Tuesday 13 December 2022

Major Themes of 'A Tale of Two Cities'

 

 Major #Themes of #ATaleofTwoCities 

 #CharlesDickens 


A TALE OF THE TWO CITIES is probably the least “Dickensian” of his fourteen novels in that it has less of the grotesque, fewer characters, more big scenes, and a less complicated plot. Much of the novel’s value lies in its structure, creativity, and explorations of timeless themes. As a #historical novel, it serves as an excellent example of this genre. The fact that Dickens is able to weave the simple lives of ordinary people into the mosaic of a cataclysmic historical event is an indication of his genius, and another reason to read the book. The #themes that are explored in the novel still have relevance today.

#Themes are overarching ideas and beliefs that the writers use to convey to the readers. #Charles Dickens’s A Tale of Two Cities has themes that are not only universal but also highly relevant at any time. Some of the major themes of A Tale of Two Cities have been discussed below.

Theme 1

#Resurrection

The theme of resurrection and change is one of the major themes that seem to emerge on both social and personal level. The character of Sydney Carton and his death saves the life of Charles Darnay and Lucie Manette. He also saves his name with his heroic act of going to the gallows to save Darnay. The end of the novel is suggestive of him regarding his Christ-like resurrection, as he becomes an icon of sacrifice and heroism for those he has sacrificed his life for.

On a social level, the old status of France appears to give way to the new France where Carton has sacrificed his life for others. His final act of great sacrifice tells how Paris and the society in which he has shown this example will see resurrection. Despite his death and violence in France against and by the aristocracy, the revival of peace and better society echoes throughout the novel.

Theme 2

#Sacrifice

Sacrifice is another dominant theme along with resurrection and an integral part of a happy life in A Tale of Two Cities. The novel presents the need for sacrifice on a personal as well as social levels. The revolutionaries sacrifice their own lives and love to bring revolution. The guard, when he arrests Darnay, reminds Manette that the interest of the country overrules everything else. Madame Defarge also teaches her husband the same thing when he expresses his love for Dr. Manette. On a personal level, Sydney Carton’s personal sacrifice brings happiness to Lucie and Darnay. Therefore, the need for sacrifice with resurrection is an important theme of the novel.

Theme 3

#Violence and Oppression

Violence and oppression are two other major themes of the novel A Tale of Two Cities. The readers can see that the revolutions bring torture, violence, and mass killings. Although Dickens seems to support the revolution, his attitude is not clear about the evils committed by the revolutionaries. The viciousness of the aristocracy, which Evremonde demonstrates, appears to be the major reason for criticism.

Similarly, the Marquis’ exploitation of the peasants is shown in a poor light. However, Dickens has also demonstrated their vengeance following the revolution in which various innocents are crushed such as the Manettes. In fact, seeking revenge after the revolution is to burgeon another cycle of violence, revenge, and oppression. The depiction of the dance with weapons being ground seems to herald a cycle of senseless killing and massacre. Even the tribunals set up to punish the aristocracy worked working without a set law.

Theme 4

#Class Conflict

There are two classes in France before the revolution; the peasants who are at the receiving end and the aristocrats, the exploiters. When the revolution takes place, the whole social fabric experiences a rude jolt. The peasants become no less violent than the aristocracy against them before the revolution because of the long-suppressed suffering. The rape of the peasants through the Marquis in the pre-revolution era reverses in the post-revolution era. The class struggle becomes apparent in the shape of the wine shop of Madam Defarge and Mr. Defarge which becomes a hub of the anti-aristocratic forces. The burning of the chateau of Evremonde is a symbol of the fall of the aristocratic norms. The outcome of this mess comes in the shape of summary execution through guillotines like that of Carton and vengeance as Mrs. Defarge shows toward the Manette.

Theme 5

#Theme of Fate

A Tale of Two Cities highlights another theme which is fate. The mention of time at the very start of the novel presents the idea of fate intertwined with the land and time. Dicken’s method of referring to trees to form a guillotine in France shows that something terrible was going to happen. Lucie, though predicts correctly about the happenings, is fortunate in the end when Darnay is freed. Although Darnay is caught when he returns to France but is freed after Carton sacrifices his life for him. Even women were not safe after the revolution and as mentioned, “There were many women at that time, upon whom the time laid a dreadfully disfiguring hand”.

Theme 6

#Social Injustice

The theme of social injustice is intertwined with revolution and class discrimination. The novel, A Tale of Two Cities, presents this theme through different characters. Dr. Manette does not deserve to be incarcerated for such a long time. The peasant boy is not destined to be killed and then left deliberately by Marquis St. Evremonde. This is an extreme type of social injustice that the boy meets. Moreover, the social injustice going on in Paris is put into contrast with justice in London where everybody has to accept the rule of law while in Paris even persons like Darnay and Manette have to go through torture and imprisonment in spite of their innocence.

Theme #7

Family Preservation

Family and its preservation is another major theme of the novel. It is clear from Darnay’s advances toward Lucie and her trip to Paris to meet her incarcerated father. Although she knows the risks involved and also that her father has lost his memory, she undertakes the journey to meet him. Even Marquis Evremonde is concerned with the family's reputation despite knowing that they have done wrong as he says, “we did a world of wrong.” On the other hand, Defarge, too, plays a vital role in the pre and post-revolution times using animosity to preserve their family preservation.

Theme 8

#Reversals of Roles

Revolutions not only bring bloodshed but also reverse the roles of people and classes.The poor become cruel and barbaric, while the aristocrats and exploiters suffer at their hands. Despite being an aristocrat, Darnay becomes a prisoner when he returns to Paris. However, he is freed when Carton sacrifices himself for Darnay due to his love for Lucie. Their roles reverse by the end of the novel, and Sydney Carton replaces Darnay to be hanged.

Theme 9

#Love and Hate

The novel also presents the theme of love and hate and their interaction. Madam Defarge represents hatred on account of her past sufferings. Carton and Darnay, on the other hand, exhibit love which they shower on Lucie while Carton sacrifices his life for love. Lucie’s love for her father brings him to life from his prolonged incarceration. Therefore, love and hatred go hand in hand in the novel.

Theme 10

#Revolution

The nature of a revolution and its impact is another theme of the novel. France was going through an upheaval. The whole social fabric has turned topsy-turvy as the poor people like Defarge became revengeful and the aristocrats like Evremonde had fallen. Even Darnay has to go through many challenges due to his family connections. The killing spree has led to the deaths of innocents and sinners alike.

 

Thus we can say that the novel contains several major themes that run throughout the story. Themes of resurrection, social justice, and darkness versus light can be found in abundance.


 

Tuesday 29 November 2022

Metaphysical Poetry and John Donne



Metaphysical Poetry








Etymologically the term “Metaphysical” has been derived from two Greek words of Meta and Physics these words imply that Meta means beyond and physics means Physical nature. The metaphysical period is one of the major remarkable literary periods in the history of English literature. Merriam-Webster dictionary defines Metaphysical as “of or relating to the transcendent or to a reality beyond what is perceptible to the senses”

Metaphysical poetry is a group of poems that share common characteristics: they are all highly intellectualized, use rather strange imagery, use frequent paradox, and contain extremely complicated thoughts.

Literary critic and poet Samuel Johnson first coined the term 'metaphysical poetry in his book Lives of the Most Eminent English Poets (1179-1781). In the book, Johnson wrote about a group of 17th-century British poets that included John Donne, George Herbert, Richard Crashaw, Andrew Marvell, and Henry Vaughan. He noted how the poets shared many common characteristics, especially ones of wit and elaborate style.

History of Metaphysical Poetry

The word “metaphysical” was used by writers such as John Dryden and Samuel Johnson in regard to the poets of the seventeenth century. These poets are noted for their “unnaturalness”. Johnson wrote in Lives of the Most Eminent Engish Poets in the late 1700s, that a “race of writers” had appeared that might be termed “metaphysical poets”. The term was likely taken from Dryden who had described John Donne as affecting “metaphysics” in his “satires” and his “amorous verses”. It was not until the twentieth century that many of these poets were adequately recognized for their talent and originality.

T.S. Eliot is one of the many twentieth-century literary critics who helped to establish the well-deserved reputation that writers such as John Donne and Andrew Marvell now hold. He applied many of their techniques to his own writing.

CHARACTERISTICS OF METAPHYSICAL POETRY

• The group of metaphysical poets that we mentioned earlier is obviously not the only poets or philosophers or writers that deal with metaphysical questions. There are other more specific characteristics that prompted Johnson to place the 17th-century poets together.

• Perhaps the most common characteristic is that metaphysical poetry contained large doses of wit. In fact, although the poets were examining serious questions about the existence of God or whether a human could possibly perceive the world, the poets were sure to ponder those questions with humor. • Metaphysical poetry also sought to shock the reader and wake him or her up from his or her normal existence in order to question the unquestionable. The poetry often mixed ordinary speech with paradoxes and puns. The results were strange, comparing unlikely things, such as lovers to a compass or the soul to a drop of dew. These weird comparisons were called conceits. Metaphysical poetry also explored a few common themes. They all had a religious sentiment. In addition, many of the poems explored the theme of carpe diem (seize the day) and investigated the humanity of life. One great way to analyze metaphysical poetry is to consider how the poems are about both thought and feeling. Think about it. How could you possibly write a poem about the existence of God if you didn't have some emotional reaction to such an enormous, life-altering question? Metaphysical poetry investigates the relation between rational, logical argument on the one hand and intuition or “mysticism” on the other, often depicted with sensuous detail Metaphysical poetry is considered highly ambiguous due to the high intellect and knowledge of metaphysical poets.

John Donne

John Donne was born in 1572. He studied both law and religion. Donne was catholic by birth, but in 1597, he embraced the Church of England and became Anglican. His belief in the old faith struggled against the impact of the established church. His intellectual spirit detached itself from Catholicism. His conversion to Anglicanism was due to intellectual pervasion. Donne sought poetry and divinity. He was promoted to the post of Dean of St. Paul’s in 1621. He died in 1631. Donne gave a sincere and passionate quality to the Elizabethan lyric. He was the pioneer and founder of metaphysical poetry.


John Donne is the leader and founder of the Metaphysical school of poetry. His poetry is a revolt against the popular current. First of all, Dryden used the term ' Metaphysical' for Donne's poetry. He said,' Donne affects the metaphysics. Later on, Dr. Johnson called Donne and his followers 'the metaphysical poets. Since then the word metaphysical has been used for Donne and his followers.

When Dryden, Johnson, and Dowden called Donne a metaphysical poet, they referred to the style of Donne. His poetry is metaphysical because of his individualism and his quest for learning. His poetry is full of wit. It is obscure and it indulges in farfetched conceits. It fuses thought and emotion. It is logical, analytical, and mystical. His poetry combines all elements of metaphysical poetry, i.e., Passion, wit, conceit, an amalgam of Passion and intellect, paradoxes, and hyperboles are characteristics of metaphysical poetry. He brings together physical and spiritual love in his poems. His images are always unique and exclusive, often drawn from classical and contemporary branches of learning.

Simultaneously his poetry is metaphysical because it employs conceits and wit and is characterized by the display of learning, hyperbolism, and exaggeration, colloquial speech, argumentation, and paradox.

Here are some elements of metaphysical poetry, which are frequent in every poem of Donne. Following are some attributes, which make John Donne a good metaphysical poet.

Metaphysical poetry:-


  • Is free from artificiality
  • Contains conceits and hyperboles
  • Is intellectual
  • always remains away from the female physique
  • Is about emotions and psychological experiences




Reference - -



https://poets.org › poet › john-donne



Tuesday 22 November 2022

Gratitude

Gratitude 

 I have noticed that the Universe loves gratitude. The more grateful you are, the more goodies you get. When I say “goodies,” I don’t mean only material things. I mean all the peoTople, places, and experiences that make life so wonderfully worth living. You know how great you feel when your life is filled with love and joy and health and creativity, and you get the green lights and the parking places. This is how our lives are meant to be lived. 

 The Universe is a generous, abundant giver, and it likes to be appreciated. Gratitude brings more to be grateful about. It increases your abundant life. 

Lack of gratitude, or complaining, brings little to rejoice about. Complainers always find that they have little good in their life, or they do not enjoy what they do have. The Universe always gives us what we believe we deserve. Many of us have been raised to look at what we do not have and to feel only lack. We come from a belief in scarcity and then wonder why our lives are so empty. If we believe that “I don’t have, and I won’t be happy until I do...,” then we are putting our lives on hold. What the Universe hears is: “I don’t have, and I am not happy,” and that is what you get more of. We even want to be grateful for the lessons we have.

 Don’t run from lessons; they are little packages of treasure that have been given to us. As we learn from them, our lives change for the better. So, whether the lesson is a “problem” that has cropped up, or an opportunity to see an old, negative pattern within us that it is time to let go of, rejoice! 

  Let’s spend as many moments as we can every day being grateful for all the good that is in our lives. If you have little in your life now, it will increase. If you have an abundant life now, it will increase. This is a win-win situation. You are happy, and the Universe is happy.

 Gratitude increases your abundance. Start a gratitude journal. Write something to be grateful about each day. On a daily basis, tell someone how grateful you are for something. Tell sales clerks, waiters, postal workers, employers and employees, friends, family, and perfect strangers. Share the gratitude secret. Let’s help make this a world of grateful, thankful giving and receiving . . . for everyone!

The excerpt is taken from Gratitude – A Way of Life.


Saturday 16 July 2022

Themes in A Doll’s House



Themes in A Doll’s House





Themes are the fundamental and often universal ideas explored in a literary work.

In Henrik Ibsen s play A Doll s House there are many themes that are apparent, but the one that is most apparent is the way that women and men are viewed. Women are especially viewed in the context of marriage and motherhood. Men are viewed as manly men that are not dependent on anyone for anything.

The play focuses on the way Nora is seen as a mother and a wife. Torvald has a clear and narrow definition of a woman. He believes that a woman should be a good wife and mother. Torvald tells Nora that mothers are responsible for the morality of their children. In essence, he sees women as both child-like, helpless creatures and important moral forces responsible for the morals and purity of the world through their influences on their own child s morality.

Well as such the central theme of this play is Nora’s rebellion against society and everything that was expected of her. Nora shows this by breaking away from all the standards and expectations her husband and society had set up for her. In her time women were not supposed to be independent. They were to support their husbands, take care of the children, cook, clean, and make everything perfect around the house.

Nora’s first rebellion was when she took out a loan so that she could pay for her husband, Torvalds medical treatment. It was against the law for women to take out a loan without their husbands consent.While Nora’s second rebellion was when she left Torvald and her children.
 
