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Fahrenheit 451 Critical Essay


Fahrenheit 451 Important Essay

Jamie Moseley 17, October, 2012 Ms. Telesca English 101H Fahrenheit 451 Analysis In all societies, understanding types life and comprehending about mankind and the world surrounding it. Without the purposeful application of knowledge, the entropy of lack of knowledge sweeps civilization into destroy and decay. In Fahrenheit 451, Bradbury asserts the point that knowledge is the structure of civilization and if gotten rid of, what is left is a rotting society damaged by stupidity and immorality. War, technology, and paradox shape a world that treats lies as reality and understanding as sin.

The characters in Fahrenheit 451 use technology as a matching concept, showing the qualities of the society that develops things like headphones, bio-purging systems, and monstrous mechanical monsters. Initially, earphones appear like a safe invention, however actually showcase the ineffective “understanding” of the people who utilize it. Montag finds this when he observes Mildred using “the little Seashells, the thimble radios tamped tight, and an electronic ocean of noise … coming in on the coast of her unsleeping mind” (Bradbury 10).

What Mildred listens to is not knowledgeable details, however merely a bombardment of sound and worthless truths used to asphyxiate her mind. The Seashell radios require information on the listener to shut out idea and short-circuit the listener’s creative professors. Once again Mildred utilizes the radios, but Montag finds her “eyes large and gazing at the fathoms of blackness above her in the ceiling” (39 ), as though she is nothing but a shell. It is interesting that the radios are called Seashells for seashells imitate the sound of the ocean simply as the listeners of the radios simulate the details of the ocean of sound.

Individuals become absolutely nothing more than seashells that echo back the exact same phony realities as fact without concern. This empty society not just depresses free thought, but likewise dehumanizes its citizens. In the beginning of the book, Montag walks house to discover Mildred overdosing on sleeping tablets and calls the emergency line. In no time, two men walk in with 2 makers that are utilized to purge Mildred’s system. One maker “slid [es] down into your stomach like a black cobra down an echoing well trying to find all the old water.” (11) while the other resembles an eye providing the operator the ability to “gaze into the soul of a person whom he was pumping out”( 11 ). These devices invade the victim’s body in a manner that breaks the individual’s humanity. The blood transfusion leads to the victim ending up being a wind-up toy. This incident depicts the indifference toward an individual’s life because of the offense of one’s body and disregard for personal emotion. However, the very best personification of Montag’s society is the mechanical hound.

The hound is presented as a practically undead animal, one that “live [s] however [does] not live in its carefully humming … kennel in a dark corner of the firehouse” (21 ). Like the hound, its creators neither live nor pass away but merely exist in a dark, backwards existence and wait on their next orders. The game of bets and death the firemen play describes the hound’s purpose. The hound traps its victim, “gripp [ing] in gentling paws while a four-inch hollow steel needle plunge [s] down from the proboscis of the hound to inject enormous jolts of morphine and procaine” (23 ).

The people, or victim, of this civilization are caught by a mild, yet horrible situation which injects massive amounts of false enjoyment and phony truths that produce a surreal yet amusing state of being like the adverse effects of morphine and procaine. After Montag witnesses the killing, he asks Beatty if the hound is alive. Beatty immediately reacts: “‘ Come off it. It does not like or dislike. It just ‘functions’…” (24 ). The masses simply “function” like the hound going daily in a meaningless state of presence like mechanical productions. Likewise, the hound with “its eight amazing insect legs … (23) exposes the distortion of truth that is believed by people who would call this monstrous production a hound though there is practically no resemblance between it and a pet dog. It is one of the twisted devices that comprise the dystopia Montag resides in. Below the futuristic advances of this civilization lies the true dystopian world that is Fahrenheit 451. Like George Orwell’s 1984, constant war in foreign regions is present in this culture as bombers fly overhead every night like the rocket bombs of Winston’s world. Montag, in the heat of rage, questions the war effort and asks “‘ Why doesn’t someone wish to discuss it!

