"To view "Babylon Revisited" as a tragedy is simply one point of...

"To view "Babylon Revisited" as a tragedy is simply one point of view, and it is a fairly limited interpretation of the story. The Anticipation Stage is the initial stage of the process. Charlie is hoping to reunite with his daughter. Charlie has arrived in Paris with a clear goal in mind: to demonstrate to Marion and Lincoln that he has changed, as well as to bring his daughter back home with him (Gaunle, 2021). Is he completely dedicated to the course of action from the very beginning of the story? Perhaps this isn't the case. The fact that Charlie begins his story in the bar of the Ritz suggests that there is more to this story than a mere dream gone horribly awry (Fitzgerald, 2002). The Frustration Stage is the second stage of the process. Duncan and Lorraine continue to harass him; Marion has concerns about his commitment to reform, and we do well.

 Despite Charlie's assurance that he has changed his ways, no one, not even the astute reader, seems to believe him. Because Charlie's behaviors are inconsistent with his claim to be a new man, this is essentially the cause of the problem (Gaunle, 2021). First and foremost, he continues to consume alcoholic beverages on a daily basis - the first thing he did upon arriving in Paris was to seek out his drinking companions. His previous life, on the other hand, continues to elicit a certain amount of adoration from him (though this admiration is tinged with contempt). The fact that Duncan and Lorraine emerge repeatedly throughout the story is a thorn in the side of the plot (i.e., the small flaw that ruins everything). The seeds of Charlie's downfall have been planted, and now we're just waiting for the final chapter to be written. 

             The Dream Stage is the third stage of the process. Charlie is on the verge of reclaiming his daughter. It is clear that "Babylon Revisited" does not quite conform to the model this time around, as this Dream Stage occurs more than halfway through the storyline. At first glance, it appears as though Charlie has achieved his goal of taking Honoria home with him when Marion finally agrees to let him do so. We shouldn't lose sight of the fact that there is a fly in the ointment (Fitzgerald, 2002). The Nightmare Stage is the fourth and final stage. Duncan and Lorraine make their way to the Peters' residence. Finally, the fly appears. It is appropriate for us to experience the same dread that Charlie does when the drunken, rowdy Lorraine and Duncan break into the home of the quiet and reticent Marion. 

          However,   The final stage is known as the Destruction or Death Wish Phase. Honoria is taken away from Charlie. Since Charlie has lost everything (Cohn, 2021), this is the final straw, and he has come to Paris in order to get it back. It's interesting to note that Charlie's defeat is presented as a sort of conclusion as if it had been predestined all along. Perhaps this is due to the fact that it was.  F. Scott Fitzgerald's ability to include so many themes in "Babylon Revisited" as a work of fiction depends on his ability to leave important questions unresolved about Charlie Wales' person. According to all reports, the narrative concerns the efforts of a father who is trying to regain custody of his daughter following a series of personal tragedies (Gaunle, 2021). In evaluating and arranging the cinematic adaptation of the narrative, Fitzgerald himself alluded to "the awfulness of the father and the child" that lies at the center of the story.Similarly, Charlie's goal to win Honoria back is also his trip to show himself and others that he is a different person. Jobless, unreliable and prodigal with a broken marriage and a spiteful temper, only six months earlier, he had locked his girlfriend out of their condo on a chilly winter's night. According to his sister's relatives, his former associates and the peruser he is a "much" altered man, calm and utilized—"an improved heathen."

