A partner overdoses on medication, much to the distress of her partner; a female watches as the room in which she stands is splashed in kerosene prior to she takes it upon herself to strike the first match; a Fire Captain hands a weapon to among his subordinates and orders him to aim it at him– at the Captain himself– and shoot. These 3 suicide attempts–: one effective, one not so, and the other enacted as a murder– embody the theme of self-destruction that runs throughout Ray Bradbury’s ‘Fahrenheit 451’, and each of them represents a different aspect of that style: uncontrolled self-destruction, voluntary self-destruction, and voluntary self-destruction in order to pre-empt an uncontrolled self-destruction. Mildred Montag’s overdose suggests a dissatisfaction with the world as it is, and a desire to escape into something less real, more passive, an indirect and uncontrolled kind of self-destruction. The old lady’s voluntary death requires a tremendous fulfillment with the world that is drawn from her, and no desire whatsoever to live a life without some component of that world in it. And Captain Beatty’s death at the hands of Person Montag represents a combination of both of the above– a guy torn in between fondness and responsibility, in between a love for that which he ruins, and for the process of damage itself.
Mildred’s self-destruction is one typical trait of the majority of the people in the society illustrated in the novel, and hers is a course that Montag dangers following– at least up until the minute his interest gets the better of him and he opens the covers of a book. “I am a cowardly old fool,&& # 8221, states the English teacher Faber, being the placid kind of guy that Montag will degenerate into if he does not right away rebel versus the system that oppresses him. “Evidence of my dreadful cowardice: I have actually lived alone numerous years, tossing images on walls with my imagination.&& # 8221 Faber is what Montag will become if he allows Mildred to desensitize him. “She was beginning to squeal now,” we are told of Mildred when Montag takes a look at his better half through new eyes after their argument, “sitting there like a wax doll melting in its own heat.” Mildred’s self-destruction is of the involuntary, passive range, she does not a lot ruin herself as she enables herself to rot away slowly. Her world is a dream-world for which she abandons reality: she is unconscious when we satisfy her, having actually overdosed on tablets developed to make her sleep and recede into dreams. When she comes to, she is filled with rejection and claims she would never have done such a thing, later on she has her own name inserted into a television program and so she is actually absorbed into an imaginary world. And finally, she replaces her hubby with the cartoon White Clowns to the point where Montag asks her: “Does the White Clown love you? … Does your ‘household’ love you, love you with all their heart and soul, Millie?”
The answer, of course, is no, but like so much between Montag and Mildred, it stays unmentioned. Undoubtedly, speaking aloud is the methods by which Montag very nearly participates in his own self-destruction: he recites a poem to Mildred and her buddies, and lowers one of them to tears, which triggers the others to turn on him. The anger he provokes results in his failure. This, nevertheless, can barely come as a surprise to him, and even less so to Faber, who listens to the poetry recital via Montag’s earpiece: “You’ll destroy everything,”, he firmly insists, “Shut up, you fool!”– but Montag continues, the poetry is read aloud, and later, after the ladies have actually left his house, they rely on the authorities and point their fingers at him. “It was pretty silly, quoting poetry around free and easy like that,” Beatty warns Montag during their last confrontation. “It was the act of a ridiculous damn snob. Offer a man a couple of lines of verse and he thinks he’s the Lord of all Development.” Ironic, given that just a couple of minutes later when Montag has a weapon trained on him, it is Beatty who prices quote poetry: “Why do not you belch Shakespeare at me, you fumbling snob? ‘There is no fear, Cassius, in your dangers, for I am arm ‘d so strong in sincerity that they pass me as an idle wind, which I appreciate not!'”