Other themes of the play include - 

Individual and Social Fabric
This is one of the most important themes of the play. Most actions of an individual are in response to the society or community they live. Nora is a loyal wife and a dedicated mother, but she does not stick to the moral framework of society. She thinks it morally right to deceive her husband about her debt and forgery. Even suicidal thoughts are for her husband, who will ruin himself when protecting her later. Mrs. Linde yearns to be a caretaker and play the role of nurturer. She betrays Nora, which helps her see the true nature of Torvald. Also, Krogstad does not achieve happiness through any means but realizes by the end that he can achieve it through his reformation. He learns that a person must give proper respect to his personality if he wants to win the respect of others in society.


Feminism
Nora, as a character, becomes prominent not only in the world of literature but also in the world of theatre. Her figure as a woman towers over those of men with whom she locks horns. She breaks Torvald’s traditional notion of women subservient to men; she still has to find a future for herself and support her children when she decides to leave. However, Torvald fails to understand the value of a woman and the reason for her debt. Nora has secured a bright future for her children and also supported her husband, but she has failed to support her own position. It shows that the patriarchal circle has still the same strength as it has before the start of the play. Femininity though tries to break this circle; it seems that it needs more than merely the threat to leave as Nora does by the end of the play. However, she indeed stands in the shadow of her father whenever her husband has some praise for her despite having decision-making ability at critical junctures.

Love and Marriage
Another important theme of the play is love and marriage. Nora and Torvald Helmer are presented as a happy couple, leading a blissful married life. The use of pet names by them for each other shows the involvement of love as opposed to Mrs. Linde’s life. This marriage proves a contrast to the marriage of Mrs. Linde and Krogstad that happens by the end of the play, which shows that love and marriage are based on realistic expectations. When the reality of the deception of Nora dawns upon Torvald, he reveals the other side of human nature and immediately expels Nora from his life, while she is also ready to go away. On the other hand, Mrs. Linde and Krogstad have never been in love with each other.

Moreover, Dr. Rank, too, has loved Nora for years though he has never married. Nora and Torvald show that their marriage is subject to social rules, conventions, and customs. When this rule is broken, the marriage stands cancelled. Krogstad and Mrs. Linde’s marriage show that this is not always the case.

Deception
Deception is another major theme of the play. Nora’s action of borrowing debt and then forging her father’s signature shows that she has deceived her husband. Although Krogstad blackmailed her several times on account of this forgery, she has never disclosed it to her husband. She then shares this deception with Mrs. Linde, who advises her that she should inform her husband. She believes that such marriages based on deceptions do not have a chance to succeed, and she proves right. Krogstad also suffers from a bad reputation as he is with Nora in forging the signature of her father and using her as a ploy to get a promotion. Therefore, such frauds and deceptions have been presented in the play as corrupting forces that not only destroy the very foundations of society but also ruin blissful married lives.

Materialism
Materialism is an essential thematic strand that runs throughout the play. Stress upon money is the specific focus of the married couple Nora and Torvald Helmer. Financial autonomy and success are the central points of Torvald’s point of view about success, whether it is in marriage or business. His refusal to take cases that do not give him satisfaction is the primary reason for his financial success. Nora, too, thinks that by providing material comfort, she can win her husband as well as her married life. However, expectations of the material success of Nora and Torvald dash to the ground by the end of the play when they come to know the truth.

Upbringing Children
Although Ibsen has not given children of Nora and Helmer any space in the play, it is also a thematic strand that runs parallel to the truth of marital love. Emmy, Ivar, and Bobby show how parents are bringing them up and how they should be treated. Nora has a little time for them as she brings toys, but her father never appears to have any time except for his financial career. However, in another way, he has time to call his wife with names such as “little person” or “little woman” or “little songbird” and other such names reserved for children. This shows that both of them are bringing up their children as their possessions instead of human beings, which is proved wrong by the end.

Parental Obligations
The play shows that parents are responsible for bringing up their children with the right moral values. For example, Nora is accused of following her father’s extravagance and money-making drive. Dr. Rank seems to have inherited disease as well as moral flaws from his father. Torvald, too, holds this idea that parents determine the moral character of a child as he states when Nora is with him that criminals always have mothers who lie in their lives.

Religion
Although religion does not directly appear in the play, it has some importance. For example, the events of the play occur around or on Christmas. While the events of the first act take place in the evening, the second on the day of Christmas, and the third on Boxing Day. The arrival of the Christmas Tree in the first act also shows this occasion. Secondly, there is much stress on the morality that is undoubtedly Christian morality. However, it is interesting that it has not been directly mentioned. Only Torvald accuses Nora of having “no religion” and that his father does not have any principle. Nora too admits by the end that she does not know the reality of religion and that she is not sure about the clergy as well.

Corruption
It is a minor theme but plays an important role in the progress of the play. Dr. Rank is the epitome of corruption and has inherited tuberculosis along with moral degradation from his father. In the same way, Torvald accuses Nora of inheriting moral ineptitude about money and financial matters from her father. In other words, it is suggested that such corruption, whether it is physical, or moral is a curse for society.

The Theme of Emancipation of Self in Henrik Ibsen’s A Doll’s House.

Henrik Ibsen was an extremely influential Norwegian playwright who stood responsible for the rise of modern realistic drama. In A Doll’s House, Ibsen employs the themes and structures of classical tragedy while writing in prose about everyday, unexceptional people.

A Doll’s House, a realistic three-act play, focuses on late nineteenth-century life in a middle-class Scandinavian household, in which the wife is expected to be contentedly passive and the husband paternally protective Nora Helmer once secretly borrowed a large sum of money so that her husband could recuperate from a serious illness. She never told him of this loan and has been secretly paying it back in small installments by saving from her household allowance. Her husband, Torvald thinks her careless and childlike and often calls her his doll.Nora tries to influence her husband, but he thinks of Nora as a simple child who cannot understand the value of money or business.

A Doll’s House manifests Ibsen’s concern for women’s rights and human rights in general. It has two kinds of moral laws, two kinds of conscience, one for men and the other for women. Norah appears to be happy with her husband, the lawyer Torvald Helmer and their three children, two sons and a daughter. When the play begins, it is Christmas eve and Nora has returned home after doing her Christmas shopping. The affectionate exchanges between her and her husband suggest that they are still very much in love after eight years of marriage. It is clear through the thinking of Helmer that Nora is rather careless with his money. She is elated because he has recently been appointed as Manager of a bank.

The play is divided into three acts. In the first act, we are first introduced to the two women characters of the play, Nora Helmer, the heroine, and Christine Linde her old friend, and come to know about their past and present life.Then we are introduced to Doctor Rank and Krogstad the villain of the piece. Then follows a talk among Nora, Helmer, and Christine in the course of which Helmer promises Nora’s friend Christine Linde works in his bank. Then from the ensuing conversation between Nora and Krogstad, we come to know about Nora’s secret loan from him and her forgery of her father’s signature on the bond signed to Krogstad. The act ends with Nora brooding on the influence of bad mothers on their children as well as the threat posed by Krogstad

In the second act, we come to know about Nora’s nurse having forsaken her daughter and Nora’s hint to her that the nurse may have to look after her children too just as she did with motherless Nora, Nora’s request to Helmer to retain in his post and Helmer’s egotic rashness in dismissing him through his orders precipitating the crisis of Nora in the following act.

In the third act, we are led to know about the meeting between Linde and Krogstad and their decision to marry. Then we have a glimpse of Helmer’s unsuccessful efforts to woo his wife Nora. We are then presented with the dignified exit of Doctor Rank from the Helmers and the world. The final episode is between Nora and Helmer after Helmer having read Krogstad’s letter exposing Nora. This is in turn enables Nora to see the real character of her husband which makes her take the sudden decision to sever all her ties with him abruptly and walk out of his home.

Ibsen makes numerous hints about the roles of women and how the female gender was treated at the time. A Doll’s House is considered to be the first feminist play, challenging the Victorian ideal of a woman’s role in marriage. In A Doll’s House, Ibsen paints a bleak picture of the sacrificial role held by women of all economic classes in this society. The play is significant for its critical attitude towards nineteenth-century marriage norms. It aroused great controversy at the time, as it concludes with the protagonist, Nora, leaving her husband and children because she wants to discover herself. Ibsen was inspired by the belief that a woman cannot be herself in modern society, since it is an exclusively male society, with laws made by men and with prosecutors and judges who assess feminine conduct from a masculine standpoint. Nora initially seems like a playful, naive child who lacks knowledge of the world outside her home. She realized that she has acted the part of the happy, child-like wife for Torvald and before that she has acted the part of the happy, child-like daughter for her father. She now sees that her father and Torvald compelled her to behave in a certain way and understands it to be great wrong that stunted her development as an adult and as a human being. She has made nothing of her life because she has existed only to please men.

But Nora is a woman with unlimited potential. She will not be able to attain her self-realization and selfhood until she leaves home to stop being a doll. She has not been allowed to be her true self both by her father and her husband and as both have treated her like a doll, she has to play the doll throughout. Nora has never left home. She was confined in her father’s home and to do what he wanted. She then goes directly to her husband Torvald Helmer’s home where she is treated as a child. She is protected, petted, patted, dressed up, given pocket money, but she is not allowed to be herself. She has no experience of life outside her home. She leads her life only as a doll which is keyed by her father before marriage and by her husband after marriage. The title of this play shows that there is a relationship with the theme of home.

The play also focuses on the main theme of marriage which is based on perfect understanding between the couples and not mere in wealthy life or some other facts. The marriage is not based on illusions or phantasies or a mere show it is all about the two minds which are going to dwell into a single soul. Marriage should not consider to be a doll house it is a human institution. Nora, the female protagonist of The Doll's House, acts as Ibsen’s mouthpiece of the woman emancipation. Ibsen himself said that the intention of the play was to show an individual’s liberation from the shackles and restraints of society. Nora leads the traditional role of a puppet wife and a doll-mother for the sake of gaining self-liberation, individuality, and independence. The play tries to probe the true base of the man-woman relationship in its most intimate forms of marriage. Nora is perfectly aware of outsider’s opinion about her. Nora is a doll in the hands of three persons, namely Torvald Helmer, Krogstad, and her father. Nora is judged from the eyes of men. To them, she has committed forgery and is a cheat but it is not so. She has done everything only for the betterment of her family. Not even a single room is given for her wish or her passion or her emotion; rather she is treated as a puppet, whose acts are controlled by their masters.

The play A Doll’s House advocates the rights of women and especially of wives in relation to her husband’s. The final decision of Nora the protagonist of the play shows the sufferings she has come across in her lifetime. She doesnot want to ruin her life by committing herself towards the family in the namesake of parents, husband, children, and society. She had believed that someday a miracle would happen and he would prove that he too was capable of making a sacrifice of her, but she has found that the miracle did not happen. She takes back her wedding – ring, and steps out of the house, slamming the outer door behind her. A Doll’s House has great relevance in the present age when man has lost his intuitive, feminine self, hence the increasing materialism and masculinity in today’s modern world. The intuition of oneself is to be with their own self-identity. Society is set up by ourselves for our convenience and not for the sake of others. The ultimate message of this play in my point of view is to be what you want to be.

Monday 11 July 2022

Character Sketch of NORA in A DOLL'S HOUSE

 
Character Sketch of NORA in A  DOLL'S HOUSE 👇

 


The late nineteenth-century Norwegian playwright Henrik Ibsen both guides and haunts the struggle for the emancipation of women. His play A Doll's House remains after nearly one hundred years a most eloquent statement of the urge to stand free. Nora, the play's heroine, has inspired countless women in their fight for liberation. Henrik Ibsen once said: “A woman cannot be herself in contemporary society, it is an exclusively male society with laws drafted by men and with counsel and judges who judge feminine conduct from the male point of view,” It was also once said by Max Beerbohm that “the New Woman sprang fully armed from Ibsen's brain”. By many critics, Nora is seen as the incarnation of the will to reach self-fulfillment through liberation from oppression and self-deceit.
 In A Doll's house (1879), the woman character Nora Helmer is a fully capable woman, so capable; that she must hide that she has been supporting her family through her husband's inadequacy to preserve the harmony in their household.  The harmony is dependent on the husband's supposed superiority and Nora's adorably-helpless-wife act. As the secret is revealed and Nora had confronted with the reality of the male ego, she decides that she cannot continue playing the part of her marriage if she truly wants to live to her full prospective. The theme that is more interesting to Ibsen is the duties towards oneself and achieving individuality and individual rights in society. Indeed, in a patriarchal society that is controlled by men's rules, this is a woman, who should try to get her rights: “What duties do you mean? Nora: my duties towards myself” (Doll's House IIIrd Act, 68).
Nora embodies the individualist alternative. In her, Ibsen depicts the full glory of a woman who finally finds herself in opposition to all social norms. The play ends with the dramatic sound of a door slamming shut. Nora walks away from the security of her household and from all traditionally sacred values of marriage and motherhood. She leaves to face an uncertain but compelling future of self-becoming. She is going off to know her own responsibilities towards herself. This kind of self-realization, which usually leads to a new beginning, is one of Ibsen's main ideologies posed in his play.
Nora is the main protagonist of the story, is the wife of Torvald, and the mother of three children. She lives like a doll in a doll-house, and her character serves as a symbol for every oppressed woman who is restricted from living a free life.
At the beginning of the play, Nora is shown as rather a submissive, childish woman, who enjoys being patronized, pampered, and treated like a defenseless animal. She seems happy and does not seem to mind her husband calling her a “little featherbrain”, “squirrel”, “skylark” and other similar condescending nicknames. In fact, she also seems to enjoy the treatment Torvald gives her. However, along with this, one sees certain defiance, rebelliousness, and impulsiveness in her character. In spite of being forbidden from eating sweets, she eats macaroons without the knowledge of her husband, and even lies to him about it, saying “I wouldn’t do anything that you don’t like.” Nora is also manipulative and often plays dumb to get her way with her husband. When attempting to convince Torvald not to dismiss Krogstad, she says “Your squirrel will scamper about and do all her tricks, if you’ll be nice and do what she asks.”
However, as one enters deeper into the plot of the play, one realizes that Nora is not as deceptive and selfish as she first seems to be. Despite her seemingly shrewd nature, she also possesses a certain innocence and vulnerability. She is, in reality, innocent and inexperienced about the outside world. Nora also displays a bit of self-doubt, which is largely due to her being treated like a doll all her life. She is continuously reminded by Torvald that she is a “prodigal”, a spendthrift, “just like your father”.
She expresses her lack of self-confidence when she says to her husband, “I wish I had inherited more of papa’s good qualities.” Her insecurity is also evident in her eagerness to provide Mrs. Linde a beautiful and perfect picture of her life, by immediately telling her that she has three beautiful children and that her husband now has a magnificent position at the bank.
At the same time, she also believes that she is not given the credit she deserves. “You none of you think I could do anything worthwhile…” Nora is guilty of committing forgery, an innocent mistake she commits in her desperation to save her husband from his illness.  However, this eventually leads to her being blackmailed by Krogstad. Nora presumes and dreads that once her crime is revealed, Torvald will take the blame on himself and even go to the extent of taking his own life.
This shows that Nora trusts her husband, despite his dominating and patronizing nature.  “He’d really do it- he’d do it! He’d do it in spite of everything.” It is when this “miracle” that she so firmly believed would occur, does not happen, that Nora finally opens her eyes to her husband’s true nature. 
Nora’s climactic transformation into a matured, bold, courageous and independent woman forms a crucial part of her personality. When she realizes that her husband is not the protector or savior he claimed himself to be, and opens her eyes to his blatant hypocrisy, she immediately gives up playing the role of his little “doll”.
At the end of the play, Nora shows many traits of a new woman. When Torvald finds out about her unlawful deed, he blows up on her to show her what she has done. After a long time, she had to think about what she had done she finally takes the  responsibility to let him know and take full blame for her acts. She showed characteristics of a “New Woman” in this instance because she owned up to her flaw and told Torvald the truth instead of hiding behind her lies and acting like Korgstad had it out for her. Also following the blowup, Torvald obtained another letter from Krogstad explaining that they do not have to pay back the bond and sent the bond to them. Even though Nora and Torvald knew everything would be fine, Nora takes it upon herself to realize she would be guilty her whole life knowing what she had done. She refused to stay with Torvald and leaves the house to find herself. She says: “I believe that before all else I am a reasonable human being, just as you are, at all events, that I must try and become one.” This quote stands out as a declaration of independence, that she is not just a woman, but that she is also a human being and should not be treated like an insubordinate person that is looked down upon. She knows that she has more potential than just being a mother and a wife and that she wants to seek that out without being with Mr. Helmer.
Thus Nora resists and rejects the domestic role and acts in opposition to the social conventions and morals. The problem portrayed in the play is about women's rights, as human rights. It is also about the need for every woman to find out herself and stand on her feet in order to recognize the truth about herself, her life, and her society. For the contemporary women's movement, Ibsen's legacy is an ambiguous one. On the one hand, he has articulated forcefully the feelings and the drama of awakening consciousness. While on the other hand, Nora's exit marks merely the beginning of an arduous struggle.