For example, in "Babylon Revisited," a major portion of the fundamental discourse has focused on whether Charlie is "real." Charlie, from a certain perspective, appears to have played about with his history more than once. A few of his former drinking companions frequent the Ritz bar, and he visits the Peters' location with a bartender to find an old drinking buddy. He waxes nostalgic about the "kind of wizardry" he felt in his prior drunken days, and he visits the clubs and naked revues that he regularly visited in his past life.... and the list goes on.When Marion accuses him of being responsible for his bette's demise, he maintains his composure and refuses to drink. He also refuses to drink with Lorraine Quarrels and shows no signs of anger when she refuses to drink with him. Charlie's indecisiveness is reflected in the story's indecision.While Marion is alone at the Ritz bar, he replays the events of the night he met Honoria in the snow, which has changed his attitude on delivering Honoria to Charlie. "A half-year" from now, Charlie's last conversation with Lincoln Peters closes the door on his plans to leave Paris with Honoria, but it also leaves open the possibility that he'll have another chance. "He was no longer a young man with a lot of nice concerns and ambitions to have without aid from anyone else," Charlie says in the conclusion(Gaunle, 2021).— "He would return in the not too distant future," he said. "They wouldn't be able to make him pay till the end of time (Gaunle, 2021)."

Past Charlie's own dramatization, "Babylon Revisited" likewise investigates bigger social and verifiable issues: the difference between Europe's wanton culture and the home life of customary Americans, America's change from the success of the 1920s to the perplexed states of the Depression, and the virtue of work versus the "free cash" of the hypothesizing financial backers of the "blast" a long time. In a scene common of the story's combination of barely close to home and comprehensively friendly topics, Fitzgerald packs Charlie's own set of experiences into the historical backdrop of his age during the blast long stretches of the twenties. Situated at the Ritz bar after his arrangements for recapturing guardianship of Honoria have started to evaporate (Gaunle, 2021), Charlie talks with Paul the barman about the "incredible change" created by the securities exchange crash the prior year. At the point when Paul specifies that he heard Charlie had lost his cash in the accident, Charlie answers, "I did however I lost all that I needed in the blast." Paul deciphers this as a kind of perspective to "undercutting," the solitary sure approach to lose cash during a blast in the financial exchange. Short-selling implies betting that the cost of a stock purchased at a low cost will tumble to that cost, yet taking a chance with that if the price rises—as it does in a flourishing business sector—you'll be compelled to pay more cash to try not to lose your unique venture. Charlie comprehends Paul's monetary implication yet plays on the other signs of "undercutting": selling oneself short by giving up one's standards. In this and other scenes, Fitzgerald joins Charlie's own set of experiences with the historical backdrop of his age.

When it comes to depicting Paris in the years before World War II, "Babylon Revisited" does it in a way that captures both its style and its more esoteric, ethically compromising features. The United States, for Charlie, represents the vitality and enthusiasm that Paris is now in need of. A character in the narrative observes that the bar's "furor" and "uproar" had been replaced with a profound sense of tiredness, emptiness, and stillness (Fitzgerald, 2002).The stock exchange crisis has changed America's fortunes, and the Ritz bar is no longer an American bar. The Peters' house is "warm and effortlessly American," for example, and Charlie is surrounded by American symbols throughout the book. It takes a lovely fall day for Charlie to recall "football climate," and the first name Lincoln Peters conjures him a vision of a straight-laced American far far from Paris' opulent hotels and slinky (Fitzgerald, 2002). As Charlie tells Marion, "It's quite fun to see so few Americans in Paris (Fitzgerald, 2002)." Anxiously awaiting his cousin's response, Charlie rushes up to the guards, recalling the "sort of magic" he had experienced as an American in Paris (Fitzgerald, 2002). 

Paris is both a paradise and a damnation in "Babylon Revisited." In two brief early scenes, Fitzgerald depicts a visit to Paris' greatest attractions in vast numbers."Babylon Revisited" is F. Scott Fitzgerald's most famous and well-regarded short story. The short story is his most widely anthologized work, as it both intimates the times while also disclosing a personal tragedy. Fitzgerald wrote the narrative in the midst of his own personal struggle, and "Babylon Revisited" is a reflection of that turmoil in many respects FF. Scott Fitzgerald's short story "Babylon Revisited" has Charlie Wales, a recovered alcoholic and newly prosperous businessman, attempting to reclaim custody of his daughter, Honoria following a series of personal setbacks (Gaunle, 2021).Tragedy is a literary genre in which a hero's weaknesses, which are often ordinary human flaws like greed, over-ambition, or even an excess of love, honor, or loyalty, bring him or her down. In all tragedy, we start with the tragic hero, who is almost always in his prime. The protagonist is happy, successful, and well-liked. He does, however, have a tragic flaw that will lead to his demise. The story's plot usually follows a steady decline from brilliance to disaster. 

