shǒuyè>> wénxué>> 讽刺谴责>> yuē · hǎi Joseph Heller   měi guó United States   xiàn dài měi guó   (1923niánwǔyuè1rì1999niánshíèryuè12rì)
'èr shí 'èr tiáo jūn guī Catch-22
  zài dāng dài měi zhōng 'èr shí 'èr tiáo jūn guī( catch-22) zuò wéi de dān shǐ yòng pín shuài gāoyòng lái xíng róng rèn xiāng máo dùn luó ji de guī dìng huò tiáo jiàn suǒ zào chéng de bǎi tuō de kùn jìngnán yuè de zhàng 'àibiǎo shì rén men chǔyú zuǒ yòu wéi nán de jìng huò zhě shì jiàn shì xiàn liǎo xún huánhuò zhě diē jìn luó ji xiàn jǐngděng děng
   'èr shí 'èr tiáo jūn guī [ xiǎo shuō ]- nèi róng
  
   guǒ néng zhèng míng fēng jiù shuō míng méi fēng
  
   bèi lùn shì de jìn tuì wéi de miànjiào rén zuǒ yòu wéi nán de qíng kuàng
   'èr shí 'èr tiáo jūn guī [ xiǎo shuō ]- chū chù
  
   yuán chū měi guó zuò jiā yuē · hǎi JosephHeller gēn zài 'èr shì jiè zhàn zhōng de qīn shēn jīng chuàng zuò de hēi yōu xiǎo shuō 'èr shí 'èr tiáo jūn guī》﹙ 1961﹚。 zhù rén gōng yuē hàn · yóu lín shàng wèi﹙ CaptainJohnYossarian﹚ shì měi guó jūn 27 háng kōng duì B-25 hōng zhà shàng de míng lǐng háng yuán jiān tóu dàn shǒu wàng bǎo zhù de xìng mìnggēn lìng guī dìngwán chéng 25 zhàn dǒu fēi xíng de rén jiù yòu quán shēn qǐng huí guódàn dào zhǎngguān zhǔndāng yóu lín wán chéng 32 rèn shílián duì cháng shàng xiào jīng zhǐ biāo gāo dào 40 liǎoděng fēi wán 44 shàng xiào yòu gǎi chéng 50 dāng fēi wán 51 mǎn wéi shàng jiù néng huí guó liǎodìng 'é yòu gāo dào 60 yīn wéi 'èr shí 'èr tiáo jūn guī guī dìngjūn rén cóng mìng lìng shǐ shàng xiào wéi fǎn liǎo lìng de guī dìngzài fēi wán guī dìng shù hòu hái jiào fēi fǒu jiù fàn xià wéi kàng mìng lìng de zuì xíngsuǒ lùn fēi mǎn duō shǎo shàng xiào zǒng zēng jiā dìng 'éér què wéi kàng mìng lìng fǎn yǒng xiū zhǐguān bīng men de jīng shén jìn bēng kuì shuí néng tíng fēi shì táo jìn yuàn zhuāng bìngjūn shuō shìzài bái fèi shí jiān”, dāng chǎng jiù jué dìng fēng lái”, yīn wéi gēn tiáo jīng shén shī cháng de rén shì zhǔn shàng tiān fēi xíng dedàn zhǐ néng yóu běn rén chū shēn qǐngér rén zài miàn lín zhēn zhèng de wēi xiǎn shí què dān xīn shēn 'ān quánjiù zhèng míng shén zhì qīng xǐng shì jiù chǎn shēng liǎo xià luó ji guǒ fēng liǎozhǐ yào shēn qǐng jiù yǔn tíng fēi dàn chū shēn qǐngjiù zhèng míng shì fēng hái jiē zhe fēizuì hòuyóu lín zhōng míng bái:“ zhè miàn zhǐ yòu juàn tào jiù shì 'èr shí 'èr tiáo jūn guī。” zhè shì zuò zhě xiě zài xiǎo shuō fēi shàng de huà
   'èr shí 'èr tiáo jūn guī [ xiǎo shuō ]- zuò zhě jiǎn jiè
  
   yuē · hǎi ( 1923 héng 1999) měi guó hēi yōu pài huāng dàn pài dài biǎo zuò jiāchū shēng niǔ yuē shì lín 'é yóu tài rén jiā tíng 'èr shì jiè zhàn jiān céng rèn kōng jūn zhōng wèizhàn hòu jìn xué xué , 1948 nián niǔ yuē xuéhuò wén xué xué shì xué wèi。 1949 nián zài lún xué huò wén xué shuò shì xué wèi hòu dào lài yán jiū jīn yīng guó niú jīn xué shēn zào nián。 1950 dào 1952 nián zài bīn zhōu xué děng xiào rèn jiào hòu kāi xué xiàodàoshí dàizhǎn wàngděng zhì biān ji rèn zhí。 1961 niáncháng piān xiǎo shuō 'èr shí 'èr tiáo jūn guīwèn shì chéng míngdāng nián fàng zhí zhuān mén cóng shì xiě zuòchú 'èr shí 'èr tiáo jūn guīwàihǎi hái biǎo guò cháng piān xiǎo shuō liǎng :《 chū liǎo máo bìng》( 1974) xiàng gāo 'ěr yàng hǎo》( 1979)。 hǎi céng xiě guò běn men hōng zhà liǎo niǔ hēi wénděngdàn yǐng xiǎng hǎi de xiǎo shuō cái xiàn shí shēng huótōng guò shù de jìng fàng jìngfǎn yìng liǎo měi guó shè huì shēng huó de ruò gān miàn yòu dìng de rèn shí jià zhí shěn měi jià zhí
   'èr shí 'èr tiáo jūn guī [ xiǎo shuō ]- xiàn shí bǎn de catch-22
  
   chuān shī yòu jiù yòu zhè yàng tiáo guī dìng xué jiù néng bàn zhù xué dài kuǎn
  
   ér yào xué bào dàoyòu xiān jiāo fèidāng xiàméi yòu xué gǎn gōng kāi shēng chēngméi yòu qián jiù yào xuéliǎojiào sān lìng shēnyàoquè bǎo měi wèi xīn shēng yīn jiā tíng jīng kùn nán 'ér xué”。 dàn zài duō xué guǎn zhě de xīn hái shì wàng zuì xiàn duódì zhuī qiú rùn dezhǐ shì zhè yàng lái xiē chéng yōu dàn yòu jiāo xué fèi de pín kùn shēng jiù chéng liǎo zhuī qiú rùn de zhòng zhàng 'ài rán néng gōng kāi jué men jiù shè tiáo 'èr shí 'èr tiáo jūn guī”。 xué xiào méi yòu jué pín kùn shēng xué méi yòu jué duì pín kùn shēng fàng zhù xué dài kuǎndàn pín kùn shēng què liǎo xué dào dài kuǎnzuì hòu zhǐ hǎo zhù dòngxuǎn fàng ér xué xiào què wèicǐ chéng dān rèn rèn
  
   xué chū xiàn liǎo 'èr shí 'èr tiáo jūn guī”, ràng rén jìn zhù yào wènbàn xuéjiū jìng shì wéi liǎo guó jiā mín péi yǎng rén cáihái shì wèile qián guǒ shì qián zhě guó jiā jiù yòu ràng měi néng gòu tōng guò gāo kǎo de pín kùn xué shēng shùn jìn xuébìng jiě jué men de kùn nán guǒ shì hòu zhě fáng zhí huà zhí shuōràng pín kùn shēng zǎo fàng huàn xiǎnglìng zuò suànér zài zhè zhǒng huāng dàn dejūn guīmiàn qián shāng nǎo jīnyòu shāng gǎn qíng
  
   xiǎo shuō yóu suǒ lín zuì hòu xiànzhè shì jiè dào chù yóu 'èr shí 'èr tiáo jūn guītǒng zhì zhejiù xiàng tiān luó wǎng yànglìng bǎi tuō rèn wéi shì rén zhèng zài yòng suǒ wèizhèng xíng wéilái wéi qiǎo háo duó xún zhǎo jiè kǒuzuì hòu kāi xiǎo chā táo wǎng ruì diǎn hěn wàng xiǎo táo de jìng lèi de pín kùn shēng yào chū yóu suǒ lín tóng yàng de jié lùn
   'èr shí 'èr tiáo jūn guī [ xiǎo shuō ]- jiě
  
