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Perhaps, Heller means this to comment on the rivalry between nations, but there is a more immediate and substantial point. This point is suggested by the literary allusions to Hamlet, the drama of indecisiveness; for what follows our introduction to the Peckem-Scheisskopf-Cargill group is a progression of indecisiveness and rivalry. |
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Immediately after seeing the rivalry between Peckem and Dreedle, we see the rivalry, established by Gen. Peckem himself within his own command, between Cargill and Scheisskopf. In turn this rivalry passes over to that between the men in General Dreedle's command (for example, between Yossarian and Havermeyer). And this, in turn, passes over to the rivalry and indecision in one man – in this case, the familiar Col. Cathcart. |
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Whatever accounts for all of this, part of its explanation is the ambiguity created by the abuse of language, seen in the description of Gen. Peckem, and part comes from the tendency to accept as right whatever doesn't break the law (we have here rule by technicality). |
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For the most part, however, what contributes to the rivalry and indecision is a failure of the will. When Yossarian and others object to the proposed civilian bombing, they are asked the crucial question, ''Would you rather go back to Bologna?" That is the question, as Hamlet said, to be or not to be?, or, translated to these terms, it is them or us. And, even among those who know it should not be "them," there is no one who will give himself up. And that is the final indecision, the final account for the rivalry. |
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This chapter begins with a change of mood and tone. In the descriptions of Dunbar, Yossarian, and McWatt we see a far more somber, serious, even desperate attitude and get the sense that things are beginning to come to a head. One evidence of this is seen in the changed regard for the issue of sanity and madness. Previously each of these characters had his own slant on what constituted sanity. Now, however, even Yossarian finds it impossible to determine about Dunbar whether he has seen "the light or scrambled his brains." Another evidence is found in the use of simile in the descriptions themselves; for instance, the description of the chaplain's tent is "like the cap of a tomb." |
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The chapter intentionally leaves us unclear as to what is responsible for this change. In keeping with the theme of perception as it has been developed, the change is made to seem less a result of previous events than an intuition of things to come. Therefore, what follows satisfies the conditions of an already somber, ominous beginning. |
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First we see the change in Yossarian as the playful thought of murdering Orr (seen earlier) becomes here at least a half-serious attempt to kill McWatt, whom, ironically, Yossarian had "scratched off" Dobb's |
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