1. Full-length novel: Without modification, the word “novel” refers to the full-length novel. But nobody has been able to propose an all-accepted length for the novel and people seem to have no need for such a standard.
2. Gothic novel: The typical Gothic novel (the story always took place in the past), tantalizing plot of revenge and terrifying scenes and ending. Readers are to find deserted castles on a lonely bleak mountain top or deep in an isolated valley or on an island nobody can locate on the map or in the mind.
3. Trilogy: A trilogy is a group of three novels in a sequence. To be thoroughly told, a complex story with many scenes and many characters sometimes extends beyond the covers of a single novel.
4. Romances: tell about characters who live in a courtly world remote from everyday life of the common people. They usually contain elements of fantasy, improbability, extravagance, and naivete.
5. Psychological novel: Novels that dwell on a complex psychological development and present much of the narration through the inner workings of the character’s mind belong to the psychological novel.
6. The new novel: The new novels see the natural world as totally irrelevant to human beings. Instead of presenting a story of coherent characters acting in a context, the new novel offers a sort of dream-like series of perceptions.
7. The omniscient narrator: The omniscient narrator knows everything whereas the selective omniscient narrator knows something.
8. Epistolary novel: An epistolary novel consists of the letters the characters write to each other. What other novelists do through narration the author of an epistolary novel has to do solely or mainly through letter.
9. Main character: The main characters must have good reasons to write letters frequently in order to keep the novel going. By adopting this form, the novelist has to make sure that the letters should make a whole story instead of piled-up fragments.
10. Antagonist : The enemy or rival of the protagonist is called “antagonist.”
1-c
2-d
3-h
4-i
5-f
6-g
7-j
8-a
9-b
10-e
1. Chapter 7 brings the conflict between Tom and Gatsby into the open, and their confrontation over Daisy brings to the surface troubling aspects of both characters. Throughout the previous chapters, hints have been accumulating about Gatsby’s criminal activity. Research into the matter confirms Tom’s suspicions, and he wields his knowledge of Gatsby’s illegal activities in front of everyone to disgrace him. Likewise, Tom’s sexism and hypocrisy become clearer and more obtrusive during the course of the confrontation. He has no moral qualms about his own extramarital affairs, but when faced with his wife’s infidelity, he assumes the position of outraged victim.
2. Gatsby’s decision to take the blame for Daisy demonstrates the deep love he still feels for her and illustrates the basic nobility that defines his character. Disregarding her almost capricious lack of concern for him, Gatsby sacrifices himself for Daisy. The image of a pitiable Gatsby keeping watch outside her house while she and Tom sit comfortably within is an indelible image that both allows the reader to look past Gatsby’s criminality and functions as a moving metaphor for the love Gatsby feels toward Daisy. Nick’s parting from Gatsby at the end of this chapter parallels his first sighting of Gatsby at the end of Chapter 1. In both cases, Gatsby stands alone in the moonlight pining for Daisy. In the earlier instance, he stretches his arms out toward the green light across the water, optimistic about the future. In this instance, he has made it past the green light, onto the lawn of Daisy’s house, but his dream is gone forever.