  ( 'èr shí 'èr tiáo jūn guī 'èr shí 'èr tiáo jūn guī
  
   suǒ wèi 'èr shí 'èr tiáo jūn guī”, shí bìng cún zàizhè diǎn kěn dìngdàn zhè shìwèn shì měi réndōu rèn wéi cún zàizhè jiù gèng jiā zāo gāoyīn wéi zhè yàng jiù méi yòu de duì xiàng tiáo wén rénrén duì cháo nòng chìkòng gào pínggōng xiū zhèngzēng hèn tuò huǐjiàn huò zhě shāo diào zhǐ shì chù zài suǒ néng de cán bào zhuān héng de xiàng zhēngshì miè jué rén xìng de guān liáo zhìshì zhuō nòng rén cuī cán rén de guāi liàng suī rán xiǎn huá xiàodàn yòu lìng rén jué wàng hài shǐ yǒng yuǎn bǎi tuō yuè yǒng yuǎn duì yǒng yuǎn cuò zǒng shì yòu zǒng shì hǎi rèn wéizhàn zhēng shì dào de shì huāng miù dezhǐ néng zhì zào hùn luàn shí rén xīnshǐ rén shī zūn yánzhǐ néng ràng xiè zhī liú fēi huáng téng mài luò zhī liú míng shuāng shōuzài kàn láizhàn zhēng guān liáo zhì quán shì rén zài zuò suìshì rén lèi běn shēn de wèn
   'èr shí 'èr tiáo jūn guī [ xiǎo shuō ]- shì
  
  
   yòu shàng quán suí xìng de 'èr shí 'èr tiáo jūn guī bìng cún zài 'ér yòu suǒ zàishì zhǒng yòu zhì de hùn luàn zhì huà fēng kuáng de xiàng zhēng shì xiàng 'ér huāng miù de tiáo wéngèng shì zhǒng chōu xiàng de zhuān zhì xiàn shí yǒng yuǎn duì yǒng yuǎn cuò zǒng yòu zǒng méi zǒng shì miè jué rén xìng de guān liáo zhì yǐng suí xíngshǐ yǒng yuǎn bǎi tuō yuè
  
   zài xiàn shí shēng huó zhōng men shí cháng huì zāo xiǎo xiǎo de 'èr shí 'èr tiáo jūn guī”, shí jiù shì xíng xíng de zhì xiàn jǐngtōng cháng zài yuán bèi qiáng shì fāng suǒ lǒng duàndāng shì rén shuāng fāng xìn yán zhòng duìchèn huò quán píng děng de qíng kuàng xià zuì róng chǎn shēng lèi wángtiáo kuǎnjiǎn zhí jiù xiàng shì wéi guān yuán quán xún huò xíng zhèng miǎn 'ér liàng shēn zào de
   'èr shí 'èr tiáo jūn guī [ xiǎo shuō ]- diàn yǐng 'èr shí 'èr tiáo jūn guī
  
   míng 22 tiáo jūn guī
  
   piàn míng: Catch-22
  
   nián dài: 1970
  
   guó jiāměi guó
  
   lèi bié / zhàn zhēng
  
   yányīng
  
   bié míngèr shí 'èr zhī duì
  
   nèi róng jiǎn jiè
  
   mài · 'ěr zhí dǎo de hēi fǎn zhàn piànmiáo shù 'èr shì jiè zhàn jiānzhù zhā zài zhōng hǎi de měi guó kōng jūn yòu hěn duō guān bīng xiǎng táo fēi xíng rèn huò zhī cáiběn piàn shì nèi róng fēng de hēi fǎn zhàn kāi shǐ de piàn duàn pāi hěn yòu pàidàn hòu de zhǎn què shāo xián hùn luàn sōng sànwèi néng guàn chuān zhù guòyòu duō piàn duàn pāi xiāng dāng chū ér qiě xìng


  Catch-22 is a satirical, historical novel by the American author Joseph Heller, first published in 1961. The novel, set during the later stages of World War II from 1943 onwards, is frequently cited as one of the great literary works of the twentieth century. It has a distinctive non-chronological style where events are described from different characters' points of view and out of sequence so that the time line develops along with the plot.
  
  The novel follows Yossarian, a U.S. Army Air Forces B-25 bombardier, and a number of other characters. Most events occur while the airmen of the fictional 256th squadron are based on the island of Pianosa, in the Mediterranean Sea west of Italy.
  
  Concept
  
  Among other things, Catch-22 is a general critique of bureaucratic operation and reasoning. Resulting from its specific use in the book, the phrase "Catch-22" is common idiomatic usage meaning "a no-win situation" or "a double bind" of any type. Within the book, "Catch-22" is a military rule, the self-contradictory circular logic that, for example, prevents anyone from avoiding combat missions. In Heller's own words:
  
   There was only one catch and that was Catch-22, which specified that a concern for one's safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn't, but if he was sane he had to fly them. If he flew them he was crazy and didn't have to; but if he didn't want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle.
  
  Other forms of Catch-22 are invoked throughout the novel to justify various bureaucratic actions. At one point, victims of harassment by military police quote the MPs' explanation of one of Catch-22's provisions: "Catch-22 states that agents enforcing Catch-22 need not prove that Catch-22 actually contains whatever provision the accused violator is accused of violating." Another character explains: "Catch-22 says they have a right to do anything we can’t stop them from doing." The theme of a bureaucracy marginalizing the individual in an absurd way is similar to the world of Kafka's The Trial, and George Orwell's Nineteen Eighty-Four. The concept of 'doublethink' has definite echoes in Heller's work.
  
  Yossarian comes to realize that Catch-22 does not actually exist, but because the powers that be claim it does, and the world believes it does, it nevertheless has potent effects. Indeed, because it does not exist there is no way it can be repealed, undone, overthrown, or denounced. The combination of force with specious legalistic justification is one of the book's primary motifs.
  
  The motif of bureaucratic absurdity is further explored in 1994's Closing Time, Heller's sequel to Catch-22. This darker, slower-paced, apocalyptic novel explores the pre- and post-war lives of some of the major characters in Catch-22, with particular emphasis on the relationship between Yossarian and tailgunner Sammy Singer.
  Synopsis
  Wiki letter w.svg This section requires expansion.
  
  The development of the novel can be split into multiple segments. The first (chapters 1–12) broadly follows the story fragmented between characters, but in a single chronological time in 1943. The second (chapters 12–20) flashes back to focus primarily on the "Great Big Siege of Bologna" before once again jumping to the chronological "present" of 1943 in the third part (chapter 20–25). The fourth (chapters 25–28) flashes back to the origins and growth of Milo’s syndicate, with the fifth part (chapter 28–32) returning again to the narrative "present" but keeping to the same tone of the previous four. In the sixth and final part (chapter 32 on) while remaining in the "present" time the novel takes a much darker turn and spends the remaining chapters focusing on the serious and brutal nature of war and life in general.
  
  While the previous five parts develop the novel in the present and by use of flash-backs, it is in chapters 32–41 of the sixth and final part where the novel significantly darkens. Previously the reader had been cushioned from experiencing the full horror of events, but now the events are laid bare, allowing the full effect to take place. The horror begins with the attack on the undefended Italian mountain village, with the following chapters involving despair (Doc Daneeka and the Chaplain), disappearance in combat (Orr and Clevinger), disappearance caused by the army (Dunbar) or death (Nately, McWatt, Mudd, Kid Sampson, Dobbs, Chief White Halfoat and Hungry Joe) of most of Yossarian’s friends, culminating in the unspeakable horrors of Chapter 39, in particular the rape and murder of Michaela, who represents pure innocence.
  Style
  
  Many events in the book are repeatedly described from differing points of view, so the reader learns more about each event from each iteration, with the new information often completing a joke, the punchline of which was told several chapters previously. The narrative often describes events out of sequence, but events are referred to as if the reader is already familiar with them, so that the reader must ultimately piece together a timeline of events. Specific words, phrases, and questions are also repeated frequently, generally to comic effect.
  
  Much of Heller's prose in Catch-22 is circular and repetitive, exemplifying in its form the structure of a Catch-22. Heller revels in paradox, for example: The Texan turned out to be good-natured, generous and likable. In three days no one could stand him, and The case against Clevinger was open and shut. The only thing missing was something to charge him with. This atmosphere of apparent logical irrationality pervades the whole book.
  
  While a few characters are most prominent, notably Yossarian and the Chaplain, the majority of named characters are described in a typical extent, with fully fleshed out or multidimensional personas, to the extent that there are few if any "minor characters".
  
  The seemingly random non-chronological structure to the novel is misleading. Catch 22 is actually highly structured, but it is a structure of free association where ideas run into one another through seemingly random connections. For example, Chapter 1 entitled "The Texan" ends with "everybody but the CID man, who had caught cold from the fighter captain and come down with pneumonia." Chapter 2, entitled "Clevinger", begins with "In a way the CID man was pretty lucky, because outside the hospital the war was still going on." The CID man connects the two chapters like a free association bridge and eventually Chapter 2 flows from the CID man to Clevinger through more free association links.
  Major themes
  
  One of the first themes developed in the novel is the question of what is right to do in a basic moral dilemma/social dilemma/prisoner's dilemma; where a person can cooperate with others to their collective greater payoff; or can sell them out by not cooperating, and reap even greater benefits as an individual. Yossarian is presented as having decided upon and relishing the immoral choice to such questions: "Yossarian throbbed with a mighty sense of accomplishment each time he gazed at [the officers' club building] and reflected that none of the work that had gone into it was his," which solidly casts Yossarian as an anti-hero to the reader. Yossarian (and Doc Daneeka) wonder 'why me' when it comes to taking risks when others aren't. To this, Major Danby asks Yossarian, "But suppose everybody on our side felt that way," to which Yossarian replies, "Then I’d certainly be a damned fool to feel any other way. Wouldn’t I?"
  
