Throughout John Updike's novel The Centaur (1963), the theme of self-acceptance is prevalent. The protagonist, George Caldwell, who also symbolizes Chiron in Greek mythology, struggles to accept his life as it is and is always looking for what he cannot have. The novel chronicles his journey from directionless man to loving father and husband. Caldwell finds himself deciding his destiny and pursuing his future through the lives of others in the text. He often looks with envy at the lives of others while he fails to understand what is around him. Additionally, Caldwell's understanding of the world progresses steadily throughout the novel; ultimately finding peace within himself, and consequently in his environment. Updike intends to inform the danger of wanting to be what you cannot through the development of Caldwell's character over the course of the book. The message conveyed conveys that without this acquisition of self-approval, happiness is unachievable. Caldwell's relationship with Peter and his chronological development of peace of mind teach him that without accepting oneself, inner peace can never be achieved. Say no to plagiarism. Get a custom essay on “Why Violent Video Games Should Not Be Banned”?Get an original essayDue to Caldwell's unconsciousness at this point in the text, he is unable to find the beauty in his life as it is is, particularly in his son, Pierre. From Peter's point of view, Updike expresses Peter's mother by saying, "in the rush of her last cry, she went to the wall and, silent through the glass, tore the electric clock from its nail on the wall and pretended to smash it. the ground, but then, instead, he hugged him with his trailing rope” (68). The clock and its "back end" serve as a metaphor for Caldwell and Peter respectively, despite Caldwell's imperfections and lack of influence over Peter, the rope represents a final strand of hope on which Caldwell remains connected to Peter. The great divide between father and son speaks to the underdeveloped relationship they have, and although they are estranged (Caldwell is depicted as a clock, but fails to tell the time, and Peter a rope , the only thing that can “save” Caldwell and bring him to correction), this represents a chance for progress, however slight. During the father and son's confrontation with the hitchhiker, Peter reflects: "My heart contracted to hear my fears confirmed: but my father seemed oblivious to the horrible territory into which we had entered" ( 80). Caldwell's inability to recognize the imminent danger to Peter speaks to his state of complete oblivion. He is lost in his world of Greek mythology as he fears his own life, representing not only his helplessness as a father but also his being caught between religion, science and love. As Caldwell listens to the hitchhiker's seemingly depressing and negative story, he sees only good in it, stating, "'You are a man I admire. You had the courage to do what I always wanted to do…. I was up all last night trying to remember something pleasant and I couldn't. Poverty and horror, those are my memories. It hurt me, he had me” (84). Further revealing Caldwell's blindness to those closest to him and the value of what he has in front of him. He rarely sees that Peter and his wife are what should bring him happiness, rather than meeting him only on other paths he might have taken and in imaginary worlds. As the hitchhiker nears the end of the ride, Peter thinks, "Until now, my father hadlet it go” (82). His recognition of Caldwell's ineptitude up to this point illustrates both a minor turning point for Caldwell in coming to terms with his life, but also a blockage in his relationship with Peter. Caldwell's lack of compliance and absent manners seriously affect his family, but he begins to show signs of improvement. Despite Caldwell's blindness to the consequences of his action, he begins to distinguish the importance of those around him and to take into account the value of what he possesses. While talking with the homeless beggar, Caldwell draws positives from the conversation: “(Peter) “Where are we going?” » (Caldwell) “In a hotel, this man brought me to my senses. We need to take you where it's warm. You are my pride and joy, kid; we have to keep the money”’ (155). As he begins to understand his value to the world and those around him, he also finds himself more inclined to the belief system of love, rather than science and religion. His conclusion that he was unprepared for death gives his and Peter's lives more hope and meaning, a further lengthening of Peter's cord and Caldwell's clock ticking. His father, claiming a change in attitude towards Peter and a stronger relationship, describes Peter as a precious metal. Disregarding how Caldwell has placed Peter in a dangerous position, he in turn saves their relationship. Additionally, when Caldwell speaks with a colleague at the school, Phillips, he states: (Phillips) “They say there is a time for everything. » (Caldwell) “Not for me, I'm not ready and it scares me a lot” (215). Here we see further confirmation of Caldwell's revelations about his life and its implications for others. Updike then expands the depth of this scene by bringing in the janitor, Heller (Hades). Caldwell's literal proximity to death foreshadows his impending death, but also serves as a juxtaposition, as Caldwell has only just begun to live at this point in the novel. From this point on, Caldwell begins to right the wrongs and does everything he can for those around him. Furthermore, he bids farewell to his loved ones, as if he knows that death and its acceptance are coming. The "warning" Heller inadvertently gives Caldwell serves as a signal for Caldwell to enjoy his life and appreciate what he has. Caldwell finds himself between a life not worth living and a life of opportunity. Caldwell comes to terms with himself and those around him as he passes into the afterlife. The day after Peter and Caldwell return home, Peter begins to imagine his perfect painting: “I burned to paint him, just like this, in his puzzle of glory; It occurred to me that I must go towards Nature disarmed of perspective and extend myself like a great transparent canvas over her in the hope that, my submission being perfect, the imprint of a beautiful and useful truth would be taken. (283). This represents a clean slate for the family, all of their arguments and imperfections have been ironed out, and despite the tragedy of his father's death, Peter is able to find beauty in it. Caldwell only believes in love at the end of the book and does not rely on science or religion to maintain his sanity and answer his questions. Peter can then take from his father both his new eye for beauty in all things and his virtuous attitude. In his own death, Caldwell learns to accept his life as it was and the path he took: "As he approached the car, close enough to see an elongated distortion of himself in the fender, he understood…. His will is a perfect diamond under the pressure of absolute fear. He does not agree to be someone else or to stay on earth to resolve a situation or right a wrong. In.