The Rich Boy E-Book

Francis Scott Fitzgerald

• Herausgeber: Phoemixx Classics Ebooks
• Kategorie: Gesellschafts- und Liebesromane
• Sprache: Englisch
• Veröffentlichungsjahr: 2021

Seitenzahl: 72

Beschreibung

The Rich Boy - Francis Scott Fitzgerald - Fitzgerald's short story "The Rich Boy" (like his novel The Great Gatsby) utilizes an outside narrator to tell the story of a wealthy protagonist in a sympathetic but still somewhat distanced way. Here the protagonist is Anson Hunter, a well-to-do young New Yorker, who would seem to have the whole world ahead of him and the streets paved in gold. By his early twenties, he has found his ideal woman as well: the exquisite -- and very rich -- Paula Legendre. On the surface, Paula would not seem to be the type of girl that would exert such a pull on Anson. Anson seems to have a lot of oats to sow, and Fitzgerald describes Paula as being "conservative and rather proper." But he is, nonetheless, obsessed by her, not because she represents the money he wants -- after all, he already has enough of his own -- but because she represents the social system that justifies his existence. In his world, responsible older men (like his uncle Robert) hold the reins of government and business; chaste and proper women (like Paula and her mother) maintain the rules of propriety and etiquette; and, until they get old enough to assume the mantle of responsible older manhood, playboys like Anson play. That is all Anson thinks he is doing right now. Just as he sees in himself the undeveloped kernel of a future leader, he sees in Paula the kernel of a future society matron. He thinks they would make a good pair. What he doesn't realize, however, is that his virtually unlimited wealth has within it the power to corrupt him, and it's already doing a good job. His first problem is that he sees himself as superior. He carries himself that way; Fitzgerald says that ". . . He had a confident charm and a certain brusque style, and the upper-class men who passed him on the street knew without being told that he was a rich boy and had gone to one of the best schools. . . . Anson accepted without reservation the world of high finance and high extravagance, of divorce and dissipation, of snobbery and of privilege."

Leseprobe

Francis Scott Fitzgerald

The Rich Boy

PUBLISHER NOTES:

Quality of Life, Freedom, More time with the ones you Love.

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Chapter 1

1

Begin with an individual, and before you know it you find that you have created a type; begin with a type, and you find that you have created—nothing. That is because we are all queer fish, queerer behind our faces and voices than we want any one to know or than we know ourselves. When I hear a man proclaiming himself an "average, honest, open fellow," I feel pretty sure that he has some definite and perhaps terrible abnormality which he has agreed to conceal—and his protestation of being average and honest and open is his way of reminding himself of his misprision.

There are no types, no plurals. There is a rich boy, and this is his and not his brothers' story. All my life I have lived among his brothers but this one has been my friend. Besides, if I wrote about his brothers I should have to begin by attacking all the lies that the poor have told about the rich and the rich have told about themselves—such a wild structure they have erected that when we pick up a book about the rich, some instinct prepares us for unreality. Even the intelligent and impassioned reporters of life have made the country of the rich as unreal as fairy-land.

Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft where we are hard, and cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand. They think, deep in their hearts, that they are better than we are because we had to discover the compensations and refuges of life for ourselves. Even when they enter deep into our world or sink below us, they still think that they are better than we are. They are different. The only way I can describe young Anson Hunter is to approach him as if he were a foreigner and cling stubbornly to my point of view. If I accept his for a moment I am lost—I have nothing to show but a preposterous movie.

Chapter 2

2

Anson was the eldest of six children who would some day divide a fortune of fifteen million dollars, and he reached the age of reason—is it seven?—at the beginning of the century when daring young women were already gliding along Fifth Avenue in electric "mobiles." In those days he and his brother had an English governess who spoke the language very clearly and crisply and well, so that the two boys grew to speak as she did—their words and sentences were all crisp and clear and not run together as ours are. They didn't talk exactly like English children but acquired an accent that is peculiar to fashionable people in the city of New York.

In the summer the six children were moved from the house on 71st Street to a big estate in northern Connecticut. It was not a fashionable locality—Anson's father wanted to delay as long as possible his children's knowledge of that side of life. He was a man somewhat superior to his class, which composed New York society, and to his period, which was the snobbish and formalized vulgarity of the Gilded Age, and he wanted his sons to learn habits of concentration and have sound constitutions and grow up into right-living and successful men. He and his wife kept an eye on them as well as they were able until the two older boys went away to school, but in huge establishments this is difficult—it was much simpler in the series of small and medium-sized houses in which my own youth was spent—I was never far out of the reach of my mother's voice, of the sense of her presence, her approval or disapproval.

Anson's first sense of his superiority came to him when he realized the half-grudging American deference that was paid to him in the Connecticut village. The parents of the boys he played with always inquired after his father and mother, and were vaguely excited when their own children were asked to the Hunters' house. He accepted this as the natural state of things, and a sort of impatience with all groups of which he was not the center—in money, in position, in authority—remained with him for the rest of his life. He disdained to struggle with other boys for precedence—he expected it to be given him freely, and when it wasn't he withdrew into his family. His family was sufficient, for in the East money is still a somewhat feudal thing, a clan-forming thing. In the snobbish West, money separates families to form "sets."

At eighteen, when he went to New Haven, Anson was tall and thick-set, with a clear complexion and a healthy color from the ordered life he had led in school. His hair was yellow and grew in a funny way on his head, his nose was beaked—these two things kept him from being handsome—but he had a confident charm and a certain brusque style, and the upper-class men who passed him on the street knew without being told that he was a rich boy and had gone to one of the best schools. Nevertheless, his very superiority kept him from being a success in college—the independence was mistaken for egotism, and the refusal to accept Yale standards with the proper awe seemed to belittle all those who had. So, long before he graduated, he began to shift the center of his life to New York.

He was at home in New York—there was his own house with "the kind of servants you can't get any more"—and his own family, of which, because of his good humor and a certain ability to make things go, he was rapidly becoming the center, and the débutante parties, and the correct manly world of the men's clubs, and the occasional wild spree with the gallant girls whom New Haven only knew from the fifth row. His aspirations were conventional enough—they included even the irreproachable shadow he would some day marry, but they differed from the aspirations of the majority of young men in that there was no mist over them, none of that quality which is variously known as "idealism" or "illusion." Anson accepted without reservation the world of high finance and high extravagance, of divorce and dissipation, of snobbery and of privilege. Most of our lives end as a compromise—it was as a compromise that his life began.

He and I first met in the late summer of 1917 when he was just out of Yale, and, like the rest of us, was swept up into the systematized hysteria of the war. In the blue-green uniform of the naval aviation he came down to Pensacola, where the hotel orchestras played "I'm sorry, dear," and we young officers danced with the girls. Every one liked him, and though he ran with the drinkers and wasn't an especially good pilot, even the instructors treated him with a certain respect. He was always having long talks with them in his confident, logical voice—talks which ended by his getting himself, or, more frequently, another officer, out of some impending trouble. He was convivial, bawdy, robustly avid for pleasure, and we were all surprised when he fell in love with a conservative and rather proper girl.

Her name was Paula Legendre, a dark, serious beauty from somewhere in California. Her family kept a winter residence just outside of town, and in spite of her primness she was enormously popular; there is a large class of men whose egotism can't endure humor in a woman. But Anson wasn't that sort, and I couldn't understand the attraction of her "sincerity"—that was the thing to say about her—for his keen and somewhat sardonic mind.