  Another theme is the turning on their heads of notions of what people generally think of as morally right or wrong, particularly patriotism and honor, which lead most of the airmen to accept abusive lies and petty rules of bureaucrats, though Yossarian whole-heartedly disregards all such notions. When Major Major asks why he wouldn't fly more missions, Yossarian answers:
  
   "'I’m afraid.'
   'That’s nothing to be ashamed of,' Major Major counseled him kindly. 'We’re all afraid.'
   'I’m not ashamed,’ Yossarian said. ‘I’m just afraid.'"
  
  Several themes flow into one another, for example, 'that the only way to survive such an insane system is to be insane oneself,' is partially a take on Yossarian's answer to the Social dilemma (that he would be a fool to be any other way); and another theme, 'that bad men (who sell out others) are more likely to get ahead, rise in rank, and make money,' turns our notions of what is estimable on their heads as well.
  
  Heller suggests that bureaucracies often lead organizations, especially when run by bad or insane people, to trivialize important matters (e.g., those affecting life and death), and to grossly exaggerate the importance of trivial matters (e.g., clerical errors). Everyone in the book, even Yossarian at the beginning, is behaving insanely in their clerical decisions.
  
  While the (official) enemies are the Germans, no German ever actually appears in the story as an enemy combatant. As the narrative progresses, Yossarian comes to fear American bureaucrats more than he fears the Germans attempting to shoot down his bomber. This ironic situation is epitomized in the single appearance of German personnel in the novel, who act as pilots employed by a private entrepreneur working within the United States military. This predicament indicates a tension between traditional motives for violence and the modern economic machine, which seems to generate violence simply as another means to profit, quite independent of geographical or ideological constraints.
  
  Among the reasons Yossarian fears his commanders more than the enemy is that, as he flies more missions, the number of missions required before he can go home is continually increasing: he is always approaching the magic number, but he never reaches it. He comes to despair of ever going home and is greatly relieved when he is sent to the hospital for a condition that is almost jaundice. In Yossarian's words:
  
   The enemy is anybody who's going to get you killed, no matter which side he's on, and that includes Colonel Cathcart. And don't you forget that, because the longer you remember it, the longer you might live. (Chapter 12)
  
  List of motifs:
  
   * Sanity and insanity
   * Heroes and heroism
   * Absurdity and inefficiency of bureaucracy
   * Power of bureaucracy
   * Questioning/Loss of religious faith
   * Impotence of language
   * Inevitability of death
   * Distortion of justice
   * Concept of Catch-22
   * Greed
   * Personal integrity
   * Capital and its amorality
  
  Characters
  Further information: List of characters in Catch-22
  Influences
  
  Although Heller always had a desire to be an author from an early age, his own experiences as a bombardier during World War II strongly influenced Catch-22; however, Heller later said that he had "never had a bad officer."
  
  Czech writer Arnošt Lustig recounts in his book 3x18 that Joseph Heller personally told him that he would never have written Catch-22 had he not first read The Good Soldier Švejk by Jaroslav Hašek.
  
  In 1998, some critics raised the possibility that Heller's book had questionable similarities to Louis Falstein's 1950 novel, Face of a Hero. However, Falstein himself never raised the issue between Catch-22's publication and his death in 1995, and Heller claimed never to have been aware of the obscure novel. Instead, Heller stated that the novel had been influenced by Céline, Waugh and Nabokov. Many of the similarities have been stated to be attributable to the two authors' similar experiences; both served in the U.S. Air Force on bombing crews in Italy in World War II. Their general themes and styles are quite different.
  Allusions/references to other works
  
  Catch-22 contains allusions to and draws inspiration from many works of literature, both classical and modern. Howard Jacobson, in his 2004 introduction to the Vintage Classics publication, wrote that the novel was "positioned teasingly ... between literature and literature's opposites – between Rabelais and Dickens and Dostoevsky and Gogol and Céline and the Absurdists and of course Kafka on the one hand, and on the other vaudeville and slap-stick and Bilko and Abbott and Costello and Tom and Jerry and the Goons (if Heller had ever heard of the Goons)."
  Iliad and Odyssey
  
  Heller casts Yossarian as a modern day, anti-heroic version of Homer's hero Achilles, from the Iliad. Both works begin with the central character refusing to fight. But whereas Achilles heroically re-enters combat in response to the death of his best friend Patroclus, Yossarian is anti-heroically goaded back to combat early on by mere bureaucratic pressure. Towards the end of the novel, after the death of Nately, he resolutely refuses to fly more missions. Achilles is promised either fame or a long life, and chooses fame; Yossarian, conversely, chooses life.
  
  The analogy is explicitly suggested by Colonel Korn:
  
   "Who does he think he is — Achilles?" Colonel Korn was pleased with the simile and filed a mental reminder to repeat it the next time he found himself in General Peckem's presence.
  
  The comparison is made more subtly in a description of the chaplain's feeling of déjà vu:
  
   But the chaplain's impression of a prior meeting was of some occasion far more momentous and occult than that, of a significant encounter with Yossarian in some remote, submerged and perhaps even entirely spiritual epoch in which he had made the identical, foredooming admission that there was nothing, absolutely nothing, he could do to help him.
  
  Heller here alludes to Book XI of Homer's epic, the Odyssey,[citation needed] in which the hero Odysseus has descended to the spirit world of Hades and met the dead Achilles. Achilles asks Odysseus for news of the living, which Odysseus provides. In contrast, the chaplain cannot help Yossarian.
  
  The differences between Achilles and Yossarian are explained by other literary influences for Yossarian's character:
  
   They couldn’t touch him because he was Tarzan, Mandrake, Flash Gordon. He was Bill Shakespeare. He was Cain, Ulysses, the Flying Dutchman; he was Lot in Sodom, Deirdre of the Sorrows, Sweeney in the nightingales among trees.
  
  Crime and Punishment
  
  In a dialogue between Clevinger and Yossarian, allusion is made to Dostoevsky's Crime and Punishment, where Yossarian is portrayed as a mirror of Raskolnikov:
  
   "You're crazy," Clevinger shouted vehemently, his eyes filling with tears. "You've got a Jehovah complex."
   "I think everyone is Nathaniel."
   Clevinger arrested himself in mid-declamation, suspiciously. "Who's Nathaniel?"
   "Nathaniel who?" inquired Yossarian innocently.
   Clevinger skirted the trap neatly. "You think everybody is Jehovah. You’re no better than Raskolnikov—"
   "Who?"
   "—yes, Raskolnikov, who—"
   "Raskolnikov!"
   "—who—I mean it—who felt he could justify killing an old woman—"
   "No better than?"
   "—yes, justify, that’s right—with an ax! And I can prove it to you!" Gasping furiously for air, Clevinger enumerated Yossarian’s symptoms: an unreasonable belief that everybody around him was crazy, a homicidal impulse to machine-gun strangers, retrospective falsification, an unfounded suspicion that people hated him and were conspiring to kill him.
  
  Near the climax of the novel, during Yossarian's harrowing walk through Rome, the comparison with Raskolnikov is again made:
  
   He heard snarling, inhuman voices cutting through the ghostly blackness in front suddenly ... On the other side of the intersection, a man was beating a dog with a stick like the man who was beating the horse with a whip in Raskolnikov's dream. Yossarian strained helplessly not to see or hear ... A small crowd watched. A squat woman stepped out and asked him please to stop. "Mind your own business," the man barked gruffly, lifting his stick as though he might beat her too ... Yossarian quickened his pace to get away, almost ran ... At the next corner a man was beating a small boy brutally in the midst of an immobile crowd ... Yossarian recoiled with sickening recognition. He was certain he had witnessed that same horrible scene sometime before. Déjà vu?
  
  Other works
  
  Events in the Old Testament are regularly alluded to, and the theme of atheism is highlighted when the Chaplain questions his faith and the reliability of the Bible:
  
   So many things were testing his faith. There was the Bible, of course, but the Bible was a book, and so were Bleak House, Treasure Island, Ethan Frome and The Last of the Mohicans. Did it indeed seem probable, as he had once overheard Dunbar ask, that the answers to the riddles of creation would be supplied by people too ignorant to understand the mechanics of rainfall? Had Almighty God, in all His infinite wisdom, really been afraid that men six thousand years ago would succeed in building a tower to heaven?
  
  Another important reference to the Old Testament comes in Chapter 24, entitled "Milo".
  
