In the book The Talented Mr. Ripley by Patricia Highsmith, we discover one of the most fascinating and confusing characters in modern literature; Tom Ripley. Tom Ripley is a character who is both contradictory and simple in his desires. He wants the approval and love of a relationship with Dickie, but we wonder if he would be able to feel and return those same feelings. He is always on the move, always searching for something better – a desire that is often reflected in his travels and his constant desire to visit the mythical cities of old – and culminates in his aspiration to reach the heroic Greek islands. A careful reader may be able to discover how Tom Ripley's desire and love for a lifestyle usually beyond his reach drives the entire novel. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay We see the roots of Ripley's desire for a new life, new beginnings, and material possessions manifest in the very first chapter. By discussing Dickie's age with Mr. Greenleaf, we can delve into the inner workings of Ripley's mind. Ripley seems to despise his status and where he is in life, as seen when he lists some of his unfortunate – and downright disturbing – circumstances when comparing himself to Dickie; “live from week to week. No bank account. Dodging the cops now for the first time in his life. (Highsmith, 6). The list is written in short, concise sentences, suggesting a growing sense of anger and frustration with his situation in life. Eric Targan thinks that this discontent was born from his childhood, since he was an orphan, but also from verbal violence on the part of his aunt. (Targan, 310). In recounting his memory of Dickie Greenleaf, Tom describes him as pleasant in his appearance – perhaps more handsome than he was. This marks the beginning of Tom's idealization and romanticization of Dickie, a habit common throughout the novel – even once Tom kills Dickie. In particular, Tom emphasizes Dickie's aura of luck, such as when he describes Dickie's "merry face" (Highsmith, 6), which is significant when we observe that it is with a trait that Tom believes is practically empty in himself. While Tom's desire to start over made him unhappy when he considers his sad situation in the first chapter, it changes his worldview to one full of excitement and possibility when he considers his future in Europe then that he sails the ship. Tom explores possible career options after finishing with Dickie and now uses long, expansive sentences, complete with explanatory points and numerous commas to suggest his new openness to possibilities, creating the feeling that anything can happen. Tom's desire to transcend his class is evident in the way he romanticizes Europe. Jacqui Miller believes that this stems from the belief that "Europe is the place of high culture, capital income and a leisure lifestyle". Establish from the start Tom's desire for a comfortably luxurious lifestyle and high status. Arriving in Italy, we turn to the question of whether Tom feels love for Dickie and whether this has any consequence for what he does in the rest of the novel. When he first meets Dickie, Tom is desperate for his approval, as he admits that it is what “he wanted more than anything in the world” (Highsmith, 40). From this line it becomes clear that while Tom loves Dickie, Dickie has become the temporary center of his world.This is best seen in all of Tom's efforts to entertain Dickie. An example of this is when he lists his many talents to Dickie. Tom sneaks in some foreshadowing intended for observant readers, when he intercuts the talents he will use to cover up the murders he will commit. But he's also referring to what he's doing at this immediate moment, when he says he can "do a one-man show at a nightclub in case the regular performer is sick." (Highsmith, 45). This is a restatement of Tom's current situation, as he had to spontaneously entertain Dickie himself, when no other satisfactory person could be found. This also reflects Tom's current worldview; not only does he entertain Dickie, but he also seizes new opportunities as they arise and creates an act as he goes. This one-man show is later replicated in Tom's disturbing impersonation of Dickie, in which he pretends to kill Marge. The beginning of the passage hints at Tom's underlying feelings toward Dickie. He copies the strange "higher pitch" and "little growl" of Dickie's voice that only a lover or con artist would detect, and is able to relate these changes to Dickie's moods - showing how sensitive Tom feels and close to Dickie. He then pretends to strangle Marge, while saying "You were interfering between Tom and me – No, not that!" But there is a connection between us! (Highsmith, 61) This last quote is interesting, because by "that" we can assume that Tom is talking about a sexual relationship between him and Dickie, which he disputes, but he still insists on a connection between them. One explanation for what this “bond” – if not sexual – might be is that Tom sees Dickie as his second identity – his better half – who has the life he never had. Which brings us to the question: How long did Tom know in advance that he was going to kill Dickie? Was he originally copying Dickie's