The past--the wild charge at the head of his men up San Juan Hill; the first years of his marriage when he worked late into the summer dusk down in the busy city for young Hildegarde whom he loved; the days before that when he sat smoking far into the night in the gloomy old Button house on Monroe Street with his grandfather-all these had faded like unsubstantial dreams from his mind as though they had never been. He did not remember.
What a wonderful song, she thought-everything was wonderful tonight, most of all this romantic scene in the den with their hands clinging and the inevitable looming charmingly close. The future vista of her life seemed an unending succession of scenes like this: under moonlight and pale starlight, and in the backs of warm limousines and in low cosy roadsters stopped under sheltering trees-only the boy might change, and this one was so nice.
As he took her hand she saw him look her over from head to foot, a gesture she recognized and that made her feel at home, but gave her always a faint feeling of superiority to whoever made it. If her person was property she could exercise whatever advantage was inherent in its ownership.
We haven’t met for many years, said Daisy, her voice as matter-of-fact as it could ever be. "Five years next November." The automatic quality set us all back at least another minute.
Ah," she cried, "you look so cool." Their eyes met, and they stared together at each other, alone in space. With an effort she glanced down at the table. You always look so cool," she repeated. She had told him that she loved him, and Tom Buchanan saw.
The purpose of a work of fiction is to appeal to the lingering after-effects in the reader's mind as differing from, say, the purpose of oratory or philosophy which respectively leave people in a fighting or thoughtful mood.