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F. Scott FitzgeraldA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In this story, the motif of eyes and the direction of the gaze are used to convey social policing, which enriches its exploration of Downfall Through the Temptation of Social Acceptance. At the beginning of the story, the “sharp eyes” and “stony eyes” of the matrons are turned toward the dancers at the party (356). This gaze threatens gossip and reprimand if those dancers stray from acceptable behavior.
After Bernice accepts Marjorie’s advice and charms men at the dinner party, Marjorie notes Bernice’s “sparkling eyes” as she feels the effects of her transformation. Though Bernice is not looking toward anything particular at that moment, her internal success is only achievable through external validation. In contrast to that momentary triumph, at the climax of the story, when Bernice’s hair is cut, she most acutely feels the sting of failure through the looks of others: “Four eyes—Warren’s and Marjorie’s—stared at her, challenged her, defied her” (376). Through most of that scene, Warren and Marjorie do not have dialogue, yet their influence on and condemnation of Bernice is undeniable through their eyes.
Bernice doesn’t want to cut her hair, but she goes through with it as a rebellious reaction to Marjorie’s bullying. A “curious narrowing of her eyes” marks this moment of defiance (377). After Bernice’s haircut fails to bring about either social conquest or feminine liberation, her character must undergo further change to achieve a meaningful transformation. Again, her eyes are the reader’s window to that change taking place:
Suddenly she drew in her breath sharply and an expression flashed into her eyes that a practised character reader might have connected vaguely with the set look she had worn in the barber’s chair […]. It was quite a new look for Bernice—and it carried consequences (380).
Thus, Bernice’s own eyes symbolically parallel the progress of her character arc.
As the title would suggest, Bernice’s hair and its transformation are of particular interest as a narrative motif. Dark hair, like Bernice’s, is sometimes associated with a temptress archetype, one who leads a romantic partner to downfall. In this case, though, rather than leading Warren or another suitor astray, the beauty and desire associated with Bernice’s hair contribute to her own downfall. Once her hair is cut, the significance of what is lost becomes clear. Before the cutting, Bernice’s face had a “Madonna-like simplicity” (377), meaning Bernice had a holiness when she was untouched by social pressures. Once she surrenders to the promises of popularity, that innocence is lost along with her tresses. She responds by cutting off Marjorie’s hair, thus evening the score—perhaps matching downfall for downfall. The act of throwing Marjorie’s hair on Warren’s porch is a statement, one in which Bernice rejects Marjorie’s advice, her social circle, her man, and her imposed values.
Near the end of the story, Marjorie’s hair also adds to the motif. In their final conversation, Bernice watches as Marjorie braids her hair. Two associations are made in this passage. First, Marjorie looks like “a delicate painting of some Saxon princess” (11). The idea of a painting fits the issue of externally admired beauty, something that is sought and lost through the story. The Saxon princess also calls back the theme of Shifting Feminine Identity in the Early 20th Century. Marjorie, though very much in line with Jazz Age, liberated femininity, has not embraced every aspect of Jazz Age fashion, such as short hair. She can pick and choose what trends to follow, but she doesn’t allow Bernice the same individuality. Secondly, Marjorie’s hair becomes “like restive snakes,” and Bernice becomes a “relic” transfixed in watching them (11). This imagery likens Marjorie to Medusa, a Greek mythology figure who had snakes for hair and could turn onlookers into stone with her gaze. Similarly, the strength of Marjorie’s gaze—which symbolizes social pressure—paralyzes Bernice and leaves her unable to act in her own best interest.
When Bernice first experiences social success in Part 4, she wears a red dress. Red is symbolically associated with passion, and red dresses are frequently linked with temptress figures, as is Bernice’s hair. While wearing the red dress, Bernice earns more complimentary thoughts from Warren: “And that dress was becoming—a dark red that set off her shadowy eyes” (370-71). Warren’s response aligns with the symbolic passion of the dress and suggests the possibility of him being tempted by Bernice, though she does not clearly cause a downfall for him.
Instead, Bernice’s Downfall Through the Temptation of Social Acceptance becomes her own undoing. As she reflects after her first successful night, “Bernice had bought the red dress, though she had never valued it highly before Marjorie dug it out of her trunk” (372). In other words, Bernice desires a more self-empowered beauty and passionate persona but needs Marjorie to help her embrace that temptation.
By F. Scott Fitzgerald