Today, over 60 old ages since its publication, The Catcher in the Rye is still one of the most known and widely read plants of American literature. Salinger, the writer, became the author of one literary Bible of the adolescents communities to come. The work confirmed and sustained his repute and gained him a place as one of the more of import American authors of the younger coevals. The novel has been sold in 60 million transcripts and has been translated into over 30 linguistic communications. It became one of the most convincing surveies of adolescence of all time to be written by an American. The supporter, Holden, turned into the cultural icon in the United States of last few decennaries.
The Cather in the Rye was published in 1951. It was the clip in history when Americans were scared of the vision of the atomic war – and, more specifically, the bomb that embodied it. The forces that created limitless wealth, than became wholly reverse and were able to destruct this idyllic universe. So everyplace in 1950 ‘s and 1960 ‘s civilization the marks of rebellion could be seen. The lurking frights and phobic disorder of the American citizens started to bubble merely under “ tranquillized ” surface of certain American imposts. Visible possibility of planetary decease caused the manifestation of incendiary supporters in novels and films. That is how the heroes – foreigners who moved between delicate mysticism and straight-out disaffiliation in their hunt for an option to the Orthodox civilization – class were created. Among these heroes Jim Stark from Rebel Without a Cause or Johnny Strabler from The Wild One and of class Holden Caulfield from The Catcher in the Rye could be found.
These supporters ( particularly Holden ) are striplings – they are switching between childhood and maturity looking for a topographic point on the Earth to populate. This essay will concentrate on the adolescence in conformity with The Catcher in the Rye by J. D. Salinger and it will seek to reply the research inquiry, which is “ When sing Holden Caulfield ‘s behaviour, to what extent did the incendiary attitude towards the grownup universe continue his artlessness? ” . So the work will look into the connexion between the supporter ‘s behaviour and his will to remain guiltless.
Among the most common beliefs about adolescence is that it is the clip when teens form their personal individualities. Egoism is being performed by striplings which so forms uneasiness of desiring to experience of import in their equal groups and holding societal credence of suiting into the group. Holden Caulfield had some jobs to acquire on with his coevalss and this could be ground why degree of his egoism was so high. He is an unhappy adolescent who runs off from get oning school. And Salinger chose him as a supporter of The Catcher in the Rye for certain intentionally. An stripling who is emotionally unstable is a perfect theoretical account to stress certain jobs and struggles. The clear struggle is that Holden Judgess and hates everyone, but at the same clip he wants them to fall in him for a drink and confab it up for the eventide. He seems perpetually caught in a oblivion: judging a individual, doing a halfhearted effort to make out, and so being disappointed when that individual is non at that place to back up him, talk with him, or seek to understand him.
Harmonizing to the dictionary term “ artlessness ” means freedom from wickedness, moral incorrect or guilt through, simpleness and inoffensiveness, but besides deficiency of cognition or apprehension and ignorance. Harmonizing to Holden, it is everything what is different from grownup universe and seems to belong to childhood. But really he is seeking for what the artlessness is and ca n’t happen the reply. So how the male child wants to continue something that he even can non precisely specify? Possibly that is the cardinal – when a individual realizes what is artlessness he or she becomes an grownup.
Salinger wanted to province a clear relation between adolescence and artlessness. And he did it utilizing Holden ‘s homecoming. Adolescence is a period of life when you start to recognize what the artlessness is, and if you do it fast enough you will be able to seek to continue it. As Caulfield did.
The Catcher in the Rye is written in a subjective manner from the point of position of its supporter, Holden Caulfield, following his exact thought procedures. There is flow in the apparently disjointed thoughts and episodes. The novel, written in the first individual, is a chef-d’oeuvre of drawn-out soliloquy. It is all related in Holden ‘s ain defiant, ill-formed slangy and deep Washington of talkind, and yet manages to show great nuance and penetration. The secret plan of the novel is a three yearss long flashback period, during which Holden confesses himself. Therefore all the events that were mentioned by Holden are wholly presented from the point of position of the supporter. So the reader can non be certain how precisely these three yearss had looked like. Holden is lonely, romantic, compassionate, he is plagued by the ‘phoniness ‘ of his environment. And in the book, he tells the narrative of his flight to New York and his eventual nervous dislocation. It turns out, in the terminal of the novel, that he is remembering all this from a sanatarium.
