Throughout the novel, The Centaur (1963) by John Updike, the theme of self-acceptance is prevalent. The protagonist, George Caldwell, who also symbolizes Chiron from Greek mythology, struggles to come to terms with his life as it is and is always seeking what he cannot have. The novel chronicles his journey from a directionless man to a loving father and husband. Caldwell finds himself deciding his fate and pursuing his future through the lives of others in the text. He often looks with envy at the lives of others while failing to grasp what he has around him. Furthermore, Caldwell's understanding of the world progresses steadily throughout the novel; ultimately finding peace within himself and, in turn, in his environment. Updike aims to inform the danger of wanting to be what you can't through Caldwell's character development throughout the book. The message conveyed conveys that without this acquisition of self-approval, happiness is unattainable. Caldwell's relationship with Peter and his chronological development of mental peace teach him that without accepting oneself, inner peace can never be achieved. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay As a result of Caldwell's unawareness at this stage of the text, he is unable to find beauty in his life as it is, particularly in his son Peter. From Peter's point of view, Updike describes Peter's mother, saying, “in the heat of her last cry, she went to the wall and, silently through the glass, tore the electric clock from the nail on the wall and made as if to hurl it at floor, but then, instead, hugged him with the dragged rope” (68). The clock and its "final end" serve as a metaphor for Caldwell and Peter respectively. Despite Caldwell's imperfections and his lack of influence on Peter, the rope represents a final thread of hope on which Caldwell remains connected to Peter. The great divide between father and son shows the underdeveloped relationship they have, and although they are distant (Caldwell is depicted as a clock, but cannot tell the time, and Peter a rope, the only thing that can "save" Caldwell and bring it back to correctness), represents a possibility of progress, albeit slight. When confronting the father and son with the hitchhiker, Peter thinks, “My heart sank as my fears were confirmed: but my father seemed unaware of the horrible territory we had entered” (80). Caldwell's failure to recognize the imminent danger to Peter shows his complete state of oblivion. He is lost in the world of Greek mythology as he fears for his life, representing not only his helplessness as a father but also his being stuck between religion, science, and love. As Caldwell listens to the hitchhiker's seemingly depressing and negative tale, he sees only the positive in it, stating, “You're a man I admire. You had the courage to do what I always wanted to do…. I stayed up all night trying to remember something pleasant and couldn't. Misery and horror: these are my memories. That hurt my feelings, he had me” (84). Further revealing Caldwell's blindness to his loved ones and the value of what is in front of him. He rarely sees that Peter and his wife are what should give him happiness, rather than only meeting her on other paths he could have taken and imaginary worlds. As the hitchhiker nears the end of his journey, Peter thinks, “My father has disappointed me thus far” (82). His acknowledgment of Caldwell's ineptitude up to that point illustrates both a small turning point forCaldwell as he takes stock of his life, is also a block in his relationship with Peter. Caldwell's lack of observance and distracted ways affect his family badly, but he begins to show signs of improvement. Despite Caldwell's blindness to the consequences of his actions, he begins to distinguish the importance of those around him and take into account the value of what he has. After talking to the homeless beggar, Caldwell takes some positives out of the chat: “'(Peter) 'Where are we going?' (Caldwell) 'In a hotel, that man brought me to my senses. We need to get you where it's warm. You are my pride and joy, boy; we must guard the silver”' (155). As he begins to understand his value to the world and those around him, he also finds himself leaning more towards the belief system of love, rather than science and religion. His conclusion that he is unprepared for death gives both his and Peter's lives more hope and meaning, a further stretching of Peter's cord and Caldwell's clock becoming fixed. His father, stating a change in attitude towards Peter and the formation of a stronger relationship, describes Peter as a precious metal. Despising how Caldwell put Peter in a dangerous position, he in turn saves their relationship. Furthermore, when Caldwell chats with a colleague from school, Phillips, he states: (Phillips) “They say there's a time for everything.” (Caldwell) “Not for me, I'm not ready and it scares the shit out of me” (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 having the gatekeeper, Heller (Hades), pass by. Death's literal proximity to Caldwell foreshadows his impending death, but also serves as a juxtaposition, as Caldwell has just begun to live at this point in the novel. From this point on, Caldwell begins to right wrongs and do everything he can for those around him. Furthermore, he bids farewell to those close to him, as if he knew that death and its acceptance would come. The "warning" that Heller inadvertently gives to Caldwell serves as a signal for the latter to take advantage of his life and appreciate what he has. Caldwell turns the corner between a life not worth living and a life full of opportunity. Caldwell comes to terms with himself and those around him as he transitions into the afterlife. The morning after Peter and Caldwell return home, Peter begins to imagine his perfect painting: '“I couldn't wait to paint it, just like that, in its puzzle of glory; I had the idea of ​​having to go towards Nature disarmed of perspective and stretch myself over her like a large transparent canvas in the hope that, my submission being perfect, it would take the imprint of a beautiful and useful truth"' (283) . This represents a clean slate for the family, all their issues and imperfections have been resolved, and despite the tragedy of his father's death, Peter manages to find the beauty in it. Caldwell only believes in love by the end of the book and does not rely on science or religion to support his sanity and answer his questions. Peter is therefore able to 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 for what 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 realized…. His will is a perfect diamond under the pressure of absolute fear.” He doesn't want to be someone else or stay on earth to fix a situation or right a wrong. In this acceptance,.