's splendid car was included in their somber holiday. As we crossed Blackwell's Island a limousine passed us, driven by a white chauffeur, in which sat three modish Negroes, two bucks and a girl. I laughed aloud as the yolks of their eyeballs rolled toward us in haughty rivalry.
"Anything can happen now that we've slid over this bridge," I thought; "anything at all. . . ."
Even Gatsby could happen, without any particular wonder. (4.56-58)
In a novel so concerned with fitting in, with rising through social ranks, and with having the correct origins, it's always interesting to see where those who fall outside this ranking system are mentioned. Just he earlier described loving the anonymity of Manhattan, here Nick finds himself enjoying a similar melting-pot quality as he sees an indistinctly ethnic funeral procession ("south-eastern Europe" most likely means the people are Greek) and a car with both black and white people in it.
What is now racist terminology is here used pejoratively, but not necessarily with the same kind of blind hatred that Tom demonstrates. Instead, Nick can see that within the black community there are also social ranks and delineations – he distinguishes between the way the five black men in the car are dressed, and notes that they feel ready to challenge him and Gatsby in some car-related way. Do they want to race? To compare clothing? It's unclear, but it adds to the sense of possibility that the drive to Manhattan always represents in the book.
"Meyer Wolfshiem? No, he's a gambler." Gatsby hesitated, then added coolly: "He's the man who fixed the World's Series back in 1919."
"Fixed the World's Series?" I repeated.
The idea staggered me. I remembered of course that the World's Series had been fixed in 1919 but if I had thought of it at all I would have thought of it as a thing that merely happened, the end of some inevitable chain. It never occurred to me that one man could start to play with the faith of fifty million people--with the single-mindedness of a burglar blowing a safe.
"How did he happen to do that?" I asked after a minute.
"He just saw the opportunity."
"Why isn't he in jail?"
"They can't get him, old sport. He's a smart man."
(4.113-119)
Nick's amazement at the idea of one man being behind an enormous event like the fixed World Series is telling. For one thing, the powerful gangster as a prototype of pulling-himself-up-by-his-bootstraps, self-starting man, which the American Dream holds up as a paragon of achievement, mocks this individualist ideal. It also connects Gatsby to the world of crime, swindling, and the underhanded methods necessary to effect enormous change. In a smaller, less criminal way, watching Wolfshiem maneuver has clearly rubbed off on Gatsby and his convolutedly large-scale scheme to get Daisy's attention by buying an enormous mansion nearby.
Suddenly I wasn't thinking of Daisy and Gatsby any more but of this clean, hard, limited person who dealt in universal skepticism and who leaned back jauntily just within the circle of my arm. A phrase began to beat in my ears with a sort of heady excitement: "There are only the pursued, the pursuing, the busy and the tired." (4.164)
Nick thinks this about Jordan while they are kissing. Two things to ponder:
Which one does he think he is: the pursued or the pursuing? The busy or the tired? Perhaps we are meant to match these adjectives up to the two people involved in the main love story, in which case Gatsby is both the pursuing and the busy, while Daisy is the pursued and the tired. If Tom, Daisy, and Gatsby are locked into a romantic triangle (or square, if we include Myrtle), then Jordan and Nick are vying for the position of narrator. Nick presents himself as the objective, nonjudgmental observer – the confidant of everyone he meets. So it's interesting that here we get his perspective on Jordan's narrative style – "universal skepticism" – right after she gets to take over telling the story for a huge chunk of the chapter. Which is the better approach, we are being asked, the overly credulous or the jaded and disbelieving? Are we more likely to believe Jordan when she says something positive about someone since she is so quick to find fault? For example, it seems important that she be the one to state that Daisy hasn't had any affairs, not Nick.
I believe that the answer you are looking for would be B. Here are some reasons why I think so:
1. <span>The twins represent the two ways of the world which are in all people. This is meaning that it is going directly with choice B, and they compare them
2. </span><span>The right-handed twin became angry and resentful. He was the truthful twin who always did the right thing. The left-handed twin was deceitful and did everything backward. You could never trust him. In this little bunch of sentences right here, It's doing exactly what B says, it's comparing the two sides of human nature.
I hope that this could help you and have a great day! If you need more help you can send me a DM! </span>
F) She's a spend thrift, he's a penny pincher, he understands though because it's in her DNA, her dad is the same way.
2. After the New Year, Helmer was to be promoted to Manager of the bank he was working at. This means that there will be more money coming in.
3. Mrs. Linde is an old friend of Nora. She has come to look for a job after the death of her husband and mother.
Explanation:
Henrik Ibsen's play "A Doll's House" shows the family life of the Helmers and how money seemed to play an important role not only in the house but also in the society.The couple Torvald Helmer and his wife Nora are two very opposite personalities who seemed to contradict each other.
1. The relationship of the married couple is of two contrasting personalities, one a spendthrift and another a miser. While the husband tries to save as much money as possible, the wife has no qualms of spending in excess. Money seemed to play a huge role in the relationship, with Torvald calling Nora his little doll and all names but called her real name whenever he's angry. He loves her for her pretty face and expected her to take good care of the house and the children. She was a good mother, obedient but couldn't seem to care much about saving money.
2. After the New Year, Torvald was to be made the Manager at the bank he works. This means that the family will have a better and more amount of money coming in, with Nora exclaiming "<em>big salary and earn more</em>" and "<em>heaps and heaps of money</em>".
3. Mrs. Christine Linde is one of Nora's old friend. She had returned back after being widowed and her mother had died. Also, she wants a job and be independent after her brothers don't need her anymore. She had come to ask Nora for help regarding getting a job at Torvald's bank.