We have actually begun and won 2 atomic wars since 2022! ‘” (69 ). Even after two atomic wars, the bombers still fly in development, striking worry into the people and rallying it together to focus its attention on a higher cause instead of the quality of their lives. War is inescapable on the radio where Montag hears the radio reveal that “… war may be stated any hour …” (30 ), which keeps the population on alert and standing by to defend its borders rather than defending their specific lives from the invasion of lack of knowledge. Killing also reveals the shabby social structure as Clarisse states, “‘ I hesitate of children my own age.

They kill each other'” (27 ). Death no longer inhibits the actions of others, however rather ends up being a typical fact of everyday life like breathing. Even Mildred, who discusses Montag’s requirement to smash things, suggests taking the beetle for a spin. “‘ It’s fun out in the country. You struck bunnies, sometimes you strike pet dogs. Go take the beetle'” (61 ). Killing has no repercussion any longer whether one eliminates an animal or murders a human. Death, like war, sidetracks people through fear. Everybody fears for their own life, however cares absolutely nothing for the lives of others. Suicide, however, is the exception to this rule.

When one “delights in” their life a lot, they commit suicide. Among the operators who saves Mildred from overdosing delicately says “‘ we get these cases 9 or ten times a night'” (13 ), as if it is nothing major. On top of that, he likewise mentions that “‘ you take out the old [blood] and put in the new [blood] and you’re all right'” (12 ). The reason for suicide is that the people lead such hollow lives covered in cheap home entertainment which leaves them without function. The lack of understanding does not assist because with knowledge, one can assume a purpose and make reason to life.

Without it, there is no chance to discover a purpose and therefore individuals toss themselves away. However, they are offered their meaningless lives back through transfusion and start again the downward spiral surrounded by paradox and contradiction. To position the final nail in the casket of free idea, paradoxical ideas are substituted for knowledge that leaves society vacuous. Like the Ministry of Love in 1984, the firefighters are a contradiction of good and wicked. Beatty tells Montag that they are “‘ the Happiness Boys, the Dixie Duo … we stand against the small tide of those who wish to make everybody dissatisfied. ‘” (59) though they bring damage and even death wherever they are sent out. Yet, they whole-heartedly think that their task is one of supreme justice for the good of man whereas it is the opposite. This twisting of reality appears in the television shows like Mildred’s “household”. She feels like she belongs with them, crying out “‘ my ‘household’ is individuals. They tell me things; I laugh, they laugh! ‘” (69 ). The “household” creates a sense of belonging and addition that really omits and cuts the viewer off from the real life by satisfying the need for details.

Viewing tv is an unique affair which Montag soon realizes. In aggravation, Montag asks Mildred, “‘ does your ‘household’ love, love you very much, love you with all their body and soul, Millie? ‘” (73 ). What Mildred feels for the ‘family’ is a surrogate set of feelings, substituting truth and truth with what she sees and hears, causing her to really like the “household” even though it is merely a program. Beatty discusses the continuous attack of pseudo-knowledge and emotion: “‘Stuff them filled with noncombustible information, chock them so damned full of ‘realities’ they feel stuffed, however absolutely dazzling with details'” (58 ).

He goes on to state “‘ if the drama is bad, if the movie says absolutely nothing, if the play is hollow, sting me with the Theremin, loudly … I much like solid entertainment'” (58 ). What Beatty is mentioning is if the masses are overrun with ineffective info, paradoxical concepts, and incorrect feelings, they will believe that they understand the world around them from what they have soaked up and consider it reality and live in foolish intelligence which is the best paradox presented. Like light and darkness, understanding drives off ignorance.

However, Bradbury develops a culture where knowledge is stifled in an impenetrable web of lack of knowledge that determines the lives of the characters in Fahrenheit 451. Murder, makers, and contradictions are utilized to offer false function and reason to humankind in place of understanding. The hero Montag journeys through this dangerous environment in an attempt to discover himself and discover the horrific truth that without factor, destruction and rot wait for to take in all who overlook intelligence. Functions Cited Bradbury, Ray. Fahrenheit 451. New York City: Simon and Schuster, 1967. Print.

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