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Saturday 9 July 2022

A DOLL’S HOUSE: A FEMINIST STUDY



A DOLL’S HOUSE: A FEMINIST STUDY




As one of the founders of modernism in theatre, Henrik Ibsen is often referred to as “the father of realism” and the second most influential playwright of all time – after Shakespeare. He completely rewrote the rules of drama with a realism that we still see in theatres today. He also turned the European stage away from what it had become – a plaything and distraction for the bored – and introduced a new order of moral analysis. The Doll’s House was first performed in 1879, at that time, and still today it is one of the most famous gender political moments in world literature. Due to its fame, A Doll's House has also been adapted into several films.

The role of Nora even holds an iconic status: UNESCO’s Memory of the World register calls Nora “a symbol throughout the world, for women fighting for liberation and equality”.
The play was Ibsen’s first play to create a sensation and is now perhaps his most famous play, and is read in many colleges and universities. The play was controversial when first published, as it sharply criticizes the 19th-century marriage norms. It follows the formula of well-made play up until the final act when it breaks convention by ending with a discussion, not an unraveling. It is often called the first true feminist play. The play is also an important work of the realist movement, in which real events and situations are depicted on stage in a departure from previous forms such as romanticism.

A Doll’s House is about a couple with three children who live a seemingly pleasant middle-class life until individual, economic and social circumstances force a change in the wife‟s attitude towards her marriage and social norms which leads her to leave her family to seek her own freedom or life independence. The play deals with women’s problems under the domination of patriarchal culture within the society. It is centered on the major female character named Nora who experiences various circumstances in her marriage. She married a man named Torvald Helmer. At the beginning of the play, she seems completely happy with her marriage and relationship with Helmer. She enjoys her role as a wife and a mother although she has to order the rule of patriarchal ideology on how should be a “good” married woman. Helmer sees Nora’s only role as being the obedient and loving wife. In Helmer’s view, Nora is an obedient wife but she tends to be childish and sometimes difficult to manage. Nora’s childish behavior mostly appears when she interacts with Helmer. This childish behavior results from Helmer’streatment. Helmer always treats Nora as his doll which can be played anytime.

At the beginning of the play, Nora has been attributed nicknames such as “sweet little spendthrift” and” extravagant little person”. It clearly shows that Helmer judges Nora as an extravagant person, who always wastes money on unimportant things and can not manage the money for the family. Since her husband is the one who is in charge to support the family’s finance, Nora always follows what her husband says although it is not true that she always spends the money recklessly. In fact, Nora takes a secret job copying papers by hand in order to make money to pay the debt that she borrows from a disgraced lawyer, Nils Krogstad, to save Helmer’s life when he is very ill, but she has not told him in order to protect his pride.

In the patriarchal society, women are regarded as powerless and weak. In this case, Nora tries to fight against all forms of discrimination and oppression with her struggles. In breaking the limitation to women’s freedom to decide to do something in domestic life, she decides to solve her family's financial problem and in breaking the limitation to women’s freedom to express feelings over men’s domination, she decides to express her feelings over her husband’s domination.

As the conflict rises and the interaction between Nora and the other characters happens, Nora, herself starts to doubt her role and her existence in the family. She begins to realize the way patriarchal ideology, which lies in the domination of his husband, considers her as inferior and as the other, even by his own husband, even though she has done many sacrifices for him. Nora’s conflict with Krogstad, who threatened to tell her husband about her past secret, namely forging her father’s signature of surety on the bond, enflamesNora’s journey of self-discovery. Nora’s primary struggle, however, is against the selfish, stifling, and oppressive attitudes of her husband and of the social norms at that time.

In the patriarchal society, women are regarded as powerless and weak. Women have been discriminated against not only in social life but also in domestic life. There are some limitations of freedom that occur in domestic and social life which bind women’s rights. In domestic life, the limitations are the limitation to women's freedom to decide to do something and the limitation to women's freedom to express feelings over men’s domination. In social life, there is a limitation to women’s freedom to decide an important thing. There are also weak images of women, which regard women as incapable of doing domestic work and of deciding important things in social life.

In this case, Nora tries to fight against all forms of discrimination and oppression with her struggles. In breaking the limitation to women’s freedom to decide to do something in domestic life, she decides to solve her family's financial problem and in breaking the limitation to women’s freedom to express feelings over men’s domination, she decides to express her feelings over her husbands' domination. In social life, in breaking the limitation to women’s freedom to decide an important thing, she decides to do an important thing. Meanwhile, in breaking the belief about the incapability of doing domestic work in domestic life, she tries to show her ability in doing domestic work. In social life, in achieving the incapability of deciding an important thing, she decides to do an important thing in order to gain her life independence.

Well as such historically, patriarchal culture started to be popular during the Victorian Era in the 19th century when there was a significant change from agricultural to industrial aspects (Lambert, 2009: 5). The Victorian Era was the golden age to bridge modernization through the industrial revolution in England. In this era, people were triggered to change their fate also by having better economic conditions. Men worked outside the house as the bread maker of the family, while their women were only busy with their daily activities in the household.

People of the Victorian Era were handed the principle that women should get married and have children because they were born, raised, and educated as good wives, not anything else. As a result of the lack of education, a woman of the Victorian Era was expected to marry a man in order to support her, since she did not have the knowledge to do any jobs. This reason brings economical roles for men and familial roles for women as the main arrangers of the household. Therefore, there is a notion that men’s role is to be the breadmakers and the leaders of the family. The patriarchal cultures become an influential aspect in forming the social rules of Victorian society. As a result, all rules including women’s roles are organized by patriarchal power. Automatically, marriage, duties, and women’s careers become a part of patriarchal production.

Based on these aspects of patriarchal culture, women’s position and roles in society and marriage lives were established strictly. Women were considered to be inferior to men both in social and marriage lives. A good wife is a woman who obeys her husband’s order, looks after her house and children, and has no right to deal with financial matters since the husband is the one who is constructed as the breadmaker of the family. This separation of roles was influenced strongly by the idea of patriarchy that men are superior to women.

For centuries, men and women have been treated unequally in a society that believes in a patriarchal system. Patriarchy is the name given to the whole complex system of male dominance by which most societies are run now and were run in the past. In this system, men are the controller and women become the follower. Men have full power to treat and control women and, thus, women-only follow what men say as the head of a society. In this case, have no right or chance to break the rules. The result is that men are superior to women in all segments of life such as in domestic areas, education, politics, and social life. Furthermore, this condition raises many problems between women and men After exploring the feminist theory and women’s problems we can say that there are two kinds of women’s problems found in Ibsen’s A Doll’s House. Those are strong patriarchal power and weak images of women.

A Doll's House is a representative feminist play. It deals primarily with the desire of a woman to establish her identity and dignity in a society governed by men. Here, Ibsen uses his works or writings to voice his support to solve women’s problems which are related to discrimination and oppression towards them in the world. Through A Doll’s House, he tries to emphasize to the reader that women can be independent and have the same ability as men in many aspects of life. To sum up, women’s problems that happen in the play area because of the strong patriarchal power and the weak images of women which create many limitations to their freedom in doing their activities and also create some bad assumptions about their ability in domestic and social life. Nora, as the main female character, tries to fight to overcome the problems with the struggles she takes. Her final decision, which is deciding to leave her family, results from her profound disappointment because of her husband’s negative response. It brings out her desire to be an independent woman without the existence of anyone who is superior to her anymore and it can only be accomplished employing leaving her family.

Saturday 25 June 2022

DOLL’S HOUSE by Henrik Ibsen - Overview and Synopsis

 DOLL’S HOUSE by Henrik Ibsen

BORN: 1828, Skien, Norway

DIED: 1906, Oslo, Norway

NATIONALITY: Norwegian

GENRE: Drama, Poetry



MAJOR WORKS: 

Brand (1866) Peer Gynt (1867) A Doll's House (1879) Ghosts (1881) The Wild Duck (1884) Hedda Gabler (1890)


Overview

In the English-speaking world today, Henrik Ibsen has become one of three playwrights widely recognized as outstanding. Alongside William Shakespeare and Anton Chekhov, he stands at the very center of the standard dramatic repertoire, and no actor can aspire to the highest rank unless he has played some of the leading roles in the works of these three giants. In this trio, Ibsen occupies a central position, marking the transition from a traditional to a modern theatre. While Ibsen, like all great dramatists who came after him, owed an immense obligation to Shakespeare, Chekhov (who regarded Ibsen as his “favourite writer”) was already writing under Ibsen's influence. Ibsen can thus be seen as one of the principal creators and wellsprings of the modern movement in drama, having contributed to the development of all its diverse manifestations: the ideological and political theatre, as well as the introspective trends that focus on the representation of inner realities and dreams.

Ibsen was born on March 20, 1828, to wealthy parents in Skien, Norway, a lumber town south of Christiania (now Oslo). The family was reduced to poverty when Ibsen's father's business failed in 1834. After leaving school at the age of fifteen and working for six years as a pharmacist's assistant, Ibsen went to Christiania hoping to continue his studies at Christiania University. He failed the Greek and mathematics portions of the entrance examinations, however, and was not admitted. During this time, he read and wrote poetry, which he would later say came more easily to him than prose. He wrote his first drama, Catiline, in 1850.

Critics generally divide Ibsen's work into three phases. The first consists of his early dramas written in verse and modeled after romantic historical tragedy and Norse sagas. Whereas, Ibsen wrote prose dramas concerned with social realism during the second phase of his career. In this phase, A Doll's House (1879), is often considered a masterpiece of realist theatre. With The Wild Duck (1884) and Hedda Gabler (1890), Ibsen entered a period of transition during which he continued to deal with modern, realistic themes, but made increasing use of symbolism and metaphor.

As one of the founders of modernism in theatre, Henrik Ibsen is often called “the father of realism” and the second most influential playwright of all time – after Shakespeare.


SYNOPSIS OF THE PLAY

Act One

Nora Helmer enters her lovely living room laden with packages and a Christmas tree, humming a happy tune and sneaking a macaroon. Her husband, Torvald, greets her with questions about her spending, calling Nora his “little lark,” “squirrel,” spendthrift,” and “sweet tooth.” Nora reminds him that they have no worries since Torvald has just been offered a bank managerial position, but her husband opts for caution. When Torvald inquires what she desires for Christmas, Nora asks for money. Two visitors enter the house: Dr. Rank accompanies Torvald to his study, and Mrs. Linde, an old friend who has been out of touch, joins Nora. The two women share confidences, and Nora reveals that she has hidden more than macaroons from her husband. Due to Torvald’s serious illness several years prior, Nora explains, she had to finance a year of recovery in Italy. While she told Torvald that her father had left them the money, Nora actually forged her father’s signature and borrowed the money from a lawyer named Krogstad. Justifying her dishonesty by saving Torvald’s health and pride, Nora explains that she has been secretly working to pay off the loan, and she is almost free of her debt. Krogstad enters next, hoping to salvage his position at the bank by speaking to Torvald. After Krogstad leaves, Nora is able to talk Torvald into giving Mrs. Linde a position at the bank. Torvald, Dr. Rank, and Mrs. Linde leave, and Nora visits with her three children. Krogstad returns with a threat: Nora must get Torvald to keep Krogstad’s position at the bank, or Krogstad will reveal Nora’s deception and forgery. Upon Torvald’s return, Nora questions him about Krogstad’s past, and Torvald explains that Krogstad lost his own reputation due to forgery. Declaring that such a lie “infects the whole life of a home,” Helmer returns to his study, leaving Nora anxious but determined.

Act Two

The curtain rises on the same room the next day, which is Christmas. Nora paces frantically, anxious that Krogstad will return to reveal her forgery to Torvald. The nurse enters with a box of masquerade clothes for the next evening’s festivities, and Nora questions her about children who grow up without mothers. Kristine Linde enters, and as she helps Nora repair her masquerade dress, Nora confides in her friend once again. Assuring Kristine that she did not get the money from Dr. Rank, Nora asks Mrs. Linde to play with the children while she speaks to Torvald. Promising “to scamper about and do tricks” if only Torvald would give in, Nora asks her husband to keep Krogstad at the bank. Reminding her that rumors would spread about his wife’s influence, Torvald denies Nora’s request. When she says his concerns about propriety are “petty,” Torvald becomes incensed and sends Krogstad’s termination letter to his home. Dr. Rank confides to Nora that he is dying and that he has loved her for years. Unable to ask the doctor for help after his admission, Nora asks for a lamp to be brought in. Krogstad, having received his termination, returns to threaten Nora again, and the two admit that though they have both considered suicide, neither can brave it. Krogstad leaves, but his letter revealing all is clearly heard entering the mail slot. Nora keeps Torvald from reading the letter by begging his help with the tarantella dance she will perform at the masquerade. Dancing frenetically as though her “life were at stake,” Nora keeps Torvald occupied re-teaching her the dance. But tomorrow night, she promises him, “then you’ll be free.”

