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in these early chapters, because Catch-22 develops, in plot and in theme, by the continual re-occurrence of these elements in new and different situations, each new context adding to and elaborating on ideas until their meaning becomes more fully realized, both by the reader and by the characters themselves. |
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In chapter one, not only are the characters themselves important, but so also are the contrasts in character and the overall irony of the chapter. Note particularly the setting: the hospital in Pianosa. Yossarian's trips to the hospital will become more and more important as the novel progresses. The hospital, which we might associate negatively with sickness and positively with health, is here associated positively with escape and negatively with one of the major themes of the novel: insanity. Note how Yossarian and the chaplain talk about who is crazy and sane and how the sanest ward in the hospital becomes "the only sane ward in the whole world." |
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The irony is present here in such remarks as the comment that the Texan is so good-natured that no one can stand him and that Nately got off to a bad start in life by coming from a good family. These ironic elements will grow in the course of the novel until they are significant thematically, and so will personal characterizations, such as the Texan's racism and, especially, the chaplain's ineptitude. |
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One other element initiated here and used by Heller as a significant device throughout the novel is the device of literary allusion. Here, for instance, we have the allusion to Moby Dick, which the "pedantic cetologist," a victim of fate himself, wants to discuss with the "dying colonel," and those who have read Moby Dick should remember that death and predestiny are two of the themes of the novel alluded to. |
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Finally, readers should note the religious theme developed in casual comments, characterizations, and allusions, such as the narrator's description of Yossarian's flick of the wrist as he signs Washington Irving's name as being done "as though he were God." |
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This chapter begins with explicit reminders of the two "worlds" the characters must choose between: the hospital and the war outside. Clevinger and Yossarian proceed to argue on the subject of sanity carried over from chapter one. Since Clevinger argues from the perspective of the war and Yossarian argues from the perspective of the hospital, they are constantly at cross purposes. The argument and the chapter, however, do serve to acquaint the reader with more of Yossarian's attitudes; and we begin to associate Yossarian with the concept of life as opposed to Clevinger and others who are associated with principles. |
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Two elements are introduced here which grow to be of central |
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