This is not the first presentation of Beatty’s literary understanding. Previously, he refers to the misconception of Icarus and Daedalus, he estimates Jonathan Swift, and alludes to Scriptural passages. Also, he comprehends a recommendation to religious persecution made by the abovementioned old female prior to she sets herself ablaze. How is it that a male, who leads investigations into houses, in order to burn the illegal and outlawed books they have, knows so much about literature himself? Furthermore, how is he still able to display some noticeable level of affection for literature– one that Montag shares, however which, unlike Beatty, he is not permitted to reveal to the outside world? With his knowledge of and animosity for literature, Beatty embodies the conflict in between both literature’s destruction and its gratitude– therefore his actions and his speeches indirectly provide voice to the reasons the burning of literature is self-destructive, even if his real words determine why it is a favorable thing.
“Not everybody [is] born free and equal, as the Constitution says, however everybody [is] made equal,”, Beatty tells Montag in among numerous examples of a revisionist history accepted by the society of this world. “Each male is the image of every other, then all more than happy, for there are no mountains to make them cringe, to evaluate themselves versus.” Therein lies the essence of the evolution of book-burning, in addition to the essence of its self-destructive nature. Like Mildred’s uncontrolled self-destruction, book-burning evolved not from active opposition to literature, but from a passive tourist attraction to other materials. “The world got filled with eyes and elbows and mouths,”, Beatty tells Montag. “Films and radios, magazines, books [were] leveled down to a sort of pastepudding standard. … Classics cut to fit fifteen-minute radio shows. … School [was] shortened, discipline relaxed, approaches, histories, languages dropped, English and spelling gradually neglected, finally almost completely neglected.” Essentially, Beatty information the devolution of literature– undoubtedly, of ‘thinking’ itself and its replacement by graphic consumption, movies and illustrations and photos. “More animations in books. More images. The mind drinks less and less. … Books, so the damned snobbish critics stated, were dishwater. No wonder books stopped selling, the critics stated. … There you have it. It didn’t come from the Government down. There was no dictum, no statement, no censorship,” Beatty states of the process by which books were prohibited, before he includes the qualifier: “to start with.”
Those 3 words– “to start with”– embody whatever that is self-destructive about the book-burning of the society depicted in the novel. It is self-destructive since, a lot of conspicuously, Beatty’s assertions with regard to the credibility of book-burning do not stand to reason. He declares that society’s individuals lost interest in literature because nothing of value was being produced– books were “dishwater”– but that could not possibly entail a mass abandonment of fiction completely, particularly when so much of value has already been built up by society to start with– just because no brand-new books of any worth are being produced, there is no factor to abandon hundreds of years of books that do hold some value.
More significantly, nevertheless, is that book-burning is self-destructive due to the fact that it is an infraction of individuality and specific rights. Beatty utilizes this notion to his benefit– “all males made equivalent”– but here, he stops working to add the qualifier that should appear at the end of that declaration: “All guys made equivalent, leading to mass mediocrity, with no man offered the chance to interfere with or ascend beyond that equality.” That is to state, book-burning is self-destructive since it gets rid of the person’s option as to whether she or he wishes to delight in literature. Definitely, even if there were such a world in which society lost interest in fiction and books, there should be some individuals who would still choose to pursue literature for pleasure. These individuals do exist in this world– in the type of Montag, naturally, and Beatty to an extent, and most especially in the kind of Faber and the group of guys Montag fulfills outside the city– but it is not merely their right to read books that has been taken from them: they have actually also lost their right to pick to check out books. Book-burning, therefore, is self-destructive on both a physical and esoteric levels: it denies extravagance in physical literature– pages and printed words– however it likewise rejects a specific the right to use his/her esoteric free choice, and in doing so, we understand that it is self-destructive since it nullifies the very thing that makes us genuinely human in the very first location.