Act Three

The act opens, once again, in the Helmer’s living room, where Kristine Linde awaits the Helmers’ return from the party upstairs. Nora has just danced the tarantella. As Mrs. Linde waits, Krogstad arrives at her request. Kristine asks Krogstad to give them a second chance at a relationship. Krogstad agrees, promising to retrieve his letter of revelation, but Kristine convinces him to let the truth come to light for the good of both Nora and Torvald. The Helmers arrive from the party, Kristine leaves, and Torvald’s amorous mood is interrupted by a visit from Dr. Rank, who leaves his calling card marked by the black cross that announces his impending death. Helmer tells Nora that he has often wished for some danger to befall her so that he can rescue her, and Nora seizes this opportunity to encourage Torvald to read Krogstad’s letter. Torvald reads it and immediately chastises Nora, claiming she has wrecked his happiness and ruined his future. Torvald explains that Nora can stay in the house but will be unfit to raise the children. “From now on,” Torvald claims, “happiness doesn’t matter; all that matters is . . . the appearance.” When a letter arrives including Nora’s cancelled debt, Torvald is happy again. But Nora is forever changed by her husband’s reaction, and after removing her masquerade costume, she sits down with Torvald to share the first serious conversation of their eight year marriage. Declaring she has been “wronged greatly” by both her father and her husband, Nora compares her existence in their homes to a doll in a doll house. When Torvald declares his wife cannot leave because her husband and children are her “most sacred duties,” Nora responds with “I have other duties equally sacred. . . .Before all else, I’m a human being.” Nora is determined to remain strangers unless “the greatest miracle of all” could happen – the ability to live together in a “true marriage.” Nora departs, and the audience is left with the sound of a door slamming shut.

Friday 22 April 2022

#Catch-22 #JosephHeller #Summary

 Catch-22
Originally published: 10 November 1961
AuthorJosephHeller
 

Book Summary

Joseph Heller was an American writer of satirical novels, short stories and plays. Although he wrote several acclaimed novels, his reputation rests firmly on his masterpiece, the great American anti-war satire, Catch 22. Because of the quality of the novel and the impact it has made on American culture it has catapulted Heller into the ranks of the great American writers.

The action of the novel takes place Behind the backdrop of World War II,Captain Yossarian, an American bombardier stationed on the Italian coast of Pianosa, with his Air Force squadron. Yossarian and his friends have an absurd existence that seems out of a nightmare. Their lives are defined by violence and bureaucracy. They are not seen as fully human but rather resources by their ruthlessly ambitious superior officers. The squadron is pushed thoughtlessly into violent combat situations and bombing expeditions in which it is seen of more importance to the squadron to get high-quality aerial photographs of explosions than to actually hit their targets. The colonels continue to increase the number of missions that the men need to fly before they will be sent home.

Catch-22 is a law that is depicted in several different ways in this novel. We see that Yossarian finds out that it could be possible for him to be discharged from military service because of insanity. Obsessed and odd, Yossarian accepts that everybody around him is attempting to kill him. All Yossarian needs is to finish his deployment and be sent home. However, because the glory-seeking Colonel Cathcart continually raises the number of required missions, the lads of the “fighting 256th squadron” must keep on fighting.

With a growing hatred of flying, Yossarian pleads with Doc Daneeka to ground him on the plea of insanity. Doc Daneeka replies that Yossarian’s appeal is baseless because, as per army regulation Catch-22, insane men who ask to be grounded have to prove themselves sane through a priority for private safety. Genuinely insane individuals are the individuals who promptly consent to fly more missions. The best way to be grounded is to request it. Yet this act demonstrates sanity and thus demands further flying. Crazy or not, Yossarian is stuck.

The mad bombardier utilizes elective measures to keep away from battle flights. Faking a liver condition, Yossarian checks into the medical clinic and takes a break by controlling mail and fashioning “Washington Irving” to authentic armed force correspondence. Yossarian puts off the mission to Bologna when he subtly moves the bomb line on the map of Italy. A sudden outbreak of diarrhea caused by poisoned sweet potatoes also delays the mission, much to the chagrin of Milo, the mess officer, and entrepreneur liable for a posh international trade syndicate during which everyone features a share.

Starved Joe has flown more battle deployments than anybody. Orders shipping him home are constantly unfulfilled and therefore the ragged hero has frequent screaming nightmares. Yossarian is accused of the loss of Kraft’s plane over Ferrara since he flew over the objective twice. Colonel Cathcart and Colonel Korn conceal the calamity by granting Yossarian an award for fortitude and elevating him to skipper. Yossarian stands bare in development to get his decoration. Still damaged by Snowden’s demise over Avignon, Yossarian won’t wear his violence-splashed uniform. Youthful Nately crashes in a crisis mission and Yossarian bears the updates on his passing to his dearest prostitute in Rome. Grief-stricken and angry, she follows Yossarian with bestial anger and attempts to kill him with a kitchen blade.

Yossarian defiantly refuses to fly more missions. Colonel Cathcart offers Yossarian an arrangement: Yossarian will be sent home if he commits to praising his commanding officer. Understanding that such a deal would deceive his fellow soldier, Yossarian denied selling out.

The chaplain gives Yossarian the exciting news that his previous tent-mate, Orr, has washed ashore in Sweden after missing in the sea for few days. Yossarian understands that Orr was not the botching pilot that he claimed to be. Rather, Orr shrewdly practiced his escape with each planned crash landing. Out of much excitement, Yossarian chooses to flee and join Orr in Sweden. Yossarian finds that there is nothing of the sort of Catch-22. Notwithstanding, it doesn’t make a difference, since individuals have confidence in it in any way. He would not stay and danger of being slaughtered in a practically finished war. Yossarian flies away to Sweden, resolved to remain alive.


Summary — Chapter 1: The Texan

Not wanting to face the violence of World War II, Yossarian, an American soldier, has gone to an Italian military hospital claiming to have pain in his liver. The doctors seem unable to prove that he is well, so they let him stay, though they are puzzled that his condition is neither improving nor worsening. The hospital patients are required to censor letters traveling between the soldiers and their loved ones at home. Yossarian plays games with the letters, deleting words according to his own illogical rules and affixing his signature as “Washington Irving.” He shares the hospital ward with his friend Dunbar, a bandaged, immobile man called “the soldier in white,” and a pair of nurses who appear to hate Yossarian.

AnsociableTexan is admitted to the ward one day, and the Texan tries to convince the patients that “decent folk” deserve extra votes. The Texan’s patriotism deeply annoys the other patients. Meanwhile, a chaplain comes to see Yossarian, who enjoys the chaplain’s company. But within ten days of the Texan’s arrival at the hospital, almost everyone, including Yossarian, flees the ward out of irritation with the Texan, recovering from his or her ailments and returning to active duty.

Summary — Chapter 2: Clevinger

When he leaves the hospital, Yossarian feels that he is the only one concerned about the senseless war in which millions of young men are bombing each other. He remembers arguing about the nature of the war with an officer in his group named Clevinger. Yossarian had claimed that everyone was trying to kill him, while Clevinger argued that no one was trying to kill Yossarian personally. Yossarian had rejected Clevinger’s arguments about countries and honor; for Yossarian, the noticeable fact was that people kept shooting at him.

Yossarian sees his roommate, Orr, and finds out that Clevinger is still missing. He remembers the last time he and Clevinger called each other crazy, during a night at the officers’ club when Yossarian announced to everyone present that he was superhuman because no one had managed to kill him yet. Yossarian is suspicious of everyone when he gets out of the hospital. He has a delicious meal in Milo’s gourmet mess hall, then talks to Doc Daneeka, who maddens Yossarian by telling him that Colonel Cathcart has raised the number of missions required before a soldier can be discharged from forty-five to fifty. At the time of this change, Yossarian had flown forty-four missions.

Summary — Chapter 3: Havermeyer

Orr tells Yossarian a nonsensical story about how he liked to stuff crab apples in his cheeks when he was younger. Yossarian briefly remembers an episode in Rome during which a whore beat Orr over the head with her shoe. Yossarian reflects on Orr’s size; he is even smaller than Huple, a young boy who lives near Hungry Joe’s tent. Hungry Joe has nightmares whenever he is not scheduled to fly a mission the next day, and his screaming keeps the whole camp awake. Hungry Joe’s tent is near a road where the men sometimes pick up girls and take them out to the tall grass across the road from an open-air movie theater.

A U.S.O. (United Service Organizations) troupe that visited the theater that afternoon has been sent by an ambitious general named P. P. Peckem, who hopes to take over the command of Yossarian’s unit from General Dreedle. General Peckem’stroubleshooter, Colonel Cargill, used to be a marketing executive paid by Wall Street firms to fail at marketing so that they could establish tax losses. Cargill does much the same thing now as a colonel: he fails most notably at bringing enthusiasm to the men, some of whom have finished their fifty missions and anxiously hope their orders to return home arrive before Colonel Cathcart raises the number of missions again.

Yossarian feels sick, but Doc Daneeka refuses to ground him. Doc Daneeka advises Yossarian to emulate Havermeyer, a fearless bombardier, and make the best of his situation. But Yossarian thinks that his fear is healthy. The narrator notes that Havermeyer likes to shoot mice in the middle of the night and that he once woke Hungry Joe with a shot that compelled him to dive into a slit trench. These slit trenches had mysteriously appeared beside every tent the morning following the mess officer Milo Minderbinder’s bombing of the squadron.

Summary — Chapter 4: Doc Daneeka

The narrator explains that Hungry Joe is crazy and thus Yossarian is trying to give him advice. Hungry Joe won’t listen, however, because he thinks Yossarian is crazy. Doc Daneeka, in turn, tells Yossarian that his own problems are worse than Hungry Joe’s because the war has interrupted his lucrative medical practice

Yossarian remembers trying to disrupt the educational meeting in Captain Black’s intelligence tent by asking unanswerable questions, which caused Group Headquarters to make a rule that the only people who could ask questions were the ones who never did. This rule comes from Colonel Cathcart and Lieutenant Colonel Korn. These two colonels also approved the construction of a skeet-shooting range at which Yossarian never hits anything. Dunbar, though, shoots skeet frequently because he hates it. Dunbar believes that when he engages in activities that are boring or uncomfortable, time passes more slowly and he thereby lengthens his life. He argues with Clevinger about this theory. Meanwhile, ex-P.F.C. Wintergreen has started a panic among the officers in Rome by telephoning them and saying only, “T. S. Eliot.” Although he intends these words as a response to a general memo from a colonel saying that it would be hard to name a poet who makes any money, General Peckem assumes that the words constitute a coded message and suffers great anxiety as a result.

Summary — Chapter 5: Chief White Halfoat

There was only one catch and that was Catch-22, which specified that a concern for one’s own safety . . . was the process of a rational.

In the tent that Doc Daneeka and an alcoholic Native American named Chief White Halfoat share, Doc Daneeka describes his corrupt Staten Island medical practice to Yossarian. He tells him about some sexually inept newlyweds who once visited his office. Chief White Halfoat enters, telling Yossarian that Doc Daneeka is crazy. Halfoat then relates the story of his own family: because every place that he and his family settled turned out to be on top of a significant oil supply, major oil companies began following them, using them as “human divining rods.” The oil companies then kicked them off the land, forcing the family to live a nomadic life.

Yossarian again pleads with Doc Daneeka to be grounded, asking if he would be grounded if he were crazy. Doc Daneeka replies that he would, and Yossarian argues that he is indeed crazy. Doc Daneeka then describes Catch-22, a regulation holding that, in order to be grounded for insanity, a pilot must ask to be grounded; but any pilot who asks to be grounded must be sane since sane people would never want to fly bombing missions. Impressed, Yossarian takes Doc Daneeka’s word for it, just as he had taken Orr’s word about the flies in Appleby’s eyes: Orr had insisted that there are flies in Appleby’s eyes, and though Yossarian had no idea what Orr meant, he believed him because Orr had never lied to him before.

Yossarian begins thinking about bombing missions and how much he hates his position in the nose of the plane, where he is separated from the escape hatch by a passage just wide enough to fit through. On these bombing missions, Yossarian is always terrified for his life, and he pleads with the pilot, McWatt, to avoid antiaircraft fire. He remembers one mission when, while the squadron was taking evasive action, Dobbs, the co-pilot, went crazy and started screaming, “Help him.” The plane spun out of control and Yossarian believed he was going to die. Enigmatically, the narrator states that someone named Snowden lay dying in the back of the plane.

 Summary — Chapter 6: Hungry Joe

Although Hungry Joe has already flown his fifty missions, the orders to send him home never come, and he continues to scream at night. Doc Daneeka ignores Hungry Joe’s problems and instead complains about having been forced to leave his clinic. Hungry Joe is mad with lust; his desperate attempts to take pictures of naked women always end in failure, as the pictures do not come out. To get women to pose for him, Hungry Joe pretends to be an important Life magazine photographer—ironically, he was a photographer for Life before the war. Hungry Joe has flown six tours of duty, but every time he finishes one, Colonel Cathcart raises the number of missions required before Hungry Joe can be sent home. With each increase in the minimum number of missions, Hungry Joe’s nightmares stop until he finishes another tour. The narrator tells us that Colonel Cathcart is very brave about volunteering his men for the most dangerous missions.

Appleby, another member of the squadron, is equally brave in his Ping-Pong games. One night, Orr, Yossarian’s roommate, attacks Appleby in the middle of a game. A fight breaks out, and Chief White Halfoat breaks the nose of Colonel Moodus, General Dreedle’s son-in-law. General Dreedle so enjoys witnessing this abuse of his son-in-law that he keeps calling Chief White Halfoat in to repeat the performance and moves him into Doc Daneeka’s tent to make sure that Halfoat remains in top physical condition.

Ex-P.F.C. Wintergreen gives Yossarian another definition of Catch-22, one that requires him to fly the extra missions that Colonel Cathcart orders, even though Twenty-seventh Air Force regulations demand only forty missions. The reasoning is that the regulations state also that Yossarian must obey all of Cathcart’s orders, and Cathcart has raised the number of missions again, this time to fifty-five.

Summary — Chapter 7: McWatt

McWatt, Yossarian’s pilot, manages to display a cheeriness in the face of war, even though he is perfectly sane. This contradiction leads Yossarian to believe that McWatt, who is smiling and polite and who loves to whistle show tunes, is the “craziest combat man” in the unit.