The novel is a victory in the slang and confessional manner, pulling the reader into the storyteller ‘s deep opposition to the universe that surrounds him and, he feels, threatens to smother him. It besides offers us a hero who, in his unhappily contracted manner, reminds us of the many other Rebels and dreamers, grotesque saints and manque Jesuss, that populate American fiction.
Critical reappraisals agree that the novel accurately reflected the adolescent conversational address of the clip. The writer used few words and phrases that appear often in the book. For illustration: ‘phony ‘ means ‘superficial, hypocritical, and pretentious ‘ ; ‘flit ‘ is ‘homosexual ‘ , so ‘flitty ‘ bases for ‘homosexual behaviour ‘ ; besides ‘crumby ‘ can be found in the novel and that means ‘inadequate, deficient and dissatisfactory ‘ , while phrase ‘that killed me ‘ corresponds to ‘I found that screaming or amazing ‘ .
Holden Caulfield is a prep-school male child, whose parents live in New York. Holden in many ways exaggerates the normal inclinations of adolescence: he is hard-bitten and sophisticated in his ain reveries but immature when confronted with a practical state of affairs, he is fundamentally charitable, even stamp, but gruff and matter-of-fact on the exterior, and he has a typical adolescent attitude toward sex: theoretically he is misanthropic and omniscient, but in pattern he is naA?ve and chaste. His existent trouble, the ground he does non suit easy into the life of the Pennsylvania homework school, is that he is more sensitive and idealistic than the male childs around him – that makes him acrimonious and unhappy and to his instructors and others he seems a trouble maker and misfit.
But is at that place any connexion between this characteristic and the novel ‘s rubric? Indeed – it refers to Holden ‘s desire to continue artlessness: non his ain – that, he senses, is already lost – but the artlessness of those still to turn up. He keeps visualizing ‘little childs playing some game ‘ in ‘this large field of rye and all ‘ , he tells his sister Phoebe. ‘Nobody large ‘ is about, except him. He is ‘standing on the border of some brainsick drop ‘ . ‘What I have to make ‘ , he explains to Phoebe, ‘I have to catch everybody if they start to travel over the drop ‘ . He has, in short, to halt them from sing a autumn that recalls both the fabulous autumn of Adam and Eve into cognition and the cosmopolitan autumn from artlessness into experience, from childhood into maturity. Images of falling and flight pervade The Catcher in the Rye. Holden dreams of heading west or illuming out for the state. He cherishes anyplace that clip seems to stand still. Equally, he fears any sort of autumn, for himself and others. At one point he event finds it hard, scaring, to step down from the paving on the street.
The dominant subject of The Catcher in the Rye is weakness of the adolescent – half kid, half adult – in an grownup society. Holden is excessively old for infantile amusement, yet is punished cruelly when he tries to coerce his manner into the grownup universe. He is punished every bit good for his finer qualities, his sensitiveness, tenderness are non virtuousnesss that are extremely regarded by the normal inmates of prep-schools. In my sentiment the artlessness in conformity with the novel ‘s secret plan is mentioned acquiring over “ remaining alive ” in society, as Holden observed on one juncture, you ‘ve got to state “ stuff ” like “ glad to ‘ve met you ” to people you are n’t glad to hold met. So artlessness is being incognizant of the mechanisms that control the universe, therefore being frank to one ‘s ain manners.
Holden wants so strongly to continue the artlessness because he knows that even the strongest go down to get the better of. The bulk are either victims or sloven. Decency may still be a preserve of childhood, but the grownup universe is repugnantly gross.
