那是捕获的,那是捕获的22,”他观察到。 Doc Daneeka表示:“这是最好的。” Yossarian在所有旋转的合理性中都清楚地看到了它。关于它的完美零件具有优美而令人震惊的椭圆形精度,就像良好的现代艺术一样,有时Yossarian不确定他完全看到了它,就像他从未完全确定好现代艺术一样……
(That's some catch, that Catch-22,' he observed. 'It's the best there is,' Doc Daneeka agreed. Yossarian saw it clearly in all its spinning reasonableness. There was an elliptical precision about its perfect pairs of parts that was graceful and shocking, like good modern art, and at times Yossarian wasn't quite sure that he saw it at all, just the way he was never quite sure about good modern art…)
在“ Catch-22”中,Yossarian认识到名义概念的矛盾性质,将其视为一种不可避免的难题,其逻辑和荒谬的融合。当他与Doc Daneeka交谈时,Yossarian考虑了Catch-22的令人毛骨悚然的优雅,将其比作现代艺术 - 美丽而又令人困惑。这种对应关系强调了军事官僚机构固有的复杂性和徒劳,以及在这种系统中捕获的个人所面临的斗争。
现代艺术的隐喻说明了Yossarian为完全掌握Catch-22的含义的斗争。他认为它的复杂性和荒谬性,承认它如何捕捉战争和权威的非理性性。通过这次探索,海勒批评了陷阱个人的社会规则的令人费解的本质,使他们在质疑他们的经历的敏感性的同时努力应对自己的不稳定情况。