mannerisms and observing his habits with the general intention of becoming him? Edward A. Shannon seems to think that Tom was treating it almost as a pleasurable activity – pretending to be someone he is not – when he points out that Tom "likes to imitate". Dickie long before he decided to kill him. (Shannon, 23 years old). This theory about their "bond" as Tom sees it, is reinforced when we consider the second part of the passage; Tom seems much calmer and devoid of passion as he carefully considers how his appearance resembles Dickie's. He observes that if he changes small features about himself (like his hair), he can easily blend into his better alter ego. Tom says this when he walks around Paris after killing Dickie, and observes that "he had two people he had to take care of" (Highsmith, 104) as if he and Dickie were just opposite sides of each other. the same medal. Tom focuses on the finer aspects of life, such as when he and Dickie are in Cannes and he mentions that he would have been willing to "pay whatever it cost in the best hotel on the waterfront" ( Highsmith, 75). This is interpreted as Tom's desire to "live well" and safely, while enjoying Europe the way he thinks it is supposed to be enjoyed. Tom's fascination with objects is revisited when he looks at Dickie's rings as he plans to kill him on the train. We already know what Dickie's rings look like when Tom first notices them during his first meeting with Dickie. This preoccupation with Dickie's rings – which continues throughout the novel – is central because it appears to be a label or signifier of Dickie's privilege and upper-class status – something Tom cannotnot buy, but ultimately aspires and wishes to acquire. fly. Targan notices that Dickie's rings have his initials, and by wearing them, Tom thinks he can inhabit Dickie's being (Targan, 311). We know that Dickie often likes to dress poorer than he really is, such as wearing dirty pants or simple "terracotta" shirts, but it's these rings that he never takes off. never that remind everyone around him – and Dickie himself – of his true position in life. On the ride back to Mongibello after killing Dickie, Tom admits that he is "happy, content and completely confident, like he had never been before in his life." (Highsmith, 86) and much of this is due to the perspective of Dickie's lifestyle and the limitless material possessions that stretch before him. He seems hyperaware of the tactility and appearance of objects, such as when he caresses sheets and blankets and marvels at them. This gives us a glimpse into what Tom dreams of and loves: material possessions, because they are what truly make him happy. He describes Dickie's clothes and accessories lovingly, even casually mentioning his love for them; “they were all his and he loved them all” (Highsmith, 97). This phrase could be understood as a frivolous statement made by Tom in the moment, but throughout the passage Tom takes the time to gloss over the little details that make them part of Dickie - like the "sagging pockets" Dickie's sweater, and the "well-worn alligator wallet from Gucci" (Highsmith, 97). As Shannon points out, Tom seems to believe that "Dickie is his clothes" (Shannon, 24) and that by simply putting on his clothes, Tom can transform into Dickie. Much of the book is defined by how Tom has an internal desire to transcend his class and live the life he feels he deserves, and he often recreates this for himself by focusing on possessions. Tom loves the idea of ​​being Dickie, so when he is forced to send Dickie's belongings into storage, he is devastated at the thought of becoming Tom Ripley again. He compares it to “putting on a ratty suit…”. It hadn't gone well at first. (Highsmith, 148) This highlights his deep dissatisfaction with his natural identity and, coupled with the fact that he cries on Dickie's clothes, suggests that Tom feels as if Dickie is a part of him, the part he aspires to be. As mentioned earlier, Tom not only likes possessions, but he likes the status and lifestyle that Dickie's position and money afford him. Even after being interrogated by officers in Venice, he is still quite eager to plan the luxurious meal he plans to eat. Similar to the description of goods, it describes luxury in general in great detail, focusing on "a creamy sauce on delicate pasta", showing that Tom is making an effort to ensure that he savors and enjoys . Upon his arrival in Paris, Tom seems to be in love with the "chic" and sophisticated side of the city and he wants to let "the atmosphere slowly seep in" (Highsmith, 97). In this sense, Tom hopes to be influenced by Paris. himself, and to absorb into himself the sophistication and class of the old world. Throughout the book we are aware of Tom's hedonistic love of possessions and luxuries, but it is not until the end of the novel that he directly addresses his feelings towards them. For Tom, possessions gave a person a sense of self-worth, of security. , and the freedom to live life on your own terms. Throughout the passage, we get the impression that Tom has never been more sincere throughout the novel, and he unabashedly admits that he loves "the quality of his possessions and the love that.