Slaughterhouse Five 2 Essay, Research Paper
The Use of Literary Devices in Kurt Vonnegut s Slaughterhouse-five
Kurt Vonnegut used many literary devices in his fresh Slaughterhouse-five. These different devices serve to transport his changing subjects through the narrative. He uses a system of two narrations that separates himself from the narrative, besides there is the repeat of certain phrases which rhythm you through the narrative. A major device that is used is non-linear clip, which emphasizes Vonneguts cylindrical theories.
Within Slaughterhouse-five there are two narrations. The first is of Vonnegut himself. In the first and last chapters Vonnegut negotiations of himself and sets the reader up for the absurdness of the chief character, Billy Pilgrim. This first narration besides tells how Vonnegut came to compose the narrative and what it took for him to set it on paper. ( Vit ) The 2nd narration is that of Billy Pilgrim whose war narrative of Dresden is about indistinguishable to that of writer s. Vonnegut points this fact out That was me. That was I. That was the writer of this book. ( Vonnegut, p.125 )
In the novel there are a few phrases that are repeated to lb out Vonnegut s message. One of these phrases is so it goes. These three small words are found over a 100 times within Slaughterhouse-five. So it goes is a Tralfamadorian doctrine. The Tralfamadorians believe that life is merely a series of non-linear minutes and that if person is dead in one minute they must absolutely happy in another minute someplace else. ( Vonnegut ) Every clip person in the fresh dies so it goes is used to assist the reader accept the decease of that individual. It besides tells us that there is nil we can make about it and to acquire on with life. ( Phillips ) This small expression is even used when Billy Pilgrim himself dies In the following minute, Billy Pilgrim is dead. So it goes.
( Vonnegut, p.143 )
The construction of Slaughterhouse-five relies to a great extent on the thought of non-linear clip. Billy Pilgrim could be twelve old ages old as the local YMCA and so in the following paragraph he is in WWII kiping a in a nest of pink fabric. Billy Pilgrim calls this being unstuck in clip. He got out of bed, said, Excuse me, went into the darkness of the bathroom to take a leak. He groped for the visible radiation, realized as he felt the unsmooth walls that he had traveled back to 1944, to the prison infirmary once more. ( Vonnegut, p. 123 ) The minutes in the novel may be non-linear but there is one portion of Billy s life that is told in a line, all be it a broken 1. Every clip in the novel when you come to a portion of the narrative about the war it picks up where the last minute of the war left off. With this Vonnegut defeats the whole intent of non-linear clip in the novel. He had wanted to acquire off from composing a war narrative, but in all truth that is precisely what he wrote. ( Vit )
Vonnegut used many literary devices to state his narrative of war. These tools shed visible radiation on his doctrines and frights. He tries to draw himself out of the narrative by utilizing two narrative lines. In utilizing the phrase so it goes he says that decease is non a thing to fear. ( Vit ) Vonnegut besides uses non-linear clip. With this technique he tries to get away composing a war narrative, yet that is what he ended up with. A fresh relation of the grimness of war, or as Mrs. O hare would wish it to be called, the kids s campaign ( Vonnegut )
Phillips, Leslie. So It Goes. 28 October 1999
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Vit, Marek. The Themes of Kurt Vonnegut s Slaughterhouse-Five. 28 October 1999
hypertext transfer protocol: //www.geocities.com/hollywood/4953/themes.html
Vonnegut, Kurt. Slaughterhouse-five. New York: Dell. 1969.