Despite all this cases, Holden ne’er makes himself out to be a victim – as if he knew that this would keep the procedure of going an grownup back. He does n’t look to detect that he gets taken advantage of – repeatedly. This portion if his ain young person and naA?vete . Despite his judgmental outside, Holden is surprisingly eager to delight – and to do friends.
Episodes place returning
Holden Caulfield uses the word ‘nice ‘ to depict what he likes merely as he uses ‘phony ‘ to depict what he dislikes. Holden deems everyone to be bogus. So how can he be enthusiastic about run intoing people? /in his head, everyone is social-climber, a name-dropper, appearance-obsessed, a secret sloven, a private dart, or a suck-up. Holden finds any gloss of normal big life to be “ bogus. ” He does n’t desire to turn up and acquire a occupation and play golf and imbibe martinis and travel to an office. and he surely does n’t desire anything to make with the “ assholes ” that do. Except that, truly, he kind of does.
Basically, if Holden calls everyone a hypocrite, he can experience better when they reject him. Theoretically, of class. It ‘s non his mistake the three misss in the Lavender Room were n’t awfully interested in giving him the clip of twenty-four hours. They were merely hypocrites who could n’t transport on a conversation. He ca n’t experience bad if Ackley does n’t desire to allow him remain and chew the fat. Ackley ‘s merely a pimply idiot. If Stradlater does n’t desire to hang out, it ‘s because he ‘s a dork. It ‘s preferred non to utilize tired, old footings like “ defence mechanism, ” but it is surely tempted to in this instance.
In chapter nine Holden is looking out of his hotel window into other suites, viz. , a “ distinguished-looking ” adult male tittuping about in adult females ‘s apparels, and a twosome force outing H2O or highballs or something into each other ‘s oral cavities. Holden declares the hotel is “ full of deviants ” and launches into his ideas on sex and deviants in general.
Holden sees sex as inherently degrading, no affair how it ‘s done. If he cares about a miss, he ca n’t hold a sexual relationship with her because it would turn her into an object. He admits, is that if you truly like a miss, you would n’t desire to “ make crumby material ” to her. This means Holden has to either carry through his sexual impulses with misss he does n’t care approximately, or non carry through them at all. The 2nd job, is that when he ‘s gulling about with a miss and she suggests they halt, he really stops. Other cats, he says, merely maintain traveling, but Holden really stops. Sex-related episodes in the novel are invariably equivocal. This ambiguity makes them – as Holden perceives – hypocrite.
There ‘s besides a theory out at that place – which seemed really believable to me and possible since the first clip I ‘ve read The Catcher in the Rye – that Holden is cheery. That ‘s one solution to why he feels confused and alienated and so forth. What strengthen this theory is the manner Holden frequently focuses on the animalism of the male organic structure ( like with Stradlater, Ackley, or Mr. Spencer ) . One could state he reads homosexualism into others when it really may non be at that place ( like Carl Luce or Mr. Antolini ) . And he ‘s non comfy with the idea of holding sex with a adult female.
But Holden can besides indicate ( really few ) elements of the environing universe that are positive. As he calls them merely “ nice ” . One character called so is Allie – supporter ‘s dead brother. Allie ‘s decease was one of the traumatic events in Holden ‘s childhood. He confessed that he ‘d interrupt all the Windowss in the garage the dark Allie had died. This confession is an of import one, when sing the whole secret plan – it tells us right off the chiropteran that Allie ‘s decease has had a immense impact on Holden ‘s life. That Allie pops up over and over throughout the class of the narrative confirms this. The decease of James Castle, excessively, seems to be important, since it was the 2nd clip Holden had a stopping point and personal brush with decease. Because of these events, Holden is plagued with ideas of morality.
