Both in fiction and reality, passion and obligation often clash. Sometimes it is easy for people to act out of an all encompassing desire to reach a goal. It is often done without realizing how their tunnel vision, and sometimes destructive actions, affect others and mostly themselves. Assurance that “the end justifies the means” will not excuse the harm caused by such obsessions. This is especially true if the end never even happens. Jay Gatsby knows this situation well. By any means necessary, Gatsby completely and single-mindedly modifies himself as a person. This evolution efficiently severs any ties between that of the original James Gatz that Daisy first meets, to the reinvented Jay Gatsby created just for her. Frustratingly, every bit of this is in vain. Gatsby brawls with Tom Buchanan, her husband, over who Daisy’s heart rightfully belonged. In the end, Daisy chooses her husband over Gatsby. Ultimately, Gatsby’s blind and lovesick behavior leads to his untimely murder. Until his last breath, Gatsby allows his burning love for Daisy control his entire adult life. In The Great Gatsby by F. Scott Fitzgerald, Gatsby’s wild passion drives him to break the law, alter his entire lifestyle, and even rename himself as his moral compass goes haywire.
Gatsby
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He will make her notice him. He buys an ostentatious and elaborate mansion directly across the water from Daisy. Every weekend, “gleaming, dazzling parties” thrown by Gatsby are expected (Fitzgerald 179). Each just as extravagant as the week before. Everyone that is anyone attends. This is how Gatsby hopes to discover Daisy. Specifically designed to attract her, he spends a ridiculous fortune on luring her to these huge parties. Ironically, this is not how they reunite. Their meeting occurs via a quiet meeting through someone with less social standing, a working class man. The same man is Gatsby’s new neighbor, Nick Carraway. Subsequently, he is Daisy’s cousin as