【正文】 live again and again, he was still regarded as dead in a plane accident. He became a dead alive person. Even his families for the sake of money thought that he was killed in the accident without any evidence. What is more, there were a lot of other unique characters, for example, the boring Texan who is the only one talking with the ―soldier in white‖. Dunbar, the ward mate of Yossarian, always told Yossarian some strange dreams and liked to shoot skeet to kill his time. Clevinger, who was lost in the clouds, was full of theories but was lack of experience. The wounded gunner Snowden, though never appeared was known by the readers through Yossarian’s memory. Every time when Yossarian recalled his death, the readers are deeply affected. He lay dying in the tail of Yossarian’s plane and at last revealed his terrifying secret. Major Majormajor, whose tragedy in life is that he resembles Henry Fonda and Major_de Coverley, whose face was so forbidding and no one has ever dared to ask his first name. The Theme of this Novel The main theme is to expose the expose the absolute power of bureaucratism. The most frightening and miserable thing in Catch22 is that Yossarian and his colleagues’ lives were not decided by themselves in danger but by those savage and terrifying bureaucrats. Catch22 is the typical symbol of bureaucratism. No novel before or since has matched Catch22’s intensity and brilliance in depicting the brutal insanity of war. Heller satirizes military bureaucracy with bitter, sting humor, all the while telling the darkly ic story of Yossarian, a bombardier who refused to die. According to the Catch22, the soldiers must risk their lives to obey the orders in spite of knowing the goal was meaningless or dangerous. At the end of this novel, the soldiers were still ordered to keep finishing their missions although they had known their allies have won the war. The soldiers did try their efforts to express their anger, but the bureaucrats just neglect their voices. Affected by bureaucratism, individualism can not exist. Just as other novels set in war period, Catch22 shows that the soldiers lost their selfesteem. But the loss is not only owing to the war but also caused by the bureaucratism. The typical example is that lieutenant Scheisskoph was so immersed in parade that the soldiers were puppets rather than human. He even thought about bonding the soldiers together so that they can march in step with each other. In addition, the colonel Cathcart was also the same. He kept raising the number of missions not out of the needs of war but because he wanted to improve his military prestige among the soldiers. The ―soldier in white‖ is a different example for the extinguishing of individualism. The soldier appeared twice in the novel. Every time 18 Yossarian and his friends saw him was about plaster and gauze. No one knew who was inside. Every time he was injected the same kind of clear fluid. It is absurd and obviously shows that he is not a real person. Bureaucratism also leads to the disintegration of moral values. Milo made deals with the enemy bombing his own airfield and convince the higher authorities that it is beneficial for everyone. In the modern military bureaucratism, value did not exist. People found that they were involved in a crazy society. Everyone was trying to find solutions. Yossarian can not fight with those bureaucrats face to face. If he did that, he would only be a victim. As a result, the best way for him is to escape. One of the other 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. Another theme is the turning on their heads of notions of what people generally think of as morally right or wrong, particularly patriotis m and honor, which lead most of the airmen to accept abusive lies and petty rules of bureaucrats, though Yossarian wholeheartedly disregards all such notions. When Major Major asked why he wouldn39。t fly more missions, Yossarian answered that he was just afraid. The Structure of this Novel The development of the novel can be split into multiple segments. The first (chapters 1–11) 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 21–25). The fourth (chapters 26–28) 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 flashbacks, 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), 19 disappearance in bat (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