Yossarian gets a letter from Doc Daneeka about his liver that orders the mess hall to give Yossarian all the fresh fruit he wants. Nervous that his liver will improve—which would mean having to leave the hospital—Yossarian refuses to eat the fruit. Milo, however, tries to persuade Yossarian to sell the fruit on the black market, but Yossarian refuses. Milo explains to Yossarian his desire to serve the best meals in the entire world in his mess hall and his nervousness about his chef, Corporal Snark, who poisoned his entire previous squadron by putting GI soap in the sweet potatoes.

Milo becomes indignant when he learns that a C.I.D. (Criminal Investigation Division) man is searching for a criminal who has been forging Washington Irving’s name in censored letters. He thinks the investigation is a ploy to expose him for selling items on the black market. Milo wants to organize the men into a syndicate, a concept that he tries to explain to Yossarian by stealing McWatt’s bedsheet, ripping it into pieces, and redistributing it. Yossarian does not understand Milo’s version of economics, which largely involves cheating whomever he is trading with and then claiming moral superiority.

Clevinger does not understand Milo’s plan either, even though he usually understands everything about the war except for the arbitrary way in which things happen. Yossarian remembers training in America with Clevinger under Lieutenant Scheisskopf, who had been obsessed with parades, and whose wife, along with her friend Dori Duz, had slept with all the men under her husband’s command. Lieutenant Scheisskopf hates Clevinger and finally gets him sent to trial under a belligerent colonel. At the trial, Clevinger is unable to communicate his innocence because he is harangued about using improper modes of address. Clevinger is extremely confused by his superiors’ hatred of him; he realizes that Lieutenant Scheisskopf and the colonel harbor animosity toward him that no enemy soldier ever could.

Summary — Chapter 9: Major MajorMajorMajor

The narrator explains the details of Major Major Major’s troubled childhood. His unfortunate name is a result of his father’s twisted sense of humor and causes Major much distress throughout his youth. Major also bears a strong resemblance to Henry Fonda, upon which people constantly comment, and he does so well in school as a child that the FBI monitors him on suspicion that he is a communist. His troubles continue when an IBM computer error makes him a major the day he joins the army, resulting in his new name, Major MajorMajorMajor. His sudden promotion stuns his drill sergeant, who then has to train a man who is suddenly his superior officer. Luckily, Major Major applies for aviation cadet training and is sent away to Lieutenant Scheisskopf, who is himself confused about how to interact with an officer who outranks him but to whom he is a commanding officer. Scheisskopf trains Major quickly to get rid of him, and sends him to Pianosa, where Yossarian’s squadron is stationed. Not long after arriving in Pianosa, where Major is happy for the first time in his life, he is made squadron commander by a vengeful Colonel Cathcart. As a result, Major loses all his friends, who become servile in his presence.

Major Major has always been a drab, mediocre sort of person and has never had friends before; he lapses into an awkward depression and refuses to be seen in his office. To make himself feel better, Major Major forges Washington Irving’s name on official documents. He is confused about everything, including his official relationship to Major —— de Coverley, his executive officer: he does not know whether he is Major —— de Coverley’s subordinate or vice versa. A C.I.D. a man comes to investigate the Washington Irving scandal, but Major Major denies knowledge of it. The incompetent C.I.D. man believes him—as does another C.I.D. man who arrives shortly thereafter then leaves to investigate the first C.I.D. man. Major Major starts wearing dark glasses and a false mustache when forging Washington Irving’s name; he even forges a few “John Milton” signatures, just for variety. One day, Yossarian tackles Major Major and demands to be grounded. Major Major sadly tells Yossarian that there is nothing he can do.

Summary — Chapter 10: Wintergreen

Clevinger’s plane disappears in a cloud off the coast of Elba, and he is presumed dead. Yossarian, however, is unable to conceive of Clevinger’s death, and instead assumes that he is simply, and inexplicably, missing. The narrator then describes ex-P.F.C. Wintergreen’s past: back in the U.S., ex-P.F.C. Wintergreen continually goes AWOL. He is required to dig holes and fill them up again as punishment—work he approaches as a duty to his country. One day, ex-P.F.C. Wintergreen nicks a water pipe, and water sprays everywhere. Since Chief White Halfoat is with Wintergreen, everyone assumes that it is oil, and Halfoat and Wintergreen are both sent away to Pianosa.

Yossarian recalls Mudd, a soldier who had arrived at the camp and died in combat before even reporting for duty. Nobody can actually remember Mudd, but his belongings remain in Yossarian’s tent and seem to be “contaminated with death.” This reminder of death causes Yossarian to think about the deadly mission of the Great Big Siege of Bologna, for which Colonel Cathcart had bravely volunteered his men. At the time, not even sick men could be grounded by doctors. One of the doctors, Dr. Stubbs, asked cynically what point there was to save lives when everyone was going to die anyway. Dunbar replied that the point was to live as long as possible and forget about the fact that death was inevitable.

Analysis — Chapters 6–10

In these chapters, many of the novel’s characters begin to accept the futility and illogic of the actions that the army and higher levels of bureaucracy demand of those involved in the war effort. First among those who resign themselves to the absurdity is Major MajorMajorMajor, one of the most comical and improbable characters in the novel: all his life, Major Major has been the victim of bureaucratic forces beyond his control—his birth certificate, the IBM machine—and he eventually turns on these forces by forging false names on official documents. How he rebels against the system reflects both his own dissatisfaction with his ludicrous name, which bureaucracy has generated, and the reliance upon names, cataloging, and indexing perpetuated by the bureaucracy. Major —— de Coverley is another ridiculous and paradoxical figure, a revered old man with no important duties who plays horseshoes all day and is utterly irrelevant to the war. Actions, too, can be irrelevant and nonsensical: ex-P.F.C. Wintergreen’s punishment for going AWOL is to dig holes and then fill them back up again. Wintergreen says that he doesn’t mind doing it, so long as it is “part of the war effort.” Obviously, his task is not helping the Allies win the war; its uselessness suggests that so many other actions that the army seems to believe are necessary are actually a waste of time. A similar sense of futility occurs with Major Major’s realization that the documents he signs keep coming back to him for more signatures. His life is consumed with paperwork that repeats itself in an endless cycle in which nothing gets accomplished.

Catch-22’s mosaic of anecdotes, whose chronological placement remains largely beyond the reader’s grasp, undermines the conventional model of various events building tension toward a climax. It also conveys the impression that, just as Yossarian is afraid to confront a life that ends in death, the novel itself is nervous about the passing of time, which leads inevitably toward death. Breaking up the flow of time is, in a sense, a narrative attempt to defy mortality. In these early chapters, Dunbar presents an important alternative to this approach: he knows he is trapped in linear time, but he hopes to live in it as long as possible by making time move more slowly in his perception. He thus seeks boredom and discomfort because time seems to pass more slowly when he is bored or uncomfortable. This separation of the actual passage of time from the experience of time is an attempt to regain control of a life constantly threatened by the violence of war.

The novel’s exploration of this quirky passing of time demonstrates how the novel’s satirical and serious tones complement each other. Dunbar’s argument about doing unpleasant things because they make time pass more slowly, a statement that seems entirely illogical and even comical the first time we read it, begins to make sense as the novel progresses. The only way in which these soldiers are able to approach the ludicrous situation in which they have been placed is to indulge their own ludicrous logic. Dr. Stubbs’s frustrated reflection in Chapter 10 that the arbitrary nature of death makes it absurd to try to live makes Dunbar’s ideas about making time last longer seem somewhat logical: a response to the possibility of imminent death that espouses self-preservation is no longer comical but rather completely rational.

Part of the reason for Yossarian’s terror of death is that he has no control over his own fate. Again and again, the impersonal machine that seems to be running the war in Catch-22 denies characters the ability to shape their own destinies. The law of Catch-22 seems to be the embodiment of this trap: even when soldiers can think of rational reasons to go home from the war, Catch-22 always stops them. A large part of the powerlessness the men feel comes from the bureaucratic regulations that prevent rational action; the men’s actions are guided by rules that have little to do with reality. The hilarious conversations that result from attempting to stick to the rules are often pitiful because they highlight how inhuman the bureaucracy is. In Chapter 8, for example, Scheisskopf’s haranguing of Clevinger about the mode of his address when Clevinger attempts to communicate his innocence demonstrates how Scheisskopf focuses only on superficial things, such as matters of propriety, and completely ignores substantial things, such as his men’s individual needs and feelings.

Summary — Chapter 11: Captain Black

Captain Black is pleased to hear that Colonel Cathcart has volunteered the men for the lethal mission of bombing Bologna. Captain Black hates the men and gloats about their terrifying, violent task. He is extremely ambitious and had hoped to be promoted to squadron commander, but when Major Major is picked over him, he lapses into a deep depression, out of which the Bologna mission lifts him. Captain Black tries to get revenge on Major Major by initiating the Glorious Loyalty Oath Crusade, during which he forces all the men to swear elaborate oaths of loyalty before doing basic things like eating meals. He then refuses to let Major Major sign a loyalty oath and hopes, thereby, to make him appear disloyal. The Glorious Loyalty Oath Crusade is a major event in the camp until the fearsome Major —— de Coverley puts an end to it by hollering “Gimme eat!” in the mess hall without signing an oath.

Summary — Chapter 12: Bologna

It rains interminably before the Bologna mission, and the bombing run is delayed. The men all hope it will never stop raining. When it does, Yossarian moves the bomb line on the map so that the commanding officers will think that Bologna has already been captured. Yossarian also gives the entire squadron diarrhea by poisoning the food so that they won’t have to fly. The rain then starts again.

In the meantime, ex-P.F.C. Wintergreen tries to sell Yossarian a cigarette lighter, competing with Milo as a black-market trader. He is aghast that Milo has cornered the entire world market for Egyptian cotton but is unable to sell any of it. The men are terrified and miserable about having to bomb Bologna. Clevinger and Yossarian argue about whether Yossarian must bomb Bologna, and, by the middle of the second week of waiting, everyone in the squadron is as emaciated as Hungry Joe.

One night, Yossarian, Nately, and Dunbar go for a drunken drive with Chief White Halfoat; they crash a jeep and realize that it has stopped raining. Back in the tents, Hungry Joe is trying to shoot Huple’s cat, which has been giving him nightmares, and the men force Hungry Joe to fight the cat fairly. The cat runs away, and Hungry Joe is satisfied. When he goes back to sleep, however, he has another nightmare about the cat.

Summary — Chapter 13: Major —— de Coverley

Major —— de Coverley is a daunting, majestic man with a lion’s mane of white hair, an eagle’s gaze, and a transparent eye patch. Everyone is afraid of him, and no one will talk to him. His sole duty is traveling to major cities captured by the Americans to rent rooms in which his men can take leave; he spends the rest of his time playing horseshoes. Major —— de Coverley always manages to be photographed with the first wave of American troops moving into a city, a fact that perplexes both the enemy and the American commanders. He seems to be a force of nature, and yet Yossarian is able to fool him by moving the bomb line: Major —— de Coverley has traveled to enemy-controlled Florence and has not yet returned. The narrator relates that Milo once approached —— de Coverley on the horseshoe range, successfully requesting authorization to import eggs on Air Force planes.

We also learn that Colonel Cathcart had attempted to give Yossarian a medal some time earlier. When Yossarian was brave, he had circled over a target twice in order to hit it, and, on the second pass, Kraft, a younger pilot from the division, had been killed by shrapnel. Not knowing how to rebuke Yossarian for his foolhardiness, the authorities decided to stave off criticism by giving him a medal.

Summary — Chapter 14: Kid Sampson

The squadron finally receives the go-ahead to bomb Bologna, but by this time Yossarian does not feel like going over the target even once. He pretends that his plane’s intercom system is broken and orders his pilot, Kid Sampson, to turn back. They land at the deserted airfield just before dawn, feeling strangely morose. Yossarian takes a nap on the beach and wakes up when the planes fly back. Not a single plane has been hit. Yossarian thinks that cloud cover must have prevented them from bombing the city and that they will have to make another attempt, but he is wrong: facing no antiaircraft fire, the Americans bombed the city without incurring any losses.

Summary — Chapter 15: Piltchard& Wren

Captain Piltchard and Captain Wren ineffectually reprimand Yossarian and his crew for turning back and inform the men that since they missed the ammunition dumps the first time, they will have to bomb Bologna again. Yossarian confidently flies in, assuming there will be no antiaircraft fire, and he is stunned when shrapnel begins firing up toward him through the skies. He furiously directs McWatt into evasive maneuvers and fights with the strangely cheerful Aarfy until the bombs are dropped. Yossarian does not die—though many other men in the squadron do—and the plane lands safely. Yossarian heads immediately for emergency rest leave in Rome

Summary — Chapter 16: Luciana

Luciana is a beautiful Italian woman whom Yossarian meets at a bar in Rome. After he buys her dinner and dances with her, she agrees to sleep with him, but not right then—she will come to his room the next morning. She does, but then angrily refuses to sleep with Yossarian until she cleans his room, disgustedly calling him a pig. Finally, she lets him sleep with her. Afterward, Yossarian falls in love with her and asks her to marry him. She says she won’t marry him because he is crazy; she knows he is crazy because no one in his right mind would marry a girl who was not a virgin. She tells him about a scar she got when the Americans bombed her town.

Suddenly, Hungry Joe rushes in with his camera, and Yossarian and Luciana have to get dressed. Laughing, they go outside, where they part ways. Luciana gives Yossarian her number, telling him that she expects him to tear it up as soon as she leaves because she thinks that he is impressed with himself that such a pretty girl would sleep with him for free. He asks her why on earth he would do such a thing. As soon as she leaves, though, Yossarian, impressed with himself that such a pretty girl would sleep with him for free, tears up her number. Almost immediately he regrets doing so, and, after learning that Colonel Cathcart has raised the number of missions to forty, he makes the anguished decision to go straight to the hospital.

Analysis — Chapters 11–16

In this section, the disordered chronology functions as an instrument for building suspense. The lengthy digression about the Great Loyalty Oath Crusade interrupts the tense buildup to the Bologna mission, which occurs shortly before the scene at the beginning of the novel when the number of required missions is still thirty-five. The Great Loyalty Oath Crusade story is ironic and funny; the Bologna mission is a dismal story told in terms of endless rain and growing worry. By breaking off the Bologna story in the middle to tell the exaggerated parable of the Loyalty Oath Crusade, Heller heightens the sense of uncertainty and anticipation surrounding the outcome of the Bologna mission. During the description of the actual bombing run to Bologna, however, Heller devotes a chapter almost entirely to a single event, without his usual digressions. This very detailed, vivid account of the attack makes time appear to move more slowly, trapping the reader in the same drawn-out terror as the characters. The earnest, straightforward manner in which the Bologna story is told is a signal that we are meant to take this episode seriously—that there is nothing funny about this aspect of war.