Peoples with whom Holden can pass on – these “ nice ” people – are the two immature male childs at the museum, the miss with the skates at the park, and Phoebe. All of them are – how surprisingly – kids, who ca n’t assist him in his growth strivings but reminds him of a simpler clip, one to which he wishes he could return. Possibly the most important happening of the word “ nice ” is in Holden ‘s statement near the terminal of the book that the sight of Phoebe traveling about and about on the carrousel makes him happy merely because she is guiltless. And that is so nice to him.
However, Holden becomes an grownup and accidentally he has to acquire familiar with big universe ‘s forms. But it occurs to be for him harder so it may look. For illustration Holden admits that whenever he is given a present, he ends up experiencing sad. During his stay in New York he gets hurt. And the more he gets hurt, the sorrier he feels for others – what is non common behaviour among the grownups. Even though he does n’t wish the miss whose presence makes him go forth the dark nine, he feels “ kind of sorry for her in a manner ” . He is still a virgin because whenever he has tried to “ do out ” with misss and has been told to halt, he ( as it was mentioned earlier ) has stopped because he gets to “ experiencing sorry for them ” . He even feels sorry for Jesus because the adherents allow him down. Significantly, Holden supposes that the adherents proved a letdown because Jesus had to pick them wholly indiscriminately.
Although Holden seems to detest everyone, he besides “ kind of ” girls people, if he does n’t see them for a piece. And here the reader realizes ( or at least should recognize ) “ sort of ” infantile feature of the about grownup Holden – of the stripling.
At the terminal, Phoebe – “ nice ” character in the fresh – becomes the informant of Holden ‘s specific, break-down-way, confession. Harmonizing to the vocal about the backstop in the rye, who wants to keep the childs back from jumping of the drop, Holden describes to his sister the state of affairs in a really picturesque and symbolic mode, but he basically tells Phoebe that he wants to forestall kids from turning up. He blames the universe ‘s corruptness on grownups and believes that when he stops the kids from turning up he will continue their artlessness and ( sort of ) save the universe.
It takes most of the book before Holden begins to recognize that he is incapacitated to halt this corruptness. Finally, he realizes that non merely is at that place nil that he can make, but there is nowhere he can travel to conceal from it. Holden takes a piece to grok these constructs. One good illustration is when Holden wants to present the note to Phoebe. He encounters a “ fuck-you ” written on the wall. Subsequently on he finds similar caption scratched someplace with a knife. He discovers that he ca n’t obliterate that one. Even in the dateless peace of the Egyptian grave room at the museum there is another “ fuck-you ” written with a lasting marker. This incident is the beginning of Holden ‘s realisation that his dreams are impracticable.
Ironically, it is Phoebe who challenges his program to get away out west. As he is stating her that she can non run off, he discovers that he excessively can non run off. “ You ca n’t of all time happen a topographic point that is nice and peaceable, because there is n’t any. ”
The supporter ‘s break-down comes near the terminal of the book when he is watching Phoebe on the carrousel. “ All the childs kept seeking to catch for the gold ring, and so was old Phoebe, and I was kind of afraid she ‘d fall off the goddam Equus caballus, but I did n’t state anything or make anything. The thing with childs is, if they want to catch for the gold ring, you have to allow them make it, and non state anything. If they fall off, they fall away, but it ‘s bad if you say anything to them. ” Holden thinks.
In the above transition from the novel, Holden hits the concluding dislocation. Bing “ the backstop ” becomes evidently unrealistic. The gilded rings are ironically non gilded but truly brass-plated Fe. The gilded rings are symbols of the corrupted universe which ever “ wears ” a glistening surface to conceal its immorality. It is at this point that Holden sees that he ca n’t halt kids from turning up and hence losing their artlessness. They will fall if they fall, there is nil that can be done.
Shortly after this point Holden has his nervous dislocation. His dislocation is due to this cheerless realisation that the universe is corrupt and filled with evil and all the bogus material. He knows now with a disgusting certainty that he is powerless to halt immorality and continue artlessness ( his and no 1 ‘s ) . As a affair of fact, it is “ bad ” to make so.