   Yossarian went about his business with no clothes on all the rest of that day and was still naked late the next morning when Milo, after hunting everywhere else, finally found him sitting up a tree a small distance in back of the quaint little military cemetery at which Snowden was being buried.
  
  In that passage Yossarian mirrors Adam from the story of the Garden of Eden. The allusion becomes more obvious later when Yossarian tells Milo that the tree he sits in "it's the tree of life and of knowledge of good and evil, too." Here Heller alludes to the tree Adam and Eve ate from, the tree of knowledge of good and evil. Adam and Eve were cast out from the Garden before they could eat from the Tree of Life.
  
  New Testament references to the life of Christ abound in the final chapters. When Yossarian returns to "The Eternal City," he finds it a hell, filled with starving children, beggars, people beating and raping each other. He then returns to the base and is offered salvation, ala Christ and the devil, by Colonel Cathcart and Lieutenant Colonel Korn. They will send him back to America if he will only agree to like them. (The Devil offered Christ salvation if he would bow down and worship him.) As Yossarian is leaving their office, he is stabbed by Nately's whore, stabbed in the rib cage as Christ was on the cross. Yossarian, like Christ, achieves resurrection when he learns that Orr has not died but has rowed to Sweden. This gives Yossarian the power to rise up and head for Sweden and safety himself.
  
  Also mentioned are Moby-Dick, the works of psychiatrist Richard Freiherr von Krafft-Ebing read by the sexually obsessed Mrs Scheisskopf, Edwin Arlington Robinson's Miniver Cheevy, and allusion to William Shakespeare's The Merchant of Venice when describing the Chaplain as an outsider:
  
   If they pricked him did he not bleed? ... It seemed never to have occurred to them that be, just as they had eyes, hands, organs, dimensions, senses and affections, that he was fed by the same food...
  
  Heller also plays with Malvolio's lines in Twelfth Night when describing Major Major Major:
  
   Some men are born mediocre, some men achieve mediocrity, and some men have mediocrity thrust upon them.
  
  The chapter on Major Major Major Major also contains references to Miniver Cheevy by Edwin Robinson. Robinson writes "Miniver Cheevy, born too late, scratched his head and kept on thinking;". Heller uses that line to describe Major Major: "Major Major had been born too late and too mediocre."
  
  The chapter "Havermyer" alludes to the poem Dover Beach by Matthew Arnold, using verbatim the final phrase of the poem: "ignorant armies clashed by night."
  
  References to nineteenth century American author Washington Irving also feature, with Yossarian, Major Major, and Corporal Whitcomb all forging documents with his name at some point. The 17th-century English poet John Milton's name is briefly used for the same purpose.
  
  T.S. Eliot's name is mentioned by Ex-PFC Wintergreen as a poet that makes money (sparking a paranoid chain of phone calls between Generals Peckem and Dreedle).
  
  There are more subtle references to T.S Eliot's "The Wasteland". The first line of the poem is "April is the cruelest month" which is an allusion to Canterbury Tales by Chaucer. That line is repeated in the first sentence of Chapter 24: "April had been the best month of all for Milo." Heller does, however, turn the phrase on its head, part of a general motif that is exemplified by Heller's perversion of Malvolio's line from Twelfth Night.
  Explanation of the novel's title
  
  The title is a reference to a fictional bureaucratic stipulation which embodies multiple forms of illogical and immoral reasoning. That the catch is named exposes the high level of absurdity in the novel, where bureaucratic nonsense has risen to a level at which even the catches are codified with numbers.
  
  A magazine excerpt from the novel was originally published as Catch-18, but Heller's agent, Candida Donadio, requested that it change the title of the novel so it would not be confused with another recently published World War II novel, Leon Uris's Mila 18. The number 18 has special meaning in Judaism (it means life in Gematria) and was relevant to early drafts of the novel which had a somewhat greater Jewish emphasis.
  
  The title Catch-11 was suggested, with the duplicated 1 paralleling the repetition found in a number of character exchanges in the novel, but because of the release of the 1960 movie Ocean's Eleven this was also rejected. Catch-17 was also rejected, so as not to be confused with the World War II film Stalag 17, as well as Catch-14, apparently because the publisher did not feel that 14 was a "funny number". Eventually the title came to be Catch-22, which, like 11, has a duplicated digit, with the 2 also referring to a number of déjà vu-like events common in the novel.
  
  A 1950s/early 1960s anthology of war stories included a short version as "Catch-17".
  Literary significance and criticism
  
  As commented on by Joseph Heller himself in the preface to Catch-22 from 1994 onwards, the novel prompted polarized responses upon its first publication in the United States.
  
  Reviews in publications ranged from the very positive; The Nation ("was the best novel to come out in years"), the New York Herald Tribune ("A wild, moving, shocking, hilarious, raging, exhilarating, giant roller-coaster of a book") and the New York Times ("A dazzling performance that will outrage nearly as many readers as it delights") to the highly negative; The New Yorker ("doesn't even seem to be written; instead, it gives the impression of having been shouted onto paper," "what remains is a debris of sour jokes") and from another critic of the New York Times ("is repetitive and monotonous. Or one can say that it is too short because none of its many interesting characters and actions is given enough play to become a controlling interest").
  
  Although the novel won no awards at publication, it has stood the test of time and is seen as one of the most significant novels of the 20th century. Scholar and fellow World War II veteran Hugh Nibley said it was the most accurate book he ever read about the military.
  Rankings
  
   * The Modern Library ranked Catch-22 as number 7 (by review panel) and as number 12 (by public) on its list of the greatest English language novels of the twentieth century.
   * The Radcliffe Publishing Course rank Catch-22 as number 15 of the twentieth century's top 100 novels.
   * The Observer listed Catch-22 as one of the 100 greatest novels of all time.
   * Time puts Catch-22 in the top 100 English language modern novels (1923 onwards, unranked).
   * The Big Read by the BBC ranked Catch-22 as number 11 on a web poll of the UK's best-loved book.
  
