Fahrenheit 451 by Ray Bradbury
Ray Bradbury’s novel Fahrenheit 451 presents a variation of a dystopian novel. A dystopian novel is an unique which depicts an overbearing instead of perfect society. In the novel, Bradbury develops a futuristic human society where thirst for knowledge and intellectual enlightenment are prevented and a homogenous, non-reflecting citizenship pursues empty happiness and conformity.
Instead of represent an overtly bleak, impoverished or war-torn society in his dystopia, Bradbury selects to depict the tyranny of the “normal” or the or the oppressiveness of uniform vision, no matter how outwardly facile or harmless. Banality, in result, ends up being mankind’s biggest opponent, though human society relocations completely to accept it. Culture or expression which motivates free ideas is outlawed. Books are burned for the avowed purpose of reducing hazards to human happiness.
Person Montag, the book’s protagonist is a rebel because he eventually comes to decline the common vision of life and joy and the accepted social standards. His search is for individuality which is the reverse of contentment or social acceptance in Montag’s society.
When the book starts, Montag is totally accustomed to his society and takes excellent pride in his job as a “firefighter,” which is another name for a book-burner. But his life is changed by a simple encounter with a young girl named Clarisse who appears innately bound against the society’s precepts; after-which, Montag starts to presume something is not best after-all in his seemingly ideal world.
In contrast to Clarisse, Mildred, Montag’s partner is a best social-drone. She keeps radio-receptors plugged into her ears and shuns any thought or concept out of the expected norm. When Montag discovers his spouse overdosed on sleeping pills he is amazed when the emergency situation specialists reveal no interest in his other half’s catastrophe but continue with their work undaunted by feelings. He himself begins to wonder whether he even cares if his own spouse lives or passes away.
Quickly Montag doubts more than his marriage; he begins to see the paradox of his world where books are being burned, but images are beamed directly into people’s brains; where a fireman lights fires rather of putting them out. Nonetheless he feels helpless to alter situations.
The secret to Montag’s eventual shirking off of social standards is: books. Literature. He starts to wonder why he burns books for a living and what could be in books that his society so fears that they are prohibited. When he experiences an elderly woman who picks to burn with her books instead of surrender them to be burned; eventually, Montag himself (or rather his hand “out of control”) takes a book from a book burning. After reading, he starts to amass books and read them, recognizing that his mind is being released through his contact with literature.
When his partner, Mildred, reports him to the fire station, Montag is required to burn down his house. In a rage, Montag winds up killing the fire Captain, Beatty, and Montag is forced to flee from his world and effort to cross the river into unidentified lands. When throughout the river, Montag finds an entire society of “rebels” who read books, remember them, and the burn them.
They plan in this method to protect the understanding of mankind even versus the dystopian society in which they are put behind bars.
So, progressing from a conformist who burns books to a male dedicated to protecting and reconstructing mankind, Montag’s journey represents development of individual individuation. Bradbury’s style is that individuality is the keystone of human joy and satisfaction and that knowledge, totally free expression, and exchange of concepts are vital elements to the significant existence of humanity.
Fahrenheit 451 is a triptych, indicating it is made up of three titled areas. Part one is entitled “The Hearth and the Salamander.” The obvious meaning of the salamander is implied to communicate the sense of human stability and curiosity sustaining beyond the fire of injustice. Clarisse asks a key thematic question in this area: she asks Montag if he is happy. In reality, the occurring story brightens Montag’s delusional ‘joy” and leads through a journey to true awareness.
Area 2 has the title: “The Screen and the Sand.” The symbol of this area is a referral to Montag’s youth when he attempted to fill a sieve with sand. Too young to know that such an operation was impossible, he keeps trying up until he breaks down in aggravation. This is meant to suggest how earnestly and “blind” humanity can following a wrong path or technique. In the story, Montag seems like he is attempting to fill a screen with sand when he starts to recognize the society in which he lives and the shallowness of his life and marital relationship.
Part 3 is called “Burning Bright,” and this title is an allusion to a poem by William Blake called “The Tyger.” Blake’s “Tyger” represents human evil in the poem. Similarly, Montag’s society is “burning intense” in that they burn books, burn understanding and freedom, and self-discovery on the pyre of ignorance and oppression.
The fire also dually symbolizes the fire of inspiration and the terrific conflagration at the novels’ denouement: when Montag and his fellow rebels move toward the burning city of the oppressors: one is delegated question whether mankind can effectively retrieve itself from the ashes of the fallen dystopia.