Although Catch-22 is written mostly from the perspective of a third-person narrator who describes what each of the characters is thinking, we hear mostly what is happening in Yossarian’s mind, and many of the observations about the absurdity of the war seem to be his own. So, despite the fact that each chapter of Catch-22 bears the name of a character described in that chapter, the narrative generally returns to Yossarian. A significant departure from this organizational method occurs in the chapter entitled “Bologna,” however: instead of operating as a largely humorous description of the nature and history of one of the novel’s characters, this chapter remains almost entirely in the present of the story, and Yossarian is forced to confront his desire to live at the expense of everything else. The chapter title itself—a place name rather than a person’s name—marks a shift from a satirical and humorous focus on the unwitting characters engaged in the war to a serious focus on the present realities of the war.

Yossarian’s vague guilt about abandoning his friends reveals a weakness in his philosophy of self-preservation: he seems to have no qualms about abandoning the mission and thereby keeping himself alive, but he does care about his friends and feels a mild trepidation while he awaits their return. Up to this point, Yossarian’s sole goal in life has been survival at the expense of everything else: he has subjected himself and his squadron to various illnesses, refused to enjoy fruit because it might make him healthy, and endured rather unpleasant hospital stays—all for the sake of not having to fly missions. Yossarian faces a dilemma: on one hand, caring for others is destructive in that it undermines his ability to try to save his own life; on the other hand, caring for others is the only thing that mitigates the impersonal hatred that Yossarian perceives directed toward him.

The interlude with Luciana provides a welcome respite from life in the camp on Pianosa, but it also illustrates the strain placed on male-female relationships by the war. Luciana and Yossarian seem legitimately drawn to one another, but their relationship is brief and almost wholly sexual. Hungry Joe’s interruption of their time together demonstrates the glaring lack of privacy in Yossarian’s life and highlights the difficulty of having meaningful relationships in wartime. Similarly, Yossarian’s tearing up of Luciana’s number constitutes an act of irrational, self-satisfied exuberance that seems part and parcel of the absurd ironies forced on him by the Catch-22 mentality of the war. He is so overwhelmed at the end of this section—after Bologna, after Luciana, and after he learns that the number of missions has been raised yet again—that he decides to check into the hospital, a place of relative sanity and safety.

Summary — Chapter 17: The Soldier in White

He wondered often how he would ever recognize . . . the vocal slip, loss of balance or lapse of memory that would signal the inevitable beginning of the inevitable end

Yossarian has returned to the hospital, where he finds life (and death) more palatable than in his recurring memories of being on a bomb run with Snowden dying in the back, whispering, “I’m cold.” At the hospital, death is orderly and polite, and there is no inexplicable violence. Dunbar is in the hospital with Yossarian, and they are both perplexed by the soldier in white, a man completely covered in plaster bandages. The men in the hospital discuss the injustice of mortality—some men are killed and some are not, and some men get sick and some do not, without any pattern or logic. Sometime earlier, Clevinger had tried to explain why there might be some justice in such illogical deaths, but Yossarian was too busy keeping track of all the forces trying to kill him to listen. Later, Yossarian and Hungry Joe collected lists of fatal diseases that they can claim to have. Doc Daneeka, however, frequently refuses to ground them even when they claim to have these diseases. The doctor tells Yossarian that after Yossarian flies his fifty-five missions he will think about helping Yossarian.

Summary — Chapter 18: The Soldier Who Saw Everything Twice

The first time Yossarian ever goes to the hospital, he is still a private. He fakes abdominal pain, but when the doctors decide he has been cured, he pretends to have the mysterious ailment of another soldier in the ward who says he “sees everything twice.” He spends Thanksgiving in the hospital and vows to spend all future Thanksgivings there, but he breaks that oath when he spends the next Thanksgiving in bed with Lieutenant Scheisskopf’s wife, arguing about God. After Yossarian claims he is cured of seeing everything twice, he is asked to pretend to be a dying soldier whose mother, father, and brother have come to visit him. The family, which has traveled to visit their family member, does not know that he died that morning. The doctors bandage Yossarian, who pretends to be the dying soldier. The soldier’s father asks Yossarian to tell God that it is not right for men to die so young.

Summary — Chapter 19: Colonel Cathcart

Haven’t you got anything humorous that stays away from . . . God? I’d like to keep away from the subject of religion altogether if we can.

 

The ambitious Colonel Cathcart browbeats the chaplain, demanding a prayer before each bombing run, an idea he takes from the -Saturday Evening Post. He then abandons the idea after the chaplain suggests that God might punish them for not including the enlisted men. The chaplain timidly mentions that some of the men have complained about Colonel Cathcart’s habit of raising the number of missions required every few weeks, but Colonel Cathcart ignores him.

Summary — Chapter 20: Corporal Whitcomb

On his way home, the chaplain meets Colonel Korn, Colonel Cathcart’s wily, cynical sidekick. Colonel Korn mocks Colonel Cathcart in front of the chaplain and is highly suspicious of a plum tomato that Colonel Cathcart offered the chaplain. At his tent in the woods, the chaplain encounters the hostile Corporal Whitcomb, his atheistic assistant, who resents him deeply for holding back his career. Corporal Whitcomb tells the chaplain that a C.I.D. man suspects the chaplain of signing Washington Irving’s name to official papers and of stealing plum tomatoes. The poor chaplain is very unhappy, because he feels helpless to improve anyone’s life.

Summary — Chapter 21: General Dreedle

Colonel Cathcart has become preoccupied with Yossarian’sbehavior—particularly his complaints about the number of required missions and the fact that he appeared naked at his medal ceremony shortly after Snowden’s death. Yossarian had refused to wear clothes to the ceremony because Snowden, dying in the back of the plane, had bled all over him, and Yossarian never wanted to wear a uniform again. Yossarian is also responsible for a moaning epidemic at the briefing before the Avignon mission during which Snowden was killed; he started moaning because the mission’s dangers meant that he might never again sleep with a beautiful woman.

Colonel Cathcart wishes he knew how to solve the problem posed by Yossarian’s mischief, for this would impress General Dreedle, Cathcart’s commanding officer. General Dreedle, however, does not care what his men do, as long as they remain alive in reliable military quantities. He travels everywhere with a buxom nurse and worries mostly about Colonel Moodus, his son-in-law, whom he despises and thus occasionally asks Chief White Halfoat to punch in the nose. The narrator relates that Colonel Korn once tried to undercut Colonel Cathcart by giving a flamboyant briefing to impress General Dreedle; General Dreedle, unimpressed, told Colonel Cathcart that Colonel Korn made him sick

Analysis — Chapters 17–21

In Catch-22, the hospital is certainly not a place where heroic doctors heal grateful patients, but Yossarian’s ridiculous experience in this chapter goes so far as to parody the idea of a hospital as a place where death can be confronted and properly mourned. For Yossarian, the hospital is nothing more than a refuge from the atrocities that occur outside its walls, and he is unable to understand why a family would want to arrive at a hospital to watch their son die. The hospital staff further parodies the hospital as a site of grief by requesting that Yossarian pretend to be a dying soldier for the sake of a family whose real son has already passed away. Adding somber draperies and stinking flowers to the room, the hospital is as unable as the rest of the bureaucracy to take death seriously, and the family members who do mourn their son’s or brother’s passing are comically portrayed as overly sentimental. While one might expect that a war would underline the fragility of life and make those involved appreciate ritual celebrations of life and mourning of death all the more, in Catch-22 the war numbs these characters to the effects of death, which has become a mundane, daily occurrence. As a result, the actions of those who still take death seriously are incomprehensible or meaningless to those involved in the war. Heller’s statement, however, is not that life is meaningless; it would be a mistake to assume that Yossarian’s attitude or the doctors’ attitudes toward death are Heller’s own. Rather, it seems that the novel’s purpose in displaying such an unconventional portrait of mourning is to show the absurd behavior that war forces humans to adopt—reaching a point where not even the loss of life is impressive.

In one of the novel’s manifold contradictions, two atheists, Yossarian and Mrs. Scheisskopf, argue over what kind of God they do not believe in and address the nature of God in a debate. The God in whom Mrs. Scheisskopf does not believe is good and all-knowing, whereas Yossarian’s deity is bumbling and confused. Yossarian’s argument is typical: that a truly compassionate God would not have allowed all the unpleasantness and pain in the world. But the details that Yossarian uses to argue his point are unusual: he asks why God would create phlegm, tooth decay, or incontinence. Yossarian is not just angry with the God that he does not believe in, but he also ridicules him. Mrs. Scheisskopf, on the other hand, prefers not to believe in a good and righteous God, arguing that if one is not going to believe in God, one might as well not believe in a good God. In this way, the idea of God can be useful, even if it is not accurate. The contrast between the chaplain and his assistant, the atheist Corporal Whitcomb, further develops this paradox. The chaplain, who does believe in God, has a very quiet, nonintrusive manner as he ministers to the men in the squadron, which does not turn many men toward religion. Corporal Whitcomb, on the other hand, wants to enter into a full-scale religious campaign, which would include revivals and form letters sent from the chaplain to the families of men killed in combat. Like Mrs. Scheisskopf, Whitcomb’s lack of belief in God allows him to see religion as a useful tool.

The ambitious, foolish, and compulsive Colonel Cathcart dominates the second half of this section, which focuses on the dehumanizing power of bureaucracy. Colonel Cathcart wants to be a general, for no reason other than that he is not a general now. His ludicrous tallying of black eyes and feathers in his cap would be amusing if it did not directly result in his unfailing willingness to risk his men’s lives. As it is, Colonel Cathcart is only sickeningly amusing. When Chapter 21 reveals that he does not have a chance of becoming a general, his arbitrary increase of the number of missions his men must fly seems even more meaningless. The poor, ineffectual chaplain wants very much to help Yossarian and his friends, but all his moral convictions are frail and flimsy before the unanswerable authority of men like Cathcart and Korn.

The chaplain’s sensation of déjà vu reminds us that in the disordered temporal structure of Heller’s story, some events do happen twice. But the chaplain defines his déjà vu not in terms of time but as “the subtle, recurring confusion between illusion and reality”—a confusion that becomes quite serious in these chapters. Yossarian, for example, constructs illusory sicknesses, but doctors are inexplicably unable or unwilling to tell the difference between real and artificial sickness. Frequently, these sicknesses take on the illusory nature of performances. In Chapter 18, Yossarian’s admiration for the performance of the man who sees everything twice leads him to imitate that performance. When the man dies in the night, however, Yossarian does not acknowledge the authenticity of the man’s sickness; instead, he decides that the man took his performance too far. To avoid encountering the ultimate realities of the war—death, pain, and fighting—the men create illusions that blur the lines between what is real and what is not.

Summary — Chapter 22: Milo the Mayor

The enigmatic references to Snowden’s death are finally cleared up; Snowden’s death is the moment at which Yossarian loses his nerve. Flying a mission after Colonel Korn’s extravagant briefing, Snowden is killed when Dobbs goes crazy and seizes the plane’s controls from Huple. As he dies, Snowden pleads for Yossarian’s help, saying he is cold. Dobbs is a terrible pilot and a wreck of a man; he later tells Yossarian that he plans to kill Colonel Cathcart before he raises the required number of missions again. Dobbs sees this action as the only way to respond to Cathcart’s foolhardiness. When he asks for Yossarian’s approval, Yossarian is unable to give it, and Dobbs abandons his plan.

The narrator then describes an episode in which Orr, Yossarian, and Milo take a trip to stock up on supplies. As they travel, Orr and Yossarian gradually realize the extent of Milo’s control over the black market and his vast international influence: he is the mayor of Palermo, the assistant governor-general of Malta, the vice-shah of Oran, the caliph of Baghdad, the imam of Damascus, the sheik of Araby, and is worshipped as a god in parts of Africa. Every region has embraced him because he has revitalized their economies with his syndicate, in which everybody has a share. Nevertheless, throughout their trip, Orr and Yossarian are forced to sleep in the plane while Milo enjoys lavish palaces, and they are finally awakened in the middle of the night so that Milo can rush his shipment of red bananas to their next stop.

Summary — Chapter 23: Nately’s Old Man

One evening, Nately finds his whore in Rome again after a long search. He tries to convince Yossarian and Aarfy to take two of her friends for thirty dollars each. Aarfyobjects, stating that he has never had to pay for sex. Nately’s whore is sick of Nately and begins to swear at him. Hungry Joe arrives, and the group abandons Aarfy and goes to the apartment building where the girls live. Here the men find a seemingly endless flow of naked young women, and Hungry Joe is torn between taking in the scene and rushing back for his camera. Nately argues about nationalism and moral duty with an old man who lives in the building: the old man claims Italy is doing better than America in the war because, as Italy has already been occupied, Italians are no longer being killed. He then points out that even America probably won’t last as long as frogs, which have been around for five hundred million years. The patriotic, idealistic Nately argues somewhat haltingly for America’s international supremacy and the values it represents. But he is troubled by the fact that the old man reminds him of his father. Nately’s whore tortures Nately with her indifference, eventually abandoning him and going to bed while he argues with the old man. When Nately finally does get to sleep with his whore the next morning, her little sister almost immediately interrupts them.

Summary — Chapter 24: Milo

By April, Milo’s influence is massive: He controls the international black market, plays a major role in the world economy, and uses air force planes from countries all over the world to carry his supply shipments. The planes are repainted with an “M & M Enterprises” logo, but Milo continues to insist that everybody has a share in his syndicate. Milo contracts with the Americans to bomb the Germans and with the Germans to shoot down American planes. German antiaircraft guns contracted by Milo even shot down Mudd, the dead man in Yossarian’s tent, for which Yossarian holds a grudge against Milo. Milo wants Yossarian’s help to concoct a solution for unloading his massive holdings of Egyptian cotton, which he cannot sell and which threaten to ruin his entire operation. One evening after dinner, Milo’s planes begin to bomb Milo’s own camp: he has landed another contract with the Germans, and dozens of men are wounded and killed during the attack. Almost everyone wants to end M & M Enterprises right then, but Milo shows them how much money they have all made, and almost all of the survivors forgive him. While Yossarian sits naked in a tree watching Snowden’s funeral, Milo seeks him out to talk to him about the cotton. He gives Yossarian some chocolate-covered cotton and tries to convince him it is really candy. Yossarian tells Milo to ask the government to buy his cotton, and Milo is struck by the intelligence of the idea.