  Adaptations
  
   * Catch-22 was adapted into a feature film of the same name in 1970, directed by Mike Nichols.
   * Heller also dramatised his own novel for the stage, and wrote another short play, Clevinger's Trial, that was based on scenes from Catch-22.
   * Aquila Theatre produced a stage adaptation of Catch-22 directed by Peter Meineck and based on Heller's own play which he wrote in 1971. This production toured the USA in 2007/8 with a New York City production in the fall of 2008.
   * There was also a brief television comedy series based upon Catch-22 made and televised in 1973, with Richard Dreyfuss in the starring role of Capt. Yossarian.
   * Catch 22 is also the name of a ska band from New Jersey that takes the name of the book.
· nèi róng yào ·
   'èr shì jiè zhàn jiānměi guó de fēi xíng duì zhù zhā zài zhōng hǎi de nuò zhādǎo shàngzhè shì guāng guài deshì jiè”。 duì zhǐ huī guān shàng xiào xīn xiǎng dāng jiāng jūnwèile yào dào de mùdìqiān fāng bǎi shàng de huān xīn rèn zēng jiā xià de hōng zhà fēi xíng rèn yòng xià de shēng mìng lái huàn de shēng qiānzhè zhī duì hái yòu liǎng chū lèi cuìde rén shì běn zhèng jīng 'ér xīn de xiè shàowèi bèi jūn guān xùn liàn duì zhàn bào wéi gāo xīngyīn wéi zhàn zhēng shǐ yòu huì měi tiān chuān shàng jūn guānyòng qīng cuìwēi yán de sǎng yīn duì xiē jiù yào sòng de xiǎo huǒ hǎn kǒu lìngér yóu shì jiāqiě yòu lòu guǎn bìngsuǒ méi yòu shàng qián xiàn de wēi xiǎn wèile yāo chǒng shàng fēi huáng téng jiù fēng zhuān xīn xùn liàn de zhōng duìqiú zài jiǎn yuè zhōng huò shèngyóu yán jiū chū huī dòng shuāng shǒu de xíng jìn duì lièbèi rén chēng wéimíng chuán de jūn shì tiān cái rén ”, cóng xùn gāo shēngzuì hòu dāng shàng liǎo zhōngjiàng lìng guānlìng shì shí táng guǎn yuán mài luò mào zhōng hòu lǎo shí”, shì zuàn qián yòu shù huǒ shí cǎi gòu wéi míng gǎo tóu dǎo bàn liǎo kuà guó gōng yòng fēi zǒu shèn zhì hái yòng rén de fēi wéi gōng yùn shūxiàng rén chéng bāo bǎo wèi qiáo liáng děng děnghòu lái rán chéng wéi guó zhī míng rén dāng shàng 'ōu zhōu shǎo chéng shì de shì cháng 'ěr de zǒng
   běn shū zhù rén gōng yóu suǒ lín jiù shēng huó zài zhè rào zhe zhàn zhēng guài xuánzhuàn de guāng guài de shì jiè shì zhè fēi xíng duì suǒ shǔ de zhōng duì de shàng wèi hōng zhà shǒu mǎn huái zhěng jiù zhèng de chén tóu zhàn zhēng xià zhàn gōngbèi shēng wéi shàng wèirán 'ér màn màn zài zhōu wéi xiōng xiǎn huán jìng de chōng zhōngqīn yǎn liǎo zhǒng zhǒng wànghuāng dànfēng kuángcán de xiàn xiàng hòulǐng dào shì shòu piàn liǎo biàn yán chéng zhì wéi wán shì gōngcóng 'ài zhàn zhēng biàn wéi yàn 'è zhàn zhēng xiǎng shēng guān cái yuàn wèi shēng zhǐ wàng huó zhe huí jiākàn dào tóng bàn men nèi xīn gǎn dào shí fēn kǒng yòu hài zhōu wéi de rén 'àn suàn zhì fǎn shuō men měi rén xiǎng shā hài ”。 wàng bǎo zhù de shēng mìngjué xīn yào táo zhè shì jiè”。 shì zhuāng bìngxiǎng zài yuàn guò xià de zhàn zhēng suì yuèdàn shì wèi néng yuàngēn 'èr shí 'èr tiáo jūn guīfēng cái néng huò zhǔn fēi xíngdàn yóu běn rén chū shēn qǐngtóng shí yòu guī dìngfán néng shí dào fēi xíng yòu wēi xiǎn 'ér chū miǎn fēi shēn qǐng deshǔ tóu nǎo qīng xǐng zhěyìng zhí xíng fēi xíng rèn 'èr shí 'èr tiáo jūn guī hái guī dìngfēi xíng yuán fēi mǎn shàng guī dìng de shù jiù néng huí guódàn yòu shuō jué duì cóng mìng lìngyào jiù zhǔn huí guóyīn shàng duàn gěi fēi xíng yuán zēng jiā fēi xíng shùér wéi kàng fǎn yǒng xiū zhǐzuì hòuyóu suǒ lín zhōng míng bái liǎo 'èr shí 'èr tiáo jūn guī yuán lái shì shì juàn tàoshì yuè de zhàng 'àizhè shì jiè dào chù yóu 'èr shí 'èr tiáo jūn guī tǒng zhì zhejiù xiàng tiān luó wǎng yànglìng bǎi tuō rèn wéi shì rén zhèng zài yòng suǒ wèizhèng xíng wéilái wéi qiǎo háo duózuì hòu kāi xiǎo chā táo wǎng ruì diǎn
1、 rén
  zhè shì shí shí zài zài de jiàn zhōng qíng
   chū xiāng jiànyuē sài lián biàn kuáng liàn shàng liǎo suí jūn shī
   yuē sài lián yīn gān tòng zhù zài yuàn guò zhè gān tòng hái shì huáng bìng de zhēng zhàozhèng yīn wéi shēng men cái shì shāng tòu liǎo nǎo jīn guǒ zhuǎn chéng huáng bìng men jiù yòu bàn duì zhèng xià yào guǒ méi yòu zhuǎn chéng huáng bìng 'ér qiě zhèng zhuàng yòu xiāo shī liǎo me men jiù ràng chū yuàn shì zhè gān tòng lǎo shì tuō zhezěn me biàn liǎo huáng bìngshí zài ràng men zhī suǒ cuò
   měi rén zǎo chénzǒng yòu sān nán shēng lái chá bìng fáng men jīng chōng pèimǎn liǎn běn zhèng jīngjìn guǎn yǎn hǎo kāi kǒu què zǒng shì tāo tāo juésuí tóng men lái de shì tóng yàng jīng chōng pèi gǒu yán xiào de shìtǎo yàn yuē sài lián de bìng fáng shì dāng zhōng jiù yòu men kàn liǎo kàn guà zài yuē sài lián bìng chuáng chuáng jiǎo de bìng kuàng nài fán wèn liǎo wèn gān tòng de qíng kuàngtīng shuō qiē hái shì lǎo yàng men hěn shì nǎo
  “ hái méi yòu tōng biàn?” wèi shàng xiào jūn wèn dào
   jiàn yáo liǎo yáo tóusān shēng huàn liǎo xià yǎn
  “ zài gěi yào。”
   shì yòng xià zhǔrán hòu men rén biàn cháo xià zhāng bìng chuáng zǒu méi yòu bìng fáng shì huān yuē sài lián shíyuē sài lián de gān zǎo jiù téng liǎo guò shénme méi shuōér xiē shēng cóng lái céng guò xīn men zhǐ shì cāi zǎo jiù tōng liǎo biànquè yuàn gào rèn rén
   yuē sài lián zhù zài yuàn shénme dōubù quēhuǒ shí hái suàn cuòměi yòng cān dōuyòu rén sòng dào de bìng chuáng shàngér qiě hái néng chī dào 'é wài pèi gěi de xiān ròuxià tiān de shí hòu bìng hào hái néng dào bīng guǒ zhī huò shì bīng qiǎo niú nǎichú liǎo shēng shìcóng lái jiù méi yòu rén lái rǎo guò měi tiān shàng huā diǎn shí jiān jiǎn chá xìn jiànzhī hòu biàn suǒ shì shìzhěng xián tǎng zài bìng chuáng shàng xiāo shí guāngdǎo xīn 'ān zài yuàn guò xiāng dāng shū dànér qiě yào zhè me zhù xià tǐng róng yīn wéi de wēn zhí zài huá shì bǎi líng gēn dèng xiāng shì kuài huó liǎodèng wèile fèn rén jiā duān dào bìng chuáng qián de cān diǎn 'ér zài zài 'ér sān jiāng shuāi chéng gǒu chī shǐ
   yuē sài lián dìng zhù yào liú zài yuàn zài shàng qián xiàn zhàng hòu biàn xìn gào zhī suǒ yòu shú rénshuō zhù jìn liǎo yuàn guò cóng wèi zhōng yuán yóuyòu tiān xīn shēng miào xiě xìn gěi měi shú réngào zhī yào zhí xíng xiàng xiāng dāng wēi xiǎn de fēi xíng rèn 。“ men zài zhēng zhì yuàn rén yuánrèn hěn wēi xiǎndàn zǒng yòu rén gānděng wán chéng rèn huí láijiù gěi xìn。” dàn shì cóng hòu zài méi yòu gěi shuí xiě guò fēng xìn
   zhào guī dìngbìng fáng de měi jūn guān bìng yuán jiǎn chá suǒ yòu shì bīng bìng yuán de xìn jiànshì bīng bìng yuán zhǐ néng dāi zài de bìng fáng jiǎn chá xìn jiàn shí zài zào hěn
   zhī shì bīng de shēng huó zhǐ guò jūn guān lüè duō xiē wèi 'ér yuē sài lián hěn jué shī wàng tiān xià lái biàn xīng wèi suǒ rán liǎo shì jiù bié chū xīn cái míng liǎo zhǒng zhǒng gěi zhè wèi dān diào de chāishi tiān xiē cǎiyòu tiān xuān yàochǔjuéxìn suǒ yòu de xiū shì zhè láifán jīng shěn chá guò de měi fēng xìn de xíng róng biàn tǒng tǒng xiāo shī liǎo 'èr tiān yòu xiàng guàncí kāi zhàn sān tiān de chuàng dào liǎo gèng gāo diǎn xìn de qiē quán gěi shān liǎozhǐ liú xià guàncí jué wán zhè zhǒng yóu yǐn liǎo gèng duō xué shàng de xiàn xìng nèi zhāng chàbù duō néng shǐ měi fēng xìn de yào zhǐ gèng wéi biàn huàméi duō jiǔ yòu diào liǎo luò kuǎn fēnzhèng wén dòngyòu shān liǎo zhěng zhěng fēng xìn de nèi róngzhǐ bǎo liú liǎo shàng kuǎnqīn 'ài de ”, bìng zài xìn jiān xià fāng xiě shàng:“ niàn zhe měi guó suí jūn shī A·T· màn。” A·T· màn shì fēi xíng duì suí jūn shī de xìng míng
   dāng zài xiǎng chū shénme diǎn zài zhè xiē xìn shàng miàn gǎo guǐ shí biàn kāi shǐ gōng xìn fēng shàng de xìng míng zhǐsuí shǒu màn jīng xīn huījiù liǎo suǒ yòu de zhù zhái jiē dào míng chēnghǎo ràng zuò zuò shì xiāo shīfǎng shì shàng bān 'èr shí 'èr tiáo jūn guī guī dìngshěn chá guān zài jiǎn chá guò de měi fēng xìn shàng shǔ shàng de xìng míng duō shù xìn yuē sài lián kàn méi kàn guòfán shì méi kàn guò de xìn jiù qiān shàng de xìng míngyào shì kàn guò liǎo de xiě shàng:“ huá shèng dùn · ōu wén”。 hòu lái zhè míng xiě fán liǎo biàn gǎi yòngōu wén · huá shèng dùn”。 shěn chá xìn jiàn shì yǐn liǎo yán zhòng fǎn xiǎngzài mǒu xiē yǎng zūn chù yōu de gāo céng jiànglǐng zhōng jiān liǎo zhèn jiāo qíng
   jiēguǒxíng shì diào chá pài liǎo míng gōng zuò rén yuán zhuāng zuò bìng rénzhù jìn bìng fángjūn guān mendōu zhī dào shì xíng shì diào chá de rényīn wéi lǎo shì tīng míng jiào 'ōu wén huò shì huá shèng dùn de jūn guānér qiě tiān xià lái jiù yuàn shěn chá xìn jiàn liǎo jué xiē xìn shí zài shì tài zào wèi
   yuē sài lián zhè zhù de bìng fáng tǐng cuòshì dèng zhù guò de zuì hǎo de bìng fáng zhī zhè gēn men tóng bìng fáng de yòu míng zhàn dǒu shàng wèi fēi xíng yuánèr shí suì zhe de jīn huáng
   zhè jiā huǒ céng zài lóng dōng shí jié zhí xíng fēi xíng rèn shí bèi zhōngfēi zhuì hǎidàn jìng 'ān rán shìlián gǎn mào méi rǎn shàngshí xià shì xià tiān méi ràng rén cóng fēi shàng gěi luòfǎn dǎo shuō shì liǎo liú xíng xìng gǎn màoyuē sài lián yòu bìng chuáng de zhù rén shì míng shēn huàn nüè 'ér xià bàn de shàng wèizhè jiā huǒ shàng bèi wén dīng liǎo kǒu zhèng mài mài hán qíng zài chuáng shàngyuē sài lián duì miàn shì dèng zhōng jiān zhe tōng dàojǐn 'āi dèng de shì míng pào bīng shàng wèixiàn zài yuē sài lián zài gēn xià liǎozhè jiā huǒ xià hǎoměi huí gēn duì zǒng shì wèi qióngrán 'érzhèng yīn wéi wèi qióngfǎn ràng rén yòu bèi nòng de gǎn juésuǒ yuē sài lián hòu lái jiù zài gēn xià liǎozài guò biàn shì lái zhōu yòu jiào yǎng de rénkàn shàng hěn xiàng diàn yǐng de míng xīng yòu 'ài guó xīn rèn wéijiào zhī chǎn zhě héng héng
   liú làng hànchāng zuì fànduò luò fènzǐ shén lùn zhě xià liú de rényòu chǎn zhě shàng děng rén yìng huò gèng duō de xuǎn piào
   tiān men sòng rén jìn bìng fáng shíyuē sài lián zhèng zài shān gǎi xìn jiàn tiān tiān guò níng jìng shìshǔ chén chén zhào zhù dǐngmèn tòu chū shēng xiǎngdèng yòu shì wén dòng yǎng tǎng zài chuáng shàngliǎng yǎn yáng de yǎn jīng bānzhí lèng lèng dīng zhe tiān huā bǎn zhèng jié jìn quán xiǎng yán cháng de shòu mìngér bàn jiù shì péi yǎng de nài fán gōng jiàn dèng wèile yán cháng de shòu mìng jìng mài yuē sài lián hái wèitā jīng yànqì liǎo rén bèi 'ān zhì zài bìng fáng zhōng yāng de zhāng chuáng shàngméi duō jiǔ biàn kāi shǐ zhí shū gāo jiàn
   dèng huò zuò shēn,“ ràng shuō zhōng liǎo,” fèn jiào liǎo lái。“ què shí shì shǎo liǎo yàng shénme dōng zhí hěn qīng chǔ shǎo liǎo yàng shénme dōng zhè xià zhī dào shǎo liǎo shénme。” shǐ jìn quán zài shǒu xīn 。“ jiù shì quē shǎo liǎo 'ài guó jīng shén,” duàn yán dào
  “ shuō méi cuò,” yuē sài lián chōng gāo hǎn dào,“ shuō méi cuò shuō méi cuò shuō méi cuò gǒu lín bǐng de píng guǒ xiàn bǐngwèile zhèng zhè xiē dōng men měi réndōu zài tíng pīn pīn huó yòu shuí gān yuàn shàng děng rén xiào yòu yòu shuí gān yuàn shàng děng rén duō zhāng xuǎn piào 'ér mài mìngméi yòu 'ài guó jīng shénjiù zhè me huí shì 'ér háo 'ài guó xīn。”
   yuē sài lián zuǒ chuáng shàng de zhǔn wèi què shì dòng zhōng。“ zài shuō dào?” nài fán wèn liǎo suí fān guò shēn shuì de jué
   rén dǎo shì xiǎn xìng qíng wēn háo shuǎngzhuóshí zhāo rén 'àirán 'ér sān tiān guò hòujiù zài méi rén néng róng rěn liǎo
   zǒng rén xīn fán luànhún shēn zàixīn shēng yàn 'èsuǒ jiā quándōu duǒ zhe chú liǎo quán shēn guǒ díshì bīng wàiyīn wéi gēn běn méi bàn dòng dànquán shēn shàng xià guǒ zhe shí gāo shā shuāng tuǐ shuāng quán yòng chù shì chèn hēi méi rén zhù shí bèi tōu tōu tái jìn bìng fáng dezhí dào 'èr tiān zǎo chén xǐng lái huǒ 'ér cái xiàn bìng fáng duō liǎo zhè me rén de wài guān shí zài guài hěnshuāng tuǐ shuāng quándōu bèi chuí zhí diào liǎo láibìng qiě yòng qiān tuó xuán kōng dìngzhǐ jiàn hēi chén chén de qiān duǒ wěn wěn guà zài de shàng fāng de zuǒ yòu gēbo zhǒu nèi bēng dài shàng féng liǎo tiáo zhuāng yòu liàn de kǒu chún jìng de cóng zhǐ míng jìng de píng yóu liú jìn de nèizài gōu chù de shí gāo shàng 'ān liǎo jié dìng de xīn guǎnzài jiē shàng gēn cháng de xiàng ruǎn guǎnjiāng shèn pái xiè diǎn lòu pái bǎn shàng zhǐ gān jìng de fēng kǒu píng nèiděng dào bǎn shàng de píng mǎn liǎocóng gēbo zhǒu nèi wǎng nèi shū de píng kōng liǎozhè liǎng zhǐ píng jiù huì bèi diào huàn biàn chóngxīn liú de nèizhè ràng bái shí gāo bái shā chán mǎn shēn díshì bīnghún shēn shàng xià wéi yòu chù shì men kàn dào de jiù shì zuǐ shàng kāi ròu zhàn de hēi dòng
   shì bīng bèi 'ān dùn zài jǐn 'āi zhe rén de zhāng bìng chuáng shàngcóng zǎo dào wǎn rén huì shēn zuò zài de chuáng shàngxīng zhì yòu mǎn qiāng lián mǐn gēn shì bīng shuō méi wán méi liǎojìn guǎn shì bīng cóng qiāng háo zài
   bìng fáng měi tiān cèliáng liǎng wēnměi tiān zǎo bàng wǎn shì jiù huì duān liǎo mǎn mǎn píng wēn lái dào bìng fángyán zhe bìng fáng liǎng zǒu juànāi 'ér gěi bìng yuán fēn wēn lún dào hún shēn xuě bái díshì bīng shí yòu de jué zhāo héng héng wēn sài jìn zuǐ shàng de dòng ràng wěn wěn zài dòng kǒu de xià yán wán wēn biàn huí dào zhāng bìng chuáng chū bìng rén kǒu zhōng de wēn wēnrán hòu zài zǒu xiàng xià zhāng chuáng zài rào bìng fáng zhōu tiān xià fēn wán wēn hòuzài lái dào hún shēn guǒ zhe shí gāo shā díshì bīng bìng qián chū de wēn chá kàn shí xiàn jìng liǎo
  “ shā rén fàn,” dèng qīng shēng shuō dào
   rén tái tóu kàn zhe huò lie zuǐ xiào liǎo xiào
  “ xiōng shǒu,” yuē sài lián shuō
  “ men liǎ zài shuō shí me?” rén wèn dàoxiǎn jǐn zhāng 'ān
  “ shì móu shā liǎo ,” dèng shuō
  “ shì shā de,” yuē sài lián shuō
   rén de shēn wǎng hòu suō。“ men liǎ zhǔn shì fēng liǎo lián pèng méi pèng guò 。”
  “ shì móu shā liǎo ,” dèng shuō
  “ tīng shuō shì shā de,” yuē sài lián shuō
  “ shā liǎo jiù yīn wéi shì hēi rén,” dèng shuō
  “ men liǎ zhǔn shì fēng liǎo,” rén shēng jiào dào,“ zhè 'ér shì zhǔn hēi rén zhù de men yòu zhuān mén 'ān zhì hēi rén de fāng。”
  “ shì zhōng shì tōu tōu sòng jìn lái de,” dèng shuō
  “ shì zhōng shì,” yuē sài lián shuō
  “ kàn láizhè shì men liǎ zǎo jiù zhī dào liǎo。”
   yuē sài lián zuǒ de zhǔn wèi duì shì bīng wài wáng de shì què dòng zhōng duì shénme shì hěn lěng zhǐ yào dào tóu shàng jué huì kāi kǒu shuō huà
   yuē sài lián jiàn suí jūn shī de qián tiāncān tīng de zhǐ bào zhàshāo zhe liǎo chú fáng de qiáng liè de làng xùn màn zhè fāngshèn zhì zài yuē sài lián de bìng fáng héng héng huǒ zāi xiàn chǎng chàbù duō yòu sān bǎi yīng chǐ yuǎnbìng yuán néng tīng dào huǒ de páo xiào shēng rán shāo zhe de cái chū de 'ěr de bào liè shēnggǔn gǔn nóng yān kuài yǒng guò bìng fáng yìng zhe hóng guāng liàng de chuāng yuē guò liǎo zhōngxiāo fáng chē gǎn dào xiàn chǎng jiù huǒjīng guò bàn xiǎo shí jǐn zhāng de xíng dòngyuán kāi shǐ kòng zhì zhù huǒ shì ránkōng zhōng chuán lái liǎo zhèn shú de dān diào de wēng wēng shēngyuán lái shì qún zhí xíng wán rèn hòu fǎn háng de hōng zhà yuán zhǐ shōu shuǐ lóng dàihuǒ fǎn huí chǎng fáng yòu fēi zhuì huǐ huǒhōng zhà quándōu 'ān quán jiàng luòzuì hòu jià fēi zhe yuán biàn diào zhuǎn chē tóuhuǒ shǐ guò shān gǎn huí yuàn miè huǒdāng men gǎn huí yuàn huǒ huǒ shì miè deér qiě miè hěn chè shèn zhì méi liú xià chù yào yòng shuǐ jiāo de jìnyuán shì hěn shī wàng suǒ shì shìzhǐ hǎo kǒu wēn fēi chù zhuànyōuxiǎng gòu yǐn shì
   shī huǒ de 'èr tiānsuí jūn shī lái dào yuàndāng shíyuē sài lián zhèng máng zhe shān gǎi xìn jiànzhǐ bǎo liú liǎo zhōng qīng qīng de tián yán shī zài liǎng zhāng bìng chuáng jiān de zhāng shàng zuò liǎo xià láiwèn yuē sài lián gǎn jué de shēn wēi wēi qīng xiàng chèn shān shàng bié zhe de méi shàng wèi lǐng zhāng shì yuē sài lián suǒ néng jiàn dào de wéi néng zhèng míng guān xián de biāo zhìzhì shì shénme rényuē sài lián suǒ zhī shì biàn xiǎng dāng rán rèn wéi shì shēng jiù shì fēng
  “ ògǎn jué tǐng hǎo,” yuē sài lián dào,“ zhǐ shì gān yòu xiē téngsuǒ cāi xiǎng yīnggāi shì hěn zhèng cháng guò guǎn zěn me shuō chéng rèn gǎn jué què shí hěn cuò。”
  “ zhè jiù hǎo,” shī shuō
  “ shì 'ā,” yuē sài lián shuō,“ méi cuògǎn jué hǎo jiù xíng liǎo。”
  “ běn lái xiǎng zǎo diǎn lái de,” shī shuō,“ shì zuì jìn de shēn zhí zěn me hǎo。”
  “ shí zài shì tài xìng liǎo,” yuē sài lián shuō
  “ zhǐ shì liǎo shāng fēng,” shī shàng chōng dào
  “ zhí zài shāoshāo dào huá shì bǎi líng 。” yuē sài lián lián máng shàng
  “ zhēn zāo gāo,” shī shuō
  “ shì 'ā!” yuē sài lián biǎo shì tóng 。“ méi cuòshì tài zāo liǎo。”
   shī yòu xiē zuò 'ānpiàn hòu wèn dào:“ yòu shénme shì yào bāng máng?”
  “ méi yòuméi yòu,” yuē sài lián tàn dào,“ xiǎng shēng men jìn liǎo quán 。”
  “ 。” shī yòu xiē liǎn hóng liǎo。“ shì zhè shì zhǐ xiāng yān …… shū …… huò zhě…… wán shénme de。”
  “ ,” yuē sài lián shuō,“ xiè xiè xiǎng yào de dōng dōuyòu liǎoquē de zhǐ shì jiàn kāng。”
  “ zhēn shì tài zāo gāo liǎo。”
  “ shì 'ā,” yuē sài lián shuō,“ méi cuòshì tài zāo liǎo。”
   shī yòu dòng liǎo zuǒ yòu pàn liǎo hǎo huírán hòu tái tóu níng shì tiān huā bǎnjiē zhe yòu chuí dīng zhe shàng chū shénzuì hòu shēn liǎo kǒu
  “ nèi shàng wèi tuō xiàng wèn hǎo,” shuō
   yuē sài lián tīng shuō nèi shàng wèi shì de péng yǒuxīn hěn shì guò kàn lái liǎ de tán huà zhōng jiū yòu liǎo chǔ。“ rèn shí nèi shàng wèi?” hàn wèn dào
  “ rèn shí gēn hěn shú,”“ yòu xiē fēng fēng diān diān deduì duì?”
   shī xiào liǎo xiàoxiào hěn gān 。“ zhè dǎo shì zěn me qīng chǔ xiǎng gēn hái méi me shú。”
  “ jìn xiāng xìn de huà,” yuē sài lián shuō,“ de què yòu xiē fēng fēng diān diān de。”
   jiē zhe shì piàn de chén shī zǎi kǎo liǎo fānzhī hòu rán chén wèn liǎo de wèn :“ jiù shì yuē sài lián shàng wèi?”
  “ nèi kāi shǐ jiù hěn yīn wéi de jiā tíng bèi jǐng hěn hǎo。”
  “ qǐng yuán liàng,” shī dǎn zhuī wèn dào,“ huò fàn liǎo cuò jiù shì yuē sài lián shàng wèi?”
  “ méi cuò,” yuē sài lián tǎn chéng shuō,“ jiù shì yuē sài lián shàng wèi。”
  “ èr liù zhōng duì de?”
  “ shì 'èr liù zhōng duì de,” yuē sài lián dào,“ zhī dào zhè 'ér hái yòu bié de shénme rén jiào yuē sài lián shàng wèi suǒ zhī shì wéi de yuē sài lián shàng wèi guò zhè zhǐ shì jiù suǒ zhī dào 'ér yán de。”
  “ míng bái liǎo,” shī shuōxiǎn yòu xiē zěn me gāo xīng
  “ guǒ xiǎng men zhōng duì xiě shǒu xiàng zhēng zhù shī de huà,” yuē sài lián zhǐ chū,“ jiù shì 'èr de fāng。” ·“ ,” shī shēng dào,“ méi suàn gěi men zhōng duì xiě shénme xiàng zhēng zhù shī。”
   yuē sài lián měng tǐng zhí shēn xiàn liǎo shī chèn shān lǐng de lìng biān yòu méi xiǎo xiǎo de yín shí jià jīng 'ě yīn wéi qián cóng wèi gēn wèi suí jūn shī zhè me miàn duì miàn tán guò huà
  “ yuán lái shì wèi suí jūn shī,” xīng fèn shēng jiào liǎo lái,“ zhī dào shì suí jūn shī。”
  “ eméi cuò shì shī,” shī dào,“ nán dào zhēn de zhī dào?”
  “ shì 'ā zhēn de zhī dào shì suí jūn shī。” yuē sài lián zhuǎn jīng kàn zhe shīlie liǎo zuǐ de yàng 。“ qián hái zhēn méi jiàn guò suí jūn shī 。”
   shī yòu hóng liǎo liǎnchuí zhù shì zhe de shuāng shǒu yuē yòu sān shí 'èr suì shòu xiǎohuáng tóu shuāng zōng de yǎn jīng kàn lái quē xìn xiá cháng de liǎn hěn cāng báimiàn jiá liǎng de shòuxuē chù mǎn shì cháng qīng chūn dòu suǒ liú xià de bān hén