  It's crucial that the hero get isolated from all of his friends and companions. We feel tremendous regret and pity (also known as pathos) for the hero in the end. But we also experience a feeling of empathy - the story advises us to be wary of the common flaws that brought the hero down.

 What makes a narrative tragic isn't just the kind of emotion it evokes in the reader's mind (Gaunle, 2021). The majority of people mistake tragedy for sadness or pessimism.  A tragedy goes beyond emotions to pathos —- connection with the character's perspective and the ability to suffer in the character's place. Tragedy has a considerably more precise connotation in literature. F. Fitzgerald was born in the year 1896. His art has a Janus-like quality, looking back to the romantic lyricism and broad dreams of nineteenth-century America and forward to the syncopated jazz strains of our own century, much as his life did .  Fitzgerald's "Babylon Revisited" was written in December 1930.  On February 21, 1931, The Saturday Evening Post published the story for the first time.

  The richness of "Babylon Revisited" as a work of fiction lies in Fitzgerald's ability to include so many themes while keeping the central questions about Charlie Wales' character unsolved. Critics have regularly commended the story for its authentic and moving portrayal of Charlie and Honoria's love, and Fitzgerald himself later referred to "the tragedy of the father and the kid" that lies at the heart of the novel while discussing a potential film adaptation(Fitzgerald, 2002) . Fitzgerald, however, dramatizes a world of emotional, social, historical, and psychological topics inside this basic emotional core. For example, Charlie's goal to reclaim Honoria is also his. He's on a mission to prove to himself and others around him that he's a new guy.  Fitzgerald's assessment of the story as very personal cannot be questioned; the fact that he transformed it into something universal makes it a magnificent masterpiece.

 This is often regarded as Fitzgerald's best short tale and a masterwork of characterization.

Characters are well-drawn, and the story is propelled forward by opposing ambitions, personalities, and motivations more than plot.

 

Misfortunes happen when a hero is brought somewhere near an imperfection or by destiny's cold-bloodedness. Characters figuring out how to oppose incredible powers, regardless of whether they are interior or outer, eventually show the substance of human poise, even with a rout, disappointment, or even death. As the name recommends, a heartbreaking story portrays the drop of a saint, as a rule, somebody high in position or regard who wound up low, in gloom and calamity(Gaunle, 2021). By showing Charlie's battles with liquor through Babylon Revisited, Fitzgerald outlines how extreme conduct prompts debacle. What's more, he has additionally experienced disappointments in marriage, the passing of his better half, and living alone with Honoria, all of which cause him to feel lacking as a dad, for he realizes that he can just give her things, and it wouldn't suffice (Fitzgerald, 2002). Here and there, his past life's depravity more likely than not enticed him, taking steps to obliterate him. 

 

Charlie had become flighty on the grounds that he drank vigorously during the 1920s when he lived in Paris with Honoria and Helen. The robbery that Charlie and Lorraine Quarrles reported of the tricycle late around evening time was only "one of many" examples of Charlie's careless conduct. During a drunken evening, Charlie accidentally locked his partner out of the house, which triggered their divorce (Fitzgerald, 2002). Likewise, Charlie will be considered liable for Helen's demise after she was determined to have pneumonia that evening and kicked the bucket of a cardiovascular failure later. Eventually, Charlie loses guardianship of his girl while recuperating from a liquor-instigated breakdown. "Babylon Revisited" shows that Charlie's reliance on liquor added to his torment, as it prompted the deficiency of his family (Gaunle, 2021). In spite of the fact that he devoured liquor, his carelessness didn't end there.  It is obvious that Charlie has not totally disposed of the entirety of his old propensities, yet essentially he has disposed of the self-conviction that he had during those days. At a certain point, he even conceded feeling as if he was "practically reliable (Fitzgerald, 2002)." The story shows him continually going to the Ritz, where his previous lifestyle in Paris was focused, and having only one beverage without fail. Regardless of the staggering news that Marion has adjusted her perspective on leaving Charlie alone with Honoria, Charlie will not take another beverage, communicating that he is at this point not ready to adapt to his misfortune like he used to, regardless of what the barkeep says. He presently has an alternate point of view on life because of moderate drinking. Charlie strolls the roads of Montmartre interestingly since leaving the club and ponders the vacant bars and clubs in Montmartre. He contemplates internally, "everything must be inebriated" to see the value in it (Fitzgerald, 2002). 