Nevertheless, this is not the extent of its self-destruction, it is only the most noticeable extent. Worse than this damage of literature and free choice is the destruction of truth. How do we understand that the story Beatty tells Montag is real? In reality, we understand that Beatty pushes several occasions: “When did it all start, you ask, this job of ours, how did it come about, where, when? Well, I ‘d state it really got going around a thing called the Civil War.” This is not true, firemens, as we know, have actually never been utilized to burn books, and such a pattern did not occur during the Civil War. Even Beatty conflicts this claim, but with another lie: “I ‘d say it really [begun throughout] the Civil War. Although our rulebook claims it was founded previously.” If Beatty disputes one crucial element of his own standard procedure, how can we make certain that anything in that code is true? Rather, we understand that with the above time frame provided for the inception of the firefighters, as well as other claims such as that houses have constantly been fire-proof, the residents of this story reside in a world that has succumbed to a fictional past, as in the previously mentioned revisionist history. The history of this society has been glossed-over, deleted, lost and damaged, re-built and re-written as propaganda, and almost all actual historical reality has been lost, leading to a world which extremely identity is among dualistic irony: a world that shuns fiction, yet is practically entirely built on lies. Beatty even let’s slip this disparity, possibly unconsciously: he calls Montag a “fumbling snob” for reciting poetry, and he calls the critics of the previous “snobs” for denouncing books. Who, then, does he think to be the genuine “snob”: those who enjoy fiction, or those who mock it? He disparity thinks in reality that he strives to conceal: that he knows, somehow, that the laws he promotes are a facade; that, at least, they could not have been established upon any actual history and are rather a product of fiction dressed up as truth.
Beatty continues to discuss how book-burning happened: “You need to understand that our civilization is so huge that we can’t have our minorities upset and stirred. … Colored people don’t like ‘Little Black Sambo’. Burn it. White people do not feel great about ‘Uncle Tom’s Cabin’. Burn it. … Don’t provide any slippery stuff like approach or sociology to connect things up with.” It is because of the sensitivity of minority groups, Beatty states, that book-burning was put in location; the government did not desire any disturbance on behalf of those groups. This, then, is an ironic example of a more ‘favorable’ sort of self-destruction, at least from the point-of-view of Montag and Faber: in its objective to not anger minority groups, the book-burning decree has actually instigated the creation of a new minority group that eventually overturns it. And, more ironic still, in order to enforce that decree the government has actually used the firefighters, yet it is one of those same firefighters who signs up with a rebellion versus the federal government and the decree it tries to uphold.
“A minimum of when in his profession, every fireman gets an itch,” states Beatty. “What do the books state, he wonders. Oh, to scratch that itch, eh? Well, Montag, take my word for it, I have actually needed to check out a couple of in my time, to understand what I was about, and the books state absolutely nothing!” Notification that Beatty did not read books to understand what they were about but to understand what he was about, and the books offered him answers– they provided his life a function, even if he does not understand that reality.” [The books say] nothing you can teach or believe,” he firmly insists, yet Beatty continually utilizes the contents of books throughout the unique to teach Montag; their relationship, until Montag rebels against Beatty, is a teacher-student relationship. Though they do eventually ended up being opponents, Montag finds a thematic counterpart of sorts in Beatty as, on a more personal and less societal level, they engage together in voluntary self-destruction in order to pre-empt their involuntary self-destruction. That is, they each suspect they will follow in the steps of Mildred, decaying away with passivity, so they deliberately pick to follow in the footsteps of the old female rather, to challenge those who require that they refrain from doing particular things– to challenge even the laws they have actually testified support– in order to prevent themselves from liquifying into nothingness.
Like Mildred, both Montag and Beatty are gradually decomposing. Montag, first, admits to himself that he is dissatisfied– “I do not understand anything any longer,” he says. And similarly, Beatty’s violent antagonism springs from the aggravation he feels with regard to his apparent and paradoxical affection for literature, and for his duty to not just hide that affection however to burn its source. Beatty, for all his long, portentous speeches, consistently exposes more about himself through what he does not say instead of by the real words he utilizes: “Who knows who might be the target of the well-read man?” he asks, without honestly acknowledging that he himself is a well-read man: “Me? I won’t stand [a well-read male] for a minute.” Here, he unconsciously shows his own sensations of self-loathing– the exact same feelings that eventually prompt him to purchase the flamethrower-wielding Montag to “Go ahead now, you second-hand litterateur, shoot.”
Montag obeys him, