Joseph Heller’s Catch 22 and Joan Littlewood’s Oh What a Lovely War Essay Example

the same language. French's refusal to consider an interpreter reveals the meeting's total futility and lack of value:

Aide: Do you think I ought to organise an ... interpreter?

French: Don't be ridiculous Wilson; the essential problem at the moment is .

The scene highlights the allied army authorities' inefficiency due to their overly secretive approach rather than practical negotiations. The analogy of different languages spoken illustrates the complete lack of communication amongst the authoritative powers who hold thousands of people's fate in their hands. (p21).

Catch 22 explores the issue of upper-rank communication. General Peckam receives a call from Ex P. C Wintergreen with the only words being 'T. S. Elliot'(sic). Although there is no hidden meaning, the message is perceived in a ridiculous manner. General Peckam suggests that it could be a new code or related to the colors of the day and advises checking with Communications to confirm. (p45)

This paragraph highlights the inadequate intellect of General Peckam, as evidenced by his repetitive and imprecise speech. This difficulty in communication is also exemplified in the situation with Major Major signing pre-signed documents. The bickering and childish behavior of those in positions of power is apparent in both Catch 22 and Oh!What a Lovely War. The rivalry between Generals is portrayed through their use of underhanded tactics, such as General Dreedle's employment of a beautiful nurse to torment his son-in-law Colonel Moodus. Captain Black initiates the 'Great Loyalty Oath Crusade' in retaliation against Major Major, who received a promotion that Captain Black coveted. Similarly, the Belgian, British, and French army officials in Oh!What a Lovely War are at odds with each other.

The sorry state of

the Belgian army, the anger of the French towards the British, and the British denial of any responsibility in the war are all highlighted. Lanzerac is persistently told by the French that they are not obligated to be there until a medal is offered on behalf of the King of England, which pleases and causes Lanzerac to leave. This highlights the importance of recognition and promotion in the upper ranks of the army, exemplified in Catch 22 with characters like Colonel Korn and Colonel Cathcart who will stop at nothing to be promoted. Cathcart justifies his ambition, stating that aspirations for higher things have been instilled in them all.

According to the text, a general outranks a colonel and a colonel outranks a lieutenant colonel, highlighting the aspirations of those in the lower ranks. One common theme in both texts is the stark contrast between the experiences of the higher and lower ranks during war. The text offers insight into the lack of understanding that authoritative figures often possess regarding the realities of war, displaying their willful ignorance in many scenarios. In a key scene on pages 50/51 of Oh! What a Lovely War, a commanding officer's detachment from trench life and ignorance of everyday death is evident when he encounters a German limb holding up the parapet and immediately orders its removal with no regard for the surrounding carnage. The Sergeant's response emphasizes the aloofness of those in power regarding the brutalities of war: "Heads, trunks, blood all over the place, and all he's worried about is a damned leg".

Within Colonel Cathcart's storyline in Catch 22, there is evidence of a warped and uninformed

sense of priority and general detachment. Although Heller's novel is chronologically jumbled, the number of missions ordered by Cathcart steadily increases as the story progresses - a factor that is a mere number to the colonel but constitutes a real death threat to the men in his squadron who are forced to fly them. Cathcart raises the missions for his own selfish reasons - hoping to receive recognition for his squadron's record and a promotion. Heller expertly weaves in absurd irony through lines such as the Colonel's constant cry of "Doesn't he know there's a war going on" when Yossarian refuses to fly further missions, exemplifying the figures of authority in the novel.

It appears as if they are engaged in a reckless game, without any knowledge of the impact their behavior has on others; they are not aware that they are participating in a war. Both texts highlight various instances of disparities between superior and subordinate men. In the last scene of Oh! What a Lovely War, the soldiers are depicted as innocent victims following orders from their commander who is obsessed with their glory; they are heard screaming "Baaa - baaa - baaa...".

Both Catch 22 and Oh! What a Lovely War depict the portrayal of authority figures from big business and religion. Littlewood critically portrays both, while Heller sympathizes with his character the Chaplain, who represents religion. The Colonels in Catch 22 refuse to believe that ordinary men worship the same God as them, dismissing the Chaplain's revelation with statements such as "What nonsense!" and "Chaplain, aren't you stretching things a bit far now?" Both writers express disgust towards capitalists who exploit war for

personal gain, with Oh! What a Lovely War introducing munitions manufacturers as members of a shooting party, an ironic comparison to their destructive contribution to the loss of many young lives.

During their conversation, they talk about the "peace scares" that jeopardize their earnings and praise each other for their heartless plots to accumulate wealth. For example, one individual remarks on the cunning of Germans getting caught on their own barbed wire in Britain.

(p46) Catch 22's character, Milo Minderbinder, demonstrates the issues that capitalism causes in wartime, highlighting its lack of morals and boundaries. His partnership with the enemy goes unnoticed because of his desire for profit, eventually leading him to bomb his own men and planes under a German contract. As he tells Yossarian,"If I can persuade the Germans to pay me a thousand dollars for every plane I shoot down, why shouldn't I?" (p273). Meanwhile, Littlewood's play showcases the hostility towards religious beliefs as tools of war propaganda supporting the war effort rather than advocating for soldiers' rights; Chaplain:…

According to Heller's novel, the Chief Rabbi has allowed Jewish soldiers to work on the Sabbath and eat pork in the trenches without it being considered a sin. This depiction of religion is more compassionate compared to other portrayals in the novel. (p77)

The Chaplain stands out as Yossarian's sole connection, and is dedicated in his efforts to persuade the Generals against increasing mission numbers. Despite being disregarded by Colonels and excluded from the Officer's Hall, his commitment and solidarity towards the squadron is steadfast. The portrayal of war is a significant theme in both texts, highlighting it as a lighthearted game by those in authority.

The format of Oh! What a Lovely War is fashioned as a musical, incorporating song and dance. Song titles such as 'I'll make a man out of you' and the final track 'Oh it's a lovely war' contribute to the Broadway-like spectacle of the text, rather than emphasizing its frightening depiction of war.

The opening scene of 'Oh! What a Lovely War' sets a circus-like frenzy, with the MC bringing on the players of the 'war game': France, Germany, Austria, Ireland, Great Britain, and Russia. Littlewood constructed the play as a 'show', which allows the characters in power to undermine the seriousness of war consistently. Therefore, this technique effectively creates a bitter and attacking tone towards authoritative powers. This structural difference between the play and 'Catch 22' makes 'Oh! What a Lovely War' parody authority more consistently. Examples of this include 'The War Game' and the 'grouse-shooting party', comprised of munitions manufacturers from the key nations involved in war.

Littlewood had other methods at her disposal in challenging authority in the play, such as the use of bitter, lyrical tunes and incorporating slides into the speech. These tactics can be seen in song titles like 'If the sergeant steals your rum' and ironic lyrics such as 'with our old commander, safely in the rear' from the hymn 'Onward Christian Soldiers'.