 

A calm viewpoint is assisting him with seeing himself and Paris in an unexpected way. He regularly ponders, as he took the tricycle with Lorraine, "how since quite a while ago did it take to cut to the chase of being irresponsible (Fitzgerald, 2002)? By making Charlie's flighty drinking propensity equal the wild immoderation of the buyer market that prompted the accident in 1929 (and the Economic crisis of the early 20s), Fitzgerald draws an equal among Charlie and the Economic crisis of the early 20s. During a contention with Marion, Charlie professes to have stayed calm for eighteen months, "until when I imploded (Fitzgerald, 2002)." As per the story timetable, Charlie's breakdown is unintentional with the market decline. By bringing the breakdown of a huge money-related framework into the center, Charlie addresses the more extensive financial shift of the time. This accentuates the focal good subject that Fitzgerald seems, by all accounts, to be communicating here: abundance and breakdown are inseparably linked. Fitzgerald suffocated himself because of liquor abuse at 44 years old. He battled with this issue all through his grown-up life. 

 

The writer of "Babylon Revisited" portrays habit uniquely in contrast to contemporary medication (as an illness where addicts merit rehabilitation instead of correctional measures). He compares addictions with moral issues and the absence of character, a strategy that is antiquated. The abundance of liquor are contrasted with the ravenousness in the positively trending market that caused the overabundance of the buyer market. Being a deep-rooted alcoholic, Fitzgerald had no chance of portraying or preparing how the disclosure affected him. Tragically, the assertion may mirror unnecessary confidence about defeating dependence through improved ethics. At the point when Fitzgerald himself bombed ordinarily to quit drinking liquor, it is hard to characterize his utilization as an unchecked bad habit. 

 

Generally, all misfortunes that happened to the protagonist are the result of what he had done in the past. And therefore, Charlie is a commonplace man since he fights similar conditions each man faces. These weak spots are for the most part character imperfections, however, they are not in concurrence with the gallant idea of the hero (Cohn, 2021). Charlie didn't have to work since he was very rich. In his extra time, he voyaged, celebrated, and drank intensely. Charley's liquor misuse prompted his marriage to end, and lost his wife, and lost his custody of Honoria. Upon his re-visitation of Paris, Charlie appears to have changed (Gaunle, 2021). A stretch in a sanatorium assisted him with recovering his abundance, and he got back to work once more, yet presently, or more, he needs to build up an appropriate home and family there. Honoria's custodial parent, Marion, should likewise support the move, as he intends to take her back to the US. Charley presents his best self as he attempts to prevail upon Marion, who doesn't confide in or like him, yet we are uncertain about whether he will stay calm or regardless of whether his conduct has changed adequately to permit him to really focus on Marion. He acts reliably with modesty regardless of the reliably barbarous treatment he gets from Marion, in spite of his regret and his longing to modify his family. His preventive ness and pomposity are sometimes obvious, in any case. The secret encompassing Charlie's past, for example, regardless of whether he killed Helen or had an unsanctioned romance recommends a possibly merciless side of him that demonstrates Marion may be more right than wrong to be dubious, and maybe she shouldn't be trusted to deal with the circumstance (Gaunle, 2021). All of this contributes to the misfortunes of the protagonist that somehow makes it an example of a tragedy."

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