The renaissance 1485 – 1625 The English Renaissance was a cultural and artistic movement



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The Illusion of Free Will

In Slaughterhouse-Five, Vonnegut utilizes the Tralfamadorians, with their absurdly humorous toilet-plunger shape, to discuss the philosophical question of whether free will exists. These aliens live with the knowledge of the fourth dimension, which, they say, contains all moments of time occurring and reoccurring endlessly and simultaneously. Because they believe that all moments of time have already happened (since all moments repeat themselves endlessly), they possess an attitude of acceptance about their fates, figuring that they are powerless to change them. Only on Earth, according to the Tralfamadorians, is there talk of free will, since humans, they claim, mistakenly think of time as a linear progression.

Throughout his life, Billy runs up against forces that counter his free will. When Billy is a child, his father lets him sink into the deep end of a pool in order to teach him how to swim. Much to his father’s dismay, however, Billy prefers the bottom of the pool, but, against his free will to stay there, he is rescued. Later, Billy is drafted into the war against his will. Even as a soldier, Billy is a joke, lacking training, supplies, and proper clothing. He bobs along like a puppet in Luxembourg, his civilian shoes flapping on his feet, and marches through the streets of Dresden draped in the remains of the scenery from a production of Cinderella.

Even while Vonnegut admits the inevitability of death, with or without war, he also tells us that he has instructed his sons not to participate in massacres or in the manufacture of machinery used to carry them out. But acting as if free will exists does not mean that it actually does. As Billy learns to accept the Tralfamadorian teachings, we see how his actions indicate the futility of free will. Even if Billy were to train hard, wear the proper uniform, and be a good soldier, he might still die like the others in Dresden who are much better soldiers than he. That he survives the incident as an improperly trained joke of a soldier is a testament to the deterministic forces that render free will and human effort an illusion.



The Importance of Sight

True sight is an important concept that is difficult to define for Slaughterhouse-Five.As an optometrist in Ilium, Billy has the professional duty of correcting the vision of his patients. If we extend the idea of seeing beyond the literal scope of Billy’s profession, we can see that Vonnegut sets Billy up with several different lenses with which to correct the world’s nearsightedness. One of the ways Billy can contribute to this true sight is through his knowledge of the fourth dimension, which he gains from the aliens at Tralfamadore. He believes in the Tralfamadorians’ view of time—that all moments of time exist simultaneously and repeat themselves endlessly. He thus believes that he knows what will happen in the future (because everything has already happened and will continue to happen in the same way).

One can also argue, however, that Billy lacks sight completely. He goes to war, witnesses horrific events, and becomes mentally unstable as a result. He has a shaky grip on reality and at random moments experiences overpowering flashbacks to other parts of his life. His sense that aliens have captured him and kept him in a zoo before sending him back to Earth may be the product of an overactive imagination. Given all that Billy has been through, it is logical to believe that he has gone insane, and it makes sense to interpret these bizarre alien encounters as hallucinatory incidents triggered by mundane events that somehow create an association with past traumas. Looking at Billy this way, we can see him as someone who has lost true sight and lives in a cloud of hallucinations and self-doubt. Such a view creates the irony that one employed to correct the myopic view of others is actually himself quite blind.

Motifs

So It Goes”

The phrase “So it goes” follows every mention of death in the novel, equalizing all of them, whether they are natural, accidental, or intentional, and whether they occur on a massive scale or on a very personal one. The phrase reflects a kind of comfort in the Tralfamadorian idea that although a person may be dead in a particular moment, he or she is alive in all the other moments of his or her life, which coexist and can be visited over and over through time travel. At the same time, though, the repetition of the phrase keeps a tally of the cumulative force of death throughout the novel, thus pointing out the tragic inevitability of death.

The Presence of the Narrator as a Character

Vonnegut frames his novel with chapters in which he speaks in his own voice about his experience of war. This decision indicates that the fiction has an intimate connection with Vonnegut’s life and convictions. Once that connection is established, however, Vonnegut backs off and lets the story of Billy Pilgrim take over. Throughout the book, Vonnegut briefly inserts himself as a character in the action: in the latrine at the POW camp, in the corpse mines of Dresden, on the phone when he mistakenly dials Billy’s number. These appearances anchor Billy’s life to a larger reality and highlight his struggle to fit into the human world.



Symbols

The Bird Who Says “Poo-tee-weet?”

The jabbering bird symbolizes the lack of anything intelligent to say about war. Birdsong rings out alone in the silence after a massacre, and “Poo-tee-weet?” seems about as appropriate a thing to say as any, since no words can really describe the horror of the Dresden firebombing. The bird sings outside of Billy’s hospital window and again in the last line of the book, asking a question for which we have no answer, just as we have no answer for how such an atrocity as the firebombing could happen.



The Colors Blue and Ivory

On various occasions in Slaughterhouse-Five, Billy’s bare feet are described as being blue and ivory, as when Billy writes a letter in his basement in the cold and when he waits for the flying saucer to kidnap him. These cold, corpselike hues suggest the fragility of the thin membrane between life and death, between worldly and otherworldly experience.



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