   yuē sài lián hěn xiǎng bāng máng
  “ yào bāng shénme máng ?” dǎo shì shī xiān kāi kǒu wèn liǎo lái
   yuē sài lián yáo liǎo yáo tóuhái shì lie zhe zuǐ xiào。“ yònghěn bào qiàn xiǎng yào de dōng dōuyòu liǎo zài zhè 'ér guò hěn shū shuō shí zài de méi shénme bìng。”
  “ hěn hǎo 。” shī huà chū kǒu jiù jué 'ào huǐlián máng zhǐ jié sài jìn zuǐ huáng huáng rán shǎ xiào lái shì yuē sài lián jiù jiān kǒu shèn shì lìng shī wàng
  “ hái tàn wàng fēi xíng duì de rén,” liǎo dài qiàn shuō,“ huì zài lái kàn de míng tiān 。”
  “ qǐng dìng yào lái,” yuē sài lián shuō
  “ zhǐ yào zhēn xiǎng jiàn jiù lái,” shī xià tóuhěn shì xiū qiè shuō,“ xiǎo hǎo duō rén jiàn liǎo wǒdōu hěn zài。”
   yuē sài lián chōng mǎn shēn qíng shuō:“ zhēn de xiǎng jiàn huì ràng gǎn dào zài de。”
   shī shèn shì gǎn zhàn kāi liǎo xiào róngsuí chuí kàn liǎo kàn zhí niē zài shǒu de zhāng zhǐ tiáo chū shēng 'āi shù zhe bìng fáng de chuáng wèijiē zhejiāng xìn jiāng zhù zhōng dào liǎo dèng shēn shàng
  “ qǐng wèn xià,” shēng dào,“ wèi shì dèng zhōng wèi ?”
  “ méi cuò,” yuē sài lián gāo shēng huí ,“ wèi jiù shì dèng zhōng wèi。”
  “ xiè xiè ,” shī qīng shēng shuō,“ duō xiè liǎo gēn tán tán gēn fēi xíng duì suǒ yòu zhù yuàn de guān bīng liáo liáo。”
  “ zhù bìng fáng de yào ?” yuē sài lián wèn
  “ shì de。”
  “ bìng fáng yào liú shén 'āshén ,” yuē sài lián xǐng shuō,“ 'ér guān de quán shì jīng shén bìng bìng rénjìn shì xiē fēng 。”
  “ jiào shén ,” shī jiě shì dào,“ shì zài pài jiào 。”
  “ gāng cái dào xiē bìng fáng de shì shì shuō zhēn de,” yuē sài lián shén qíng yán jiē zhe shuō xià ,“ xiàn bīng shì huì bǎo deyīn wéi men cái shì fēng dào liǎo diǎn běn yīnggāi qīn péi kuài 'ér dàn shì gǎnjīng shén bìng shì jiē chù chuán rǎn de men zhù de zhè jiān shì quán yuàn wéi méi yòu jīng shén bìng bìng rén de bìng fángchú liǎo men zhè xiē rén zhī wàirén réndōu shì fēng zhè yàng shuō láiquán shì jiè huò zhǐ yòu zhè jiān bìng fáng méi zhù jīng shén bìng bìng rén。”
   shī zhàn liǎo láiqiāoqiāo kāi yuē sài lián de bìng chuángsuí wēi xiào zhe diǎn liǎo diǎn tóuyào fàng xīnbìng dāyìng dìng jǐn shèn xíng shì。“ gāi kàn wàng dèng zhōng wèi liǎo,” shuō shì yòu yòu diǎn huǐ hèn shěbùdé zuì hòu wèn liǎo :“ dèng zhōng wèi rén zěn me yàng?”
  “ méi huà shuō,” yuē sài lián mǎn yòu shuō,“ shí shí zài zài shì hǎo rénlìng rén qīn pèi shì quán shì jiè zuì yòu fèng xiàn jīng shén de rén。”
  “ shì zhè ,” shī shuō yòu shēng wèn dào,“ bìng hài ?”
  “ hàishuō shí zài de gēn 'ér jiù méi shénme bìng。”
  “ jiù hǎo。” shī sōng liǎo kǒu shì zhòng
  “ shì 'ā,” yuē sài lián shuō,“ méi cuòshì hěn hǎo。”
   shī jiàn guò dèng hòubiàn shēn kāi liǎo bìng fáng gāng zǒudèng jiù duì yuē sài lián shuō:“ suí jūn shī kàn jiàn méi yòusuí jūn shī。”
  “ zhēn 'ài shì shì!” yuē sài lián jiē kǒu dào,“ men gāi tóu sān piào。”
  “ men shì shuí?” dèng yòu xiē huò wèn dào
   bìng fáng jìn tóu yòu xiǎo xiǎo de kōng jiānyòng sān bǎn liǎo lái miàn liǎo zhāng chuáng zhù rén shì wèi zhōng nián shàng xiàoshǐ zhōng bǎn zhe zhāng liǎn lǎo shì zài chuáng shàng máng xiēyòu rén měi tiān dōulái tàn wàng zhè rén kàn lái hěn wēn róucháng hěn tián tóu yín huī juǎnfà shì shì shì jūn duì duì yuán shì hóng shí huì de zhí yuándàn shì měi tiān xià dìng lái nuò dǎo shàng de zhè suǒ yuàn bào dàoměi lái chuān shēn cǎi róu dàn qiě yòu shí máo kǎo jiū de xià zhuāng shuāng bàn gāo gēn bái xiétuǐ shàng chuān de lóng cháng shǐ zhōng zhízhè wèi shàng xiào zài tōng xùn lìng gòngzhízhòu máng tíng nèi chuán sòng lái de lián chuàn diàn wén dào běn běn yòng shā zuò chéng de zhèng fāng xíng shàngměi mǎn běn biàn xīn fēng hǎofàng chuáng tóu guì shàng zhǐ yòu gài de bái tǒng nèishàng xiào fēng fánzuǐ kuān liǎng jiá 'āo xiànshuāng yǎn shēn dié guāng yīn liǎo méi bānliǎn huī méng méng deměi sòu lái zǒng shì xiǎo xīn shēng yīnxīn yóu zhù yàn 'è láisuì yòng màn màn qīng pāi de zuǐ chún
   shàng xiào lǎo shì bèi qún zhuān jiā wéi rào zhewèile què zhěn de bìng qíngzhè xiē zhuān jiā zhèng zài jìn xíng bié yán jiū men yòng guāng zhào de yǎn jīngjiǎn de shì yòng zhēn zhā de shén jīngkàn shì fǒu yòu gǎn juézhè xiē zhuān jiā zhōng yòu niào xué jiālín xué jiānèi fēn xué jiāxīn xué jiā xué jiābìng xué jiānáng zhǒng xué jiāér men de rèn jiù shì yán jiū shàng xiào shēn shàng xué xiāng guān de tǒng wàihái yòu wèi xué dòng xué de jīng lèi xué jiā rén shì dǐng liǎn céng yīn IBM gōng tái de yáng chū liǎo máo bìngbèi rén qíng jié chí dào zhè zhī wèi shēng duì láipéi bàn zhè wèi chuí de shàng xiàoshì zhe xiǎng gēn tàn tǎobái jīngzhè xiǎo shuō
   shàng xiào jiē shòu liǎo quán miàn jiǎn chá shēn shàng de měi guān shàng liǎo zuì yàodòng guò dāo guò yào fěnqīng gān jìngjiē zhe yòu ràng rén bǎi nòng zhe zhào liǎo xiāngtóng shí bèi nuó dòng guò chū hòu zài fàng huí yuán xiān de wèi zhe zhěng jiéshēn cái xiū cháng tǐng xiù de rén cháng zuò zài chuáng biān zhe ér wēi xiào shí de shén qíng dài zhe zhǒng duān zhuāng de yōu shāngshàng xiào shēn cái shòu chángyòu xiē tuó bèi shēn zǒu shíwān yāo bèi gèng shì hàishēn chéng gǒng xíng nuó shí cháng xiǎo xīn huǎn màn qián wài de liǎng yǎn xià hái yòu hěn shēn de hēi yǎn juàn rén shuō huà hěn qīngshèn zhì shàng xiào de sòu shēng hái yào qīng huǒ 'ér shuí céng tīng jiàn de shuō huà shēng
   chū shí tiān rén biàn suǒ yòu bìng yuán qīng chū liǎo bìng fángzuì xiān kāi bìng fáng de shì wèi pào bīng shàng wèisuí hòu bìng yuán xiāng qiān chūdèng yuē sài lián jià shǐ zhàn dǒu de shàng wèi fēi xíng yuán shì tóng tiān shàng táo chū bìng fáng dedèng de yùn huàn zhèng zhuàng xiāo shī liǎoshàng wèi fēi xíng yuán xǐng liǎo xǐng yuē sài lián gēn shēng men shuō de gān zǎo jiù tòng liǎozhè bìng hǎo hái zhēn kuàijiù lián wèi zhǔn wèi táo zhī yāo yāo liǎoshí tiān zhī nèi rén jiù bìng fáng suǒ yòu de bìng yuán gǎn huí liǎo de gǎng wèizhǐ yòu xíng shì diào chá de míng gōng zuò rén yuán liú liǎo xià lái héng héng cóng shàng wèi fēi xíng yuán 'ér rǎn shàng liǎo gǎn màohòu lái jìng zhuǎn chéng liǎo fèi yán
shǒuyè>> wénxué>> 讽刺谴责>> yuē · hǎi Joseph Heller   měi guó United States   xiàn dài měi guó   (1923niánwǔyuè1rì1999niánshíèryuè12rì)