In “Araby. ” an allegorical short narrative from his digest. Dubliners. writer James Joyce depicts his fatherland of Ireland as a paralyzing and morally foul environment. The immature supporter is an ignorant victim of society’s preoccupation with philistinism. and in his haste to turn up accepts its deformed positions of wealth and love as truth. Conversely. Jay Gatsby. from F. Scott Fitzgerald’s The Great Gatsby. attempts to win back the bosom of Daisy Buchanan through his obsessional efforts to reiterate the yesteryear. In each work. the male lead resorts to pecuniary extremes to capture the attending of his female opposite number under the false impression that love can be purchased. While the male child hopes that a gift will win the fondness of his friend’s sister. Gatsby urgently strives to court Daisy with his bootlegging spoils. Some are able to get away the influence society exerts. while others remain fixated on amour propre. Each writer manipulates colour and shadiness to typify the philistinism of maturity and the confusion of love of wealth with echt love. The supporter of “Araby” fantasizes about turning up plenty to achieve the love of his friend’s sister.

Because the immature male child believes he is in love. he elevates himself above his equals. He isolates himself in his dark Attic and watches his comrades “playing below in the street. ” their calls “weakened and indistinct ” ( Joyce 24 ) . Although he tries to disregard them. the voices of his childhood freedom still reach the male child no affair how much he tries to divide himself. The male child discounts “some distant lamp or lighted window glow [ ing ] below” on his equals. abandoning the visible radiation of childhood while he exercises a feeling of high quality ( Joyce 23 ) . By distancing himself from his coequals. he embarks on a big pursuit to prematurely make maturity. thereby cut downing the value of childhood artlessness. His pursuit. nevertheless. succeeds merely in pressing him farther into the darkness of grownup ideals. Adults face greater challenges and have more duty than kids do ; it is easier for them to abandon their ethical motives than to go forth mercenary values behind. Because they ignore their values. grownups are of a far lesser artlessness than the kids they are meant to learn and therefore exercise a negative influence on their ignorant students.

The male child learns from his milieus that buying love is the lone acceptable way to achieving felicity and growing. Mangan’s sister “turns the silver watchband unit of ammunition and round her carpus. ” pulling the male child into the shallowness of maturity ( Joyce 24 ) . However. because he sees the miss as “defined by visible radiation. ” he erroneously confuses the thoughts of wealth and felicity ( Joyce 22 ) . The combination of philistinism and felicity makes it hard to find the significance of either. Rather than developing a relationship based on common involvement. the male child tries to purchase the girl’s love. When he is unable to buy a gift for her. he finds himself in a “completely dark” environment ( Joyce 26 ) . The male child instantly epiphanizes that he is “a animal driven and derided by amour propre. ” meaning that visible radiation can emerge out of darkness ( Joyce 26 ) .

His awareness no longer allows environing influences of philistinism to grip him ; he realizes love is non a trade good. Mistakes are necessary for moral growing. therefore the immature male child needed to endure amour propre and the effects of his ain greed to recognize that wealth entirely can non carry through felicity. His challenges become the mercantile establishment through which he ascertains the superficiality of the grownup universe. finally repressing his influences. By beating them. the male child discerns the echt love depicted by visible radiation. Fitzgerald juxtaposes the compulsively nostalgic Jay Gatsby with Joyce’s immature male child who hurriedly looks frontward to adulthood. Despite Gatsby’s senior status. he and the male child both believe they can buy their beloveds’ fondness. Gatsby views wealth as the equivalent of dignity ; his doomed sense of hope justifies his semblance. He optimistically watches the green visible radiation at the terminal of the Buchanan’s dock. “minute and far off. ” with his “arms stretched out toward the dark water” ( Fitzgerald 26 ) .

Gatsby reaches for Daisy with profound finding. but bases his resoluteness on the crooked belief that his grandiose place and expensive apparels will win her love. His mercenary concerns create an unpassable spread. puting true love out of range. Lights on the other side of the H2O appear greener and grander. doing Gatsby to ignorantly believe that is where happiness originates. The intrinsic confusion of wealth and felicity deprives Gatsby of a truly fulfilled life. Thinking his new richness will delight Daisy. Gatsby draws her attending to his new Rolls Royce. However. the association of Gatsby’s xanthous auto with “restlessness…with power…and eventually with death” ( Parkinson 41 ) foreshadows devastation. Even after Daisy by chance kills Myrtle Wilson with the xanthous auto. Gatsby still fails to see the unmanageable dangers of greed. Wealth merely consumes those who attain it. ptyalizing failure into their faces when it ceases to sate their greed.

Gatsby’s picturesque luxury deteriorates to frustration because money can non do him happy. Rather than accepting this decision. he dons an elegant closet “which echoes Daisy’s properties of white. gold. and silver” ( Parkinson 47 ) . Gatsby believes his “white flannel suit…and gold colored necktie” will pull Daisy under the pretense of debonair elegance ( Fitzgerald 89 ) . The dual entendre. nevertheless. is that the gold necktie resting around his pharynx analogues wealth’s menace to choke off his credibleness. saneness. and finally. life-force. Although Gatsby actively perpetuates his superficial aspiration. Daisy merely allows life to blossom around her. Fitzgerald parallels Daisy’s flowered namesake with her white exterior and tainted xanthous inside. Wealth rots her to her nucleus. though she maintains a pretence of pureness. ever “dressed in white” ( Fitzgerald 127 ) . Daisy enjoys her fiddling being merely because she has the agencies to make so.

Without wealth to deflect her from her nonmeaningful life. she would experience empty and worthless. Contentment based entirely on the handiness of money inevitably crumbles and fades off. set downing in the colorless. bare Valley of Ashes. With an ever-looming presence. the mark of Doctor T. J. Eckleberg looks over this vale of lost dreams through faded xanthous spectacless. No affair how wilful the dreamer. visionaries with avaricious aspirations must digest barbarous judgement.

These persons poison their ain lives and go soulless shells. unable to rally the same finding once more. The green visible radiation he strives for becomes “distant and unattainable” even though Gatsby ne’er genuinely gives up on winning back Daisy ( Parkinson 46 ) . The spoils of his wealth decay to worthlessness and solitariness ; in neglecting to recognize his errors. he leaves behind a sparsely accompanied funeral and an unprincipled bequest. Despite all that he fought for. Gatsby forsakes true felicity for the false love he derives from working wealth.