Catch22 Essay Research Paper Since the dawn

Catch-22 Essay, Research Paper

Since the dawn of literature and drama, comedy

and tragedy have always been partitioned into separate genres. Certainly most

tragedies had comedic moments, and even the zaniest comedies were at times

serious. However, even the development of said tragicomedies left the division

more or less intact. Integrating a total comedy and a total tragedy into a

holistic union that not only preserved both features, but also blended them into

a new and harmonious entity remained elusive. That is, until Catch-22. Using his

unique style and structure, Joseph Heller masterfully manages to interlay humor

and terror, comedy and tragedy, and reveals in the process the perversions of

the human character and of society gone mad. The first stroke of Heller’s deft

touch is his presentation of outrageous characters, acting outrageously. From

the first chapter, we are presented with a slew of unbelievable characters whose

actions and ideologies are uproariously funny, and horrifically disturbing. In

fact, the manner in which the reader recognizes the character’s dual nature will

serve as the first example of Heller’s amalgamation of comedy and tragedy.

Dunbar’s theory of life is first received with a burst of laughter from the

audience. Life is short, and Dunbar wishes to extend it as much as possible. If

time flies when one is having fun, then conversely, time must slow when one is

bored. Dunbar endeavors to make his life as boring as possible, thus increasing

the length of its passing. Indeed, it is understandable why such an attitude

should elicit a laugh, but the further implications are horrific. Society’s

emphasis on life over meaning comes as a shocking revelation to the audience.

Heller further reinforces that idea with characters such as Doc Daneeka, who

values self-preservation and money over responsibility and friendship, and Milo

who values self-improvement and fortune over the lives of thousands of others.

The motif that follows gives us characters that are, above all else, more

interested in self (Cathcart, Mrs. Daneeka, Duckett, the Old Man, Peckem, etc.).

Though they are initially humorous, their nature is ultimately revealed to be

false and horrific, arousing disgust and pity, a brilliant combination of comedy

and tragedy. The perversion of society is revealed further in a second major

type of character, the deluded. Though most serve largely as foils to Yossarian

and his philosophy, much can still be made of their condition. Clevinger is

perhaps the best example of a deluded character. His debate with Yossarian

serves as an insightful evaluation of their psyche. He argues that, although

everyone is trying to kill him, everyone is not trying to kill him. The humor of

the debate cannot be denied, but horror and tragedy are equally present. The

debate leaves the audience struggling to decide who is crazy. Clevinger falls

into an obvious contradiction, but his argument still strikes as common sense.

In face of Yossarian’s triumphant "What difference does that make."

the audience is left not only with the realization of its speciousness, but of

the realization that they believed it. The terror evoked by the deluded lies

mainly in that the audience is equally deluded. Perhaps Clevinger, Appleby, and

Havermeyer are fighting for "what they have been told" was their

country– and perhaps so has the audience. The genius of Heller’s

characterization is further enhanced as the audience sees itself in the hollow

rationale of the deluded, and is aghast with horror, even in face of such humor.

With this revelation, Heller compels the audience to follow the rebellious path

of Yossarian, or fall victim to the indoctrination of society, and meet the same

fate as the deluded. As the audience is bombarded with insanely comedic ironies

of Catch-22, they are further aware of its horror. A primary example of irony is

found in Milo, when he is praised for bombing his own company when it is learned

that he made a great deal of money. Again, this evokes a staunch laugh, and then

leaves the audience aghast with horror. Exaggeration makes this funny– an event

such as this occurring, and then inciting such a reaction by those affected is

almost unfathomable– but the ultimate truth provides the terror. Society truly

does reward persons for profit, even if it results, as it often does, in

terrible distress. The further instances of ridiculously backward behavior–

Hungry Joe’s screaming, Havermeyer’s disregard for life, McWatt’s destructive

flying, Cathcart’s "list", etc.– further provide the audience with

humorous instances of exaggeration, whose ultimate truth proves to be

horrifying. Heller’s blend of hyperbole and truth create a horrifying, though

comedic, charge for his irony. Perhaps the most memorable attribute of Catch-22

is its mind-boggling para

Внимание, отключите Adblock

Вы посетили наш сайт со включенным блокировщиком рекламы!
Ссылка для скачивания станет доступной сразу после отключения Adblock!

Скачать