Catch-22: Heller's Harmonious Unison of Humor and Tragedy
Heller's Harmonious Unison of Humor and Tragedy
Since the dawn of literature and drama, comedy and tragedy will always be partitioned into different genres. Certainly virtually all tragedies had comedic moments, and actually the zaniest comedies had been at times serious. However, even the production of said tragicomedies kept the division pretty much intact. Integrating a complete comedy and a complete tragedy right into a holistic union that not merely preserved both features, but also blended them right into a latest and harmonious entity remained elusive. That is, until Catch-22. Using his unique design and structure, Joseph Heller masterfully manages to interlay humor and terror, comedy and tragedy, and reveals along the way the perversions of the human character and of culture gone mad.
The first stroke of Heller's deft feel is his demonstration of outrageous characters, performing outrageously. From the primary chapter, we are offered a slew of unbelievable personas whose actions and ideologies will be uproariously funny, and horrifically disturbing. In fact, the manner where the reader recognizes the character's dual nature will provide as the first exemplory case of Heller's amalgamation of humor and tragedy. Dunbar's theory of life is earliest received with a burst of laughter from the viewers. Life is brief, and Dunbar wishes to extend it whenever you can. If period flies when one is certainly having fun, then conversely, period must slow when one is usually bored. Dunbar endeavors to create his life simply because boring as possible, therefore increasing the amount of its passing. Indeed, it really is understandable why this attitude should elicit fun, however the further implications are horrific. Society's focus on lifestyle over meaning comes as a shocking revelation