Summary — Chapter 25: The Chaplain

The chaplain is troubled that no one seems to treat him as a regular human being and everyone is uncomfortable in his presence. Furthermore, he is intimidated by the soldiers and generally ineffectual as a religious leader. He grows increasingly miserable and is sustained solely by the religious visions he has seen since his arrival, including the vision of the naked man in the tree at Snowden’s funeral. (The naked man was, of course, Yossarian.) He dreams of his wife and children dying horribly in his absence. He tries to see Major Major about the number of missions the men are asked to fly but, like everyone else, finds that Major Major will not allow him into his office except when he is out. On the way to see Major Major a second time, the chaplain encounters Flume, Chief White Halfoat’s old roommate, who is so afraid of having his throat slit while he sleeps that he has begun living in the forest. The chaplain then learns that Colonel Cathcart has promoted Corporal Whitcomb to sergeant for an idea that the colonel believes will land him in the Saturday Evening Post. The chaplain tries to mingle with the men at the officers’ club, but Colonel Cathcart periodically throws him out. The chaplain begins doubting everything, even God.

Summary — Chapter 26: Aarfy

The night Nately falls in love with his whore, she sits naked from the waist down in a room full of enlisted men playing blackjack. None of the enlisted men is interested except Nately, but she eventually gets sick of him and refuses to accept the money he offers her to stay. Aarfy calls her a slut, and Nately is deeply offended. Aarfy is the navigator of the flight on which Yossarian is finally hit by flak; Yossarian is wounded in the leg and taken to the hospital, where he and Dunbar change identities by ordering lower-ranking men to trade beds with them. Dunbar pretends to be A. Fortiori. Finally, they are caught by Nurse Cramer and Nurse Duckett, who takes Yossarian by the ear and puts him back to bed.

Analysis — Chapters 22–26

The bombing run during which Snowden dies has been alluded to for several chapters, but the details have never been fully explained. The beginning of Chapter 22 provides a few of those details and underlines the narrative importance of the event. The novel’s incessant references to the incident have two narrative purposes. First, they emphasize the narrative’s circular chronological organization. The event that has so traumatized Yossarian does not recede into the past as Yossarian moves through time; rather, he continually returns to it, unable to escape. Second, the constant references to Snowden’s death build up suspense, making the Avignon mission one of the novel’s climaxes. Even though this mission occurs chronologically before many other events in the novel, we have to wait until almost the end of the novel to find out exactly what happened on the mission. By telling his story out of chronological order, Heller can place whatever climactic events he wants at the end of the novel since he is not bound by temporal restraints.

The bombing of Avignon is just one of the many ways in which this section continues to show Yossarian’s attempt to hold onto his life and his humanity in the face of the war. The chaplain struggles similarly in this section to remain sane despite his nightmarish life. The chaplain is treated as an outsider by everyone, doubts the moral standards that have governed his life, and endures horrible fantasies of his wife and children dying violent deaths. Just as the idea of the hospital as a place for respectfully coming to terms with death is undermined in the previous section, the idea of the chaplain as a source of spiritual stability and reason in the face of a disorienting and upsetting war is undermined in this section.

Milo Minderbinder is one of the most complex figures in the novel, and the syndicate that he heads is one of its most elusive symbols. On the one hand, the syndicate allows Heller to parody the economic activity of large-market capitalism. The extraordinary rationalization by which Milo can buy eggs for seven cents apiece and sell them for five cents apiece while still turning a profit is one of the most tortuously sublime moments in the novel, even if it makes only shaky economic sense. Milo claims that at every stage he actually buys and sells the eggs to his own syndicate, thereby somehow retaining the money that he spends to buy the eggs. But, if he buys the eggs with the same resources that he bolsters by selling the eggs, all he is doing is moving money from one place to another. We can easily reduce the bizarre logic that governs Milo’s syndicate to nonsense because we understand the impossibility of Milo’s money-making scheme. Yet, though it is completely illogical and unjustifiable, like many concepts in the novel, Milo’s syndicate does make money. Whether or not the logic makes sense is irrelevant; the end result defies those who try to explain the process.

The syndicate also represents an almost socialist collectivity—in this enterprise governed by amoral expediency, “everybody has a share.” In this light, the syndicate becomes almost a parody of communism as well as capitalism: it is nominally a collective governed by all but is actually run by a single despot. The economic rationalization of the syndicate resembles the moral rationalization of a dehumanized collective, which might agree that it is in everybody’s best interest for Milo to bomb his own squadron and kill, wound, and maim a number of his fellow soldiers.

Heller creates tension between Yossarian’s feelings about Milo and our feelings about Milo. Yossarian is undeniably the moral compass of the novel, and he seems to like Milo, which suggests that we too should sympathize with him. But Milo is continually presented as a threatening figure. While Yossarian sits naked in the tree at Snowden’s funeral in a highly biblical scene, Milo almost seems like the serpent in the Garden of Eden, there to tempt the innocent with chocolate-covered cotton and the promise of a fast buck.

The absurd proportions of Milo’s empire clue us in to an aspect of Catch-22 that, until this section, has been rather subtle: the novel’s element of hyperbole. Despite their ridiculous names, all the men in Yossarian’s squadron might possibly have lived during WWII. Milo, however, is a completely impossible figure. All along, Heller has created minor absurdities, such as the way the soldier in white has the fluids from his groin directed right back into his IV drip. In this section, he creates a major absurdity in the vastness of Milo’s domain, which allows us to know with absolute certainty that Catch-22 is intended more as an allegory than as a realistic portrait of army life.

Summary — Chapter 27: Nurse Duckett

The next morning, while Nurse Duckett is smoothing the sheets at the foot of his bed, Yossarian thrusts his hand up her skirt. She shrieks and rushes away, and Dunbar grabs her bosom from behind. When a furious doctor finally rescues her, Yossarian tries to plead insanity—he says that he has a recurring dream about a fish. He is assigned an appointment with Major Sanderson, the hospital psychiatrist. Sanderson, however, is more interested in discussing his own problems than Yossarian’s. Yossarian’s friends visit him in the hospital, Dobbs again offers to kill Colonel Cathcart, and, finally, after Yossarian admits that he thinks that people are trying to kill him and that he has not adjusted to the war, Major Sanderson decides that Yossarian really is crazy and should be sent home. But, because of the identity mix-up perpetrated by Yossarian and Dunbar earlier in their hospital stay, there is a mistake, and A. Fortiori is sent home instead. Furious, Yossarian goes to see Doc Daneeka, but Doc Daneeka will not ground Yossarian for his insanity, rhetorically asking who would fight if all the crazy men got sent home.

Summary – Chapter 28: Dobbs

Yossarian goes to see Dobbs and tells him to go ahead and kill Colonel Cathcart. But Dobbs has finished his sixty missions and is waiting to be sent home; he no longer has a reason to kill Colonel Cathcart. When Yossarian says that Colonel Cathcart will simply raise the number of missions again, Dobbs says that he will wait and see but that perhaps Orr would help Yossarian kill the colonel. Orr crashed his plane again while Yossarian was in the hospital and was fished out of the ocean—none of the life jackets in his plane worked because Milo took out the carbon dioxide tanks to use for making ice cream sodas. Now, Orr is tinkering with the stove that he is trying to build in his and Yossarian’s tent, and he suggests that Yossarian try flying a mission with him for practice in case he ever has to make a crash landing. Yossarian broods about the rumored second mission to Bologna. Orr is making noise and irritating him, and Yossarian imagines killing him, which Yossarian finds a relaxing thought. They talk about women—Orr says they do not like Yossarian, and Yossarian replies that they are crazy. Orr tells Yossarian that he knows Yossarian has asked not to fly with him, and he offers to tell Yossarian why a naked girl was hitting him with her shoe outside Nately’s whore’s little sister’s room in Rome. Yossarian laughingly declines. The next time Orr flies a mission, he again crashes his plane into the ocean. This time, his survival raft drifts away from the others and he disappears.

Summary — Chapter 29: Peckem

The men are dismayed when they learn that General Peckem has transferred Scheisskopf, now a colonel, to his staff. Peckem is pleased because he thinks the move will increase his strength compared to that of his rival, General Dreedle. Colonel Scheisskopf is dismayed by the news that he cannot bring his wife along and that he will no longer be able to conduct parades every afternoon. Scheisskopf immediately irritates his colleagues in Group Headquarters, and Peckem takes him along for an inspection of Colonel Cathcart’s squadron briefing. At the preliminary briefing, the men are displeased to learn that they will be bombing an undefended village into rubble; they don’t know that the only purpose of the missions is to impress General Peckem with the clean aerial photography enabled by their bomb patterns. When Peckem and Scheisskopf arrive, Cathcart becomes angry that another colonel has appeared to rival him. He gives the briefing himself, and, though he feels shaky and lacks confidence, he makes it through and congratulates himself on a job well done under pressure.

Summary — Chapter 30: Dunbar

On the bombing run, Yossarian has a flashback to the mission during which Snowden died, and he panics. When McWatt starts pulling daredevil stunts, he threatens to kill McWatt if he does not follow orders. He is worried that McWatt will hold a grudge, but, after the mission, McWatt seems concerned only about Yossarian’s health. Yossarian has begun seeing Nurse Duckett, and he enjoys making love to her on the beach. Sometimes, while they sit looking at the ocean, Yossarian thinks about all the people who have died underwater, including Orr and Clevinger. One day, McWatt is buzzing the beach in his plane as a joke, when he accidentally flies too low and the propeller slices Kid Sampson in half. Kid Sampson’s body splatters all over the beach. Back at the base, everyone is occupied with the disaster; McWatt, meanwhile, does not land his plane but keeps flying higher and higher. Yossarian runs down the runway yelling at McWatt to come down, but he knows what McWatt is going to do. McWatt crashes his plane into the side of a mountain, killing himself. Colonel Cathcart is so upset that he raises the number of missions to sixty-five.

Summary — Chapter 31: Mrs. Daneeka

When Colonel Cathcart learns that Doc Daneeka was also killed in the crash, he raises the number of missions to seventy. Actually, Doc Daneeka was not killed in the crash, but the records—which Doc Daneeka, hating to fly, bribed Yossarian to alter—maintain that the doctor was in the plane with McWatt, collecting some flight time. Doc Daneeka is surprised to hear that he is dead, and his wife in America, who receives a letter to that effect from the military, is shattered. Heroically, she is cheered to learn that she will be receiving a number of monthly payments from various military departments for the rest of her life, as well as sizable life insurance payments from her husband’s insurance company. Husbands of her friends begin to flirt with her, and she dyes her hair.

In Pianosa, Doc Daneeka is ostracized by the men, who blame him for the increased number of missions they are required to fly. He is no longer allowed to practice medicine and realizes that, in one sense, he really is dead. He sends a passionate letter to his wife, begging her to alert the authorities that he is still alive. She considers the possibility, but after receiving a form letter from Colonel Cathcart expressing regret over her husband’s death, she moves her children to Lansing, Michigan, and leaves no forwarding address

Analysis — Chapters 27–31

This section works through an increasingly macabre surrealism that climaxes with the manslaughter of Kid Sampson and suicide of McWatt. The strange psychological examinations and identity games in the hospital provide Heller with the opportunity to parody modern psychotherapy, which he does with scathing cleverness—Major Sanderson’s insistence on discussing his own late puberty is one of the funniest characterizations in the novel. It also lends some weight to the idea of insanity that circulates throughout the novel; the men are always accusing each other of being crazy, and Yossarian even finds insanity a desirable trait, because it will get him out of the war—or would, if not for Catch-22.

Although the novel does not seem to follow a chronological pattern—being composed primarily of episodes that are memories, flashbacks, or character descriptions and having very little grasp on what exactly the current moment is—the climax of these three chapters demonstrates that the novel as a whole still has a somewhat conventional narrative shape. That is, the memories and flashbacks that make up the first two-thirds of the novel lead up to the fatigue and frustration with war that form the background for the events in these chapters. The war transitions from a surreal series of events whose absurdity can be lightly parodied to a reality that is a serious and heavy weight on Yossarian and his squadron. Furthermore, the events in these chapters—particularly the two deaths—shift the narrative from the brilliant parody of the preceding sections into an extremely dark humor that borders on seriousness. The increasing strain the war is placing on Yossarian’s psyche is evident in the scene in which he contemplates murdering Orr and finds the idea a relaxing one; it is this thought alone that allows him to tolerate his roommate’s prattling.

Orr’s disappearance and presumed death come as something of a shock. In fact, one of the most remarkable aspects of Catch-22 is the way that Heller manages to catch us off guard each time one of Yossarian’s friends dies. In part, this aspect is a virtue of the novel’s chronology—with so much jumping forward and backward in time, it becomes easy to think of the lives of the characters as existing in a sort of vacuum, without beginning or end. Of course, such is not the case, and the men’s deaths are sharp reminders that even in the novel time moves forward and people are fragile. Yossarian is not in need of such a reminder: he is haunted by the death of Snowden and reaches a moment of murderous rage toward McWatt shortly after flashing back to Snowden’s death. Yossarian’s fierce desire to live makes him seem heroic even in his moments of cowardice. As he strangles McWatt and yells at him to pull up, it seems only just for McWatt to obey.

The absurd chapter on the death of Doc Daneeka represents perhaps the most extreme moment of bureaucratic confusion in the entire novel. Paperwork has the power to make a living man officially dead, and the bureaucracy would rather lose the man than try to confront the forms. Painfully, Mrs. Daneeka becomes complicit in her husband’s red-tape murder when she decides to take the insurance payments as a higher authority than his own letter protesting that he is really alive. Doc Daneeka thus realizes that he is essentially dead and that death is a matter of paperwork rather than biology. The soldiers’ powerlessness over their own lives extends even to their own deaths, which can be forced upon them not only by the shooting of a gun but also by the fall of a stamp.

Summary — Chapter 32: Yo-Yo’s Roomies

The cold weather comes, and Kid Sampson’s legs remain on the beach, since no one will retrieve them. The first things Yossarian remembers when he wakes up each morning are Kid Sampson’s legs and Snowden. When Orr never returns, four new roommates, a group of shiny-faced twenty-one-year-olds who have never seen combat, join Yossarian. They clown around, calling him“Yo-Yo,” rousing in him a murderous hatred. Yossarian tries to persuade Chief White Halfoat to move in with them and scare the new officers away, but Halfoat has decided to move into the hospital to die of pneumonia. Yossarian begins to feel more protective toward the men, but they then burn Orr’s birch logs and suddenly move Mudd’s belongings out of the tent—the dead man who has lived there for so long is abruptly gone. Yossarian panics and flees to Rome with Hungry Joe the day before Nately’s whore enjoys a good night’s sleep and wakes the next morning to discover that she is in love

Summary — Chapter 33: Nately’s Whore

In Rome, Yossarian misses Nurse Duckett and goes searching in vain for Luciana. He accompanies Nately on a mission to rescue his whore from some army officers who will not let her leave their hotel room. After the rescue and a good night’s sleep, Nately’s whore falls deeply in love with Nately, and they languish in bed together until her little sister dives in with them. Nately begins to have wild fantasies of moving his whore and her sister back to America and bringing the sister up like his own child, but when his whore hears that he no longer wants her to go out hustling, she becomes furious and an argument ensues. The other men try to intervene, and Nately tries to convince them that they can all move to the same suburb and work for his father. He tries to forbid his whore from ever speaking again to the old man in the whore’s hotel, and she becomes even angrier. But she still misses Nately when he leaves, and she is furious with Yossarian when he punches Nately in the face and breaks his nose.

Summary — Chapter 34: Thanksgiving

Yossarian breaks Nately’s nose on Thanksgiving after Milo gets all the men drunk on bottles of cheap whiskey. Yossarian goes to bed early but wakes up to the sound of machine-gun fire. At first he is terrified, but he quickly realizes that a group of men are firing machine guns as a prank. Furious, he takes his gun to exact revenge. Nately tries to stop him, and Yossarian breaks his nose. Nately is in the hospital the next morning, and Yossarian feels terribly guilty for having broken his nose. They encounter the chaplain in the hospital. He has lied in order to be admitted, claiming to have a disease called Wisconsin shingles. He can now feel wonderful since he has learned how to rationalize vice into virtue. Suddenly, the soldier in white is wheeled into the room, and Dunbar panics. Dunbar begins screaming, and soon everyone in the ward begins screaming as well. Nurse Duckett warns Yossarian that she overheard some doctors talking about how they planned to “disappear” Dunbar. Yossarian goes to warn his friend but cannot find him.

Summary — Chapter 35: Milo the Militant

When Chief White Halfoat finally dies of pneumonia and Nately finishes his seventy missions, Yossarian begs Nately not to volunteer to fly more than seventy missions. But Nately does not want to be sent home until he can take his whore with him. Yossarian asks for help from Milo, who immediately goes to see Colonel Cathcart about having himself assigned to more combat missions. Milo has finally been exposed as the tyrannical fraud he is. He has no intention of giving anyone a real share of the syndicate, but his power and influence are at their peak and everyone admires him. He pretends to feel guilty for not doing his duty—flying missions—and connivingly asks the deferential Colonel Cathcart to assign him to more dangerous combat duties. Milo tells Colonel Cathcart that someone else will have to run the syndicate, and Colonel Cathcart volunteers himself and Colonel Korn. When Milo explains the complex operations of the business to Cathcart, the colonel, falling into Milo’s logical traps, declares Milo the only man who could possibly run it and forbids Milo from flying another combat mission. He suggests that he might make the other men fly Milo’s missions for him, and if one of those men wins a medal, Milo will get the medal. To make his plan possible, he says, he will ratchet the number of required missions up to eighty. The next morning, the alarm sounds, and the men fly off on a mission that turns out to be particularly deadly. Twelve men are killed, including Dobbs and Nately.

Summary — Chapter 36: The Cellar

The chaplain is devastated by Nately’s death, which he learns about at the airfield where the men are returning from their mission. Suddenly, the chaplain is dragged away by a group of military police who accuse him of an unspecified crime. A colonel accuses the chaplain of forgery and interrogates him. His only evidence is a letter that Yossarian forged in the hospital and signed with the chaplain’s name some time ago. He then accuses the chaplain of stealing the plum tomato from Colonel Cathcart and of being Washington Irving. The men in the room idiotically find him guilty of unspecified crimes they assume he has committed and then order him to go about his business while they think of a way to punish him. The chaplain leaves and furiously goes to confront Colonel Korn about the number of missions the men are required to fly. He tells Colonel Korn that he plans to bring the matter directly to General Dreedle’s attention, but the colonel replies gleefully that General Peckem has replaced General Dreedle as wing commander. He then tells the chaplain that he and Colonel Cathcart can make the men fly as many missions as they want to make them fly—they have even transferred Dr. Stubbs, who had offered to ground any man with more than seventy missions, to the Pacific.

Summary — Chapter 37: General Scheisskopf

General Peckem’s victory sours quickly. On his first day in charge of General Dreedle’s old operation, he learns that Scheisskopf has been promoted to lieutenant general and is now the commanding officer for all combat operations. He is in charge of General Peckem and his entire group, and he intends to make every single man present march in parades.

Analysis — Chapters 32–37

The first part of this section, with Yossarian’s young roommates and the story of Nately’s whore, returns to the high comedy of the earlier parts of the novel, but with the important difference that Yossarian is on the edge of a breakdown and seems to know it. Orr’s disappearance is a very hard blow, and Yossarian is now plagued by thoughts of death and dismemberment. The high comedy comes to an abrupt and unexpected halt with the eerie return of the soldier in white, which is followed immediately by Dunbar’s unexplained disappearance and the deaths of Chief White Halfoat, Nately, and Dobbs. The squadron is beginning to fall apart, and even the military bureaucracy is being turned on its thick head by the sudden ousting of General Dreedle in favor of General Peckem, who immediately learns that General Scheisskopf is now his superior officer. Furthermore, Scheisskopf’s intention for everyone under his command to march in parades is a ludicrous juxtaposition of irrelevant discipline-building exercises with the realities of war.

As Yossarian’s story moves toward its climax, the sense of unknown danger approaching from all sides intensifies markedly, from gunfire in the dark to the disappearance of Dunbar to the chaplain’s sudden, disconcerting interrogation for an unspecified crime. (This scene is reminiscent of the scene in Franz Kafka’s The Trial, in which the novel’s protagonist wakes one morning to find himself accused of a crime whose nature no one will describe to him.) The illogical nature of the chaplain’s interrogation makes it so terrifying. If he were accused of a specific crime, or if his interrogators were willing to listen to a word he said, the chaplain would have at least some power over his situation. As it is, all his attempts to clear his name are met with the same illogical arguments, and he can do absolutely nothing; he realizes that his captors could beat him to death if they wanted to and he couldn’t stop them. The chaplain’s plight is similar to that of all the men in the squadron: their lives are in the hands of others, and their logical desire to go free because they are innocent is meaningless in a world without logic.

Another highly restrictive force surrounding the squadron is the fact that no goal seems to be achievable. As soon as the men complete their missions, the required number is raised; as soon as Orr finishes building his stove, he is shot down and disappears; as soon as Nately’s whore falls in love with him, he is killed in combat. It seems almost miraculous that the men have it in them to try to accomplish anything, let alone the thankless task of bombing enemies they have never seen, when almost any action taken to alter the status quo has very negative consequences. However, Heller always stops just short of criticizing the war itself—it would be difficult to argue that fighting Hitler is wrong. Instead, he criticizes the way in which the war is carried out.

This section is also one of the only long sequences of chapters told in straight linear time—the same timeline, in fact, that leads right to the end of the novel. Heller uses this long chronological sequence to enhance the sense of momentum building toward a climax. The orderly progression of time corresponds to an increasing disorder in Yossarian’s world: the helplessness and lack of control that the men feel spirals to a fever pitch. As things fall apart all around Yossarian, the novel takes on the feel of a moving walkway, leading inexorably toward an unspecified, ominous ending

Summary — Chapter 38: Kid Sister

Yossarian marches around backward so that no one can sneak up behind him, and he refuses to fly in any more combat missions. When informed of Yossarian’s defiance, Colonel Cathcart and Colonel Korn decide to take pity on Yossarian for the death of his friend Nately and send him to Rome to rest. In Rome, he breaks the news of Nately’s death to Nately’s whore, who tries to kill him with a potato peeler for bringing her the bad news. Her kid sister materializes and also tries to stab him. Covered with stab wounds, Yossarian goes to a Red Cross building to get cleaned up. When he emerges, Nately’s whore is waiting in ambush and tries to stab him again. She follows him everywhere, even back to Pianosa, but he retaliates by flying her to a distant location and dropping her in a parachute from the plane. Yossarian still walks around backward, and, as word spreads that he has refused to fly more combat missions, men begin to approach him at night to ask him if it is true and to tell him that they hope he gets away with it. Worried, Yossarian’s superior officers offer to assign him only nondangerous missions if he agrees to fly; he refuses, because that would mean that other men would have to fly his share of dangerous missions. One day, Captain Black tells him that Nately’s whore and her kid sister have been flushed out of their apartment by the military police (M.P.’s), and Yossarian is suddenly worried about them.

Summary — Chapter 39: The Eternal City

Yossarian travels to Rome with Milo, who is disappointed in him for refusing to fly more combat missions. Rome has been bombed and lies in ruins, and the apartment complex where the whores lived is a deserted shambles. Yossarian finds the old woman who lived in the complex sobbing. She tells Yossarian that the only right the soldiers had to chase the girls away was the right of Catch-22, which says “they have a right to do anything we can’t stop them from doing.” Yossarian asks if they had Catch-22 written down and if they showed it to her, and she says that Catch-22 stipulates that they don’t have to show her Catch-22. Yossarian knows that Catch-22 does not exist but that its nonexistence does not matter, because everyone believes that it exists. Milo agrees to help Yossarian track down the kid sister, but he becomes distracted when he learns about huge profits to be made in trafficking illegal tobacco. He slinks away, and Yossarian is left to wander the dark streets through a horrible night filled with grotesqueries and loathsome sights: men beat dogs and children, a soldier convulses helplessly, a woman is raped, and the sidewalk is strewn with broken human teeth. He returns to his apartment late in the night to find that Aarfy has raped and killed a maid. The M.P.’s burst in. They apologize to Aarfy for intruding and arrest Yossarian for being in Rome without a pass.

Summary — Chapter 40: Catch-22

Back at Pianosa, Colonel Cathcart and Colonel Korn want to send Yossarian home, but Catch-22 prevents them. They offer Yossarian a deal: They will ground him and send him home if he will agree to like them. He will be promoted to major and all he will have to do is support the two colonels. Yossarian realizes that the deal is a frankly atrocious betrayal of the men in his squadron, who will still have to fly the eighty missions, but he persuades himself to take the deal anyway. The prospect of going home fills him with joy. As Yossarian departs from Colonel Cathcart’s office, Nately’s whore appears, disguised as a private, and stabs him until he falls unconscious.

Summary — Chapter 41: Snowden

Man was matter, that was Snowden’s secret. . . . Bury him and he’ll rot, like other kinds of garbage. . . . Ripeness was all.

In the hospital, a group of doctors argues over Yossarian while the fat, angry colonel who interrogated the chaplain interrogates him. Finally, the doctors knock him out and operate on him. When he wakes, he dimly perceives visits from Aarfy and the chaplain. He tells the chaplain about his deal with Cathcart and Korn, and then assures him that he isn’t going to do it. He vaguely remembers a malignant, almost supernatural man jeering at him, “We’ve got your pal,” shortly after his operation. He then tells the chaplain that his “pal” must have been one of his friends who was killed in the war. He realizes that his only friend still living is Hungry Joe, but then the chaplain tells him that Hungry Joe has died—in his sleep, with Huple’s cat on his face.

Later, Yossarian wakes up to find a mean-looking man in a hospital gown leering at him, saying, “We’ve got your pal.” He asks who his pal is, and the man tells Yossarian he will find out. Yossarian lunges for him, but the man glides away and vanishes. Yossarian then has a flashback to Snowden’s death, which he relives in all its agony. Smiling at him wanly, Snowden whimpers, “I’m cold.” Yossarian reassures him and tries to mend the wound in Snowden’s leg, thinking that he will live. Finally, Yossarian opens up Snowden’s flak suit, and Snowden’s insides spill out all over him. Yossarian remembers the secret he read in those entrails: “The spirit gone, man is garbage.” He thinks to himself that man is matter and that, without the spirit, man will rot like garbage.

Summary — Chapter 42: Yossarian

In the hospital, Yossarian tries to explain to Major Danby why he can no longer go through with Cathcart and Korn’s deal: he won’t sell himself so short, and he won’t betray the memory of his dead friends. Yossarian tells Danby that he plans to run away, but Danby tells him that there is no hope, and Yossarian agrees. Suddenly, the chaplain bursts in with the news that Orr has washed ashore in Sweden. Yossarian realizes that Orr must have planned his escape all along and joyfully decides that there is hope after all. He has the chaplain retrieve his clothes and decides to desert the army and run to Sweden, where he can save himself from the madness of the war. As he steps outside, Nately’s whore tries to stab him again, and he runs into the distance.

Analysis — Chapters 38–42

This section plunges Yossarian into the deepest, most surreal darkness in the novel—the night in Rome after the disappearance of Nately’s whore and her sister is the most wrenching, despairing scene in Catch-22—as Yossarian encounters example after example of abuse, neglect, and oppression. This scene culminates in Aarfy’s rape and murder of the maid, which finally explodes the question of moral absolutes in war: Yossarian, outraged, repeats the most inviolable of those absolutes—one cannot kill another person—and is then arrested for the meaningless crime of being in Rome without a pass, while Aarfy receives an apology from the police. Obviously, war carries a requirement to kill other people, and, as the old woman who notes the dominance of Catch-22 is aware, this fact undermines every other natural and moral law.

Snowden’s death has been hinted at throughout the novel, but it is only in the second-to-last chapter that we are finally allowed to see the scene from beginning to end. Because it is placed near the end of the novel and is so clearly an important event, Snowden’s death functions as the technical climax of Catch-22, even though it took place before many of the novel’s other events. The progression of the scene of Snowden’s death is similar to Yossarian’s progression throughout the novel: at first, Yossarian thinks that he has control over death and that he can stop Snowden’s leg wound from bleeding and save Snowden’s life; later, he finds that death is a force utterly outside his control. The “secret” revealed to him here is that man is made of inanimate matter and that no human hands can restore life to a body once it has been destroyed by flak, disease, or drowning.

Yossarian has taken Snowden’s secret to heart, and he realizes that the impulse to live is the most important human quality. But the impulse to live is not simply a desire to survive at any cost: Yossarian cannot live as a hypocrite or as a slave; as a result, he decides to incur enormous personal danger by attempting to escape from the military rather than take the safe deal that would betray his friends. Yossarian chooses simply to take his life back into his own hands, openly rejecting (rather than, as the deal would have required, falsely embracing) the mentality of Catch-22 and making his run for freedom. He is inspired in this decision by the rather absurd example of Orr, who has escaped to Sweden.

The appearance of Nately’s whore in this section works as a bizarre kind of moral point of reference. Though Yossarian is not responsible for Nately’s death, Nately’s whore still seems to blame Yossarian, and, to an extent, Yossarian blames himself—at least enough to feel responsible for the whore and her sister. But as long as he refuses to comply with the military authorities, he manages to escape Nately’s whore’s attempts to murder him. Only when he agrees to the deal with Cathcart and Korn does she succeed in stabbing and seriously injuring him, suggesting that the act of agreeing with these bureaucrats constitutes the metaphorical death of Yossarian. At the end of the novel, when Yossarian makes his escape, the whore’s presence is a surprisingly welcome one—and Yossarian succeeds in getting away from her—proof that he is doing the right thing in refusing to sell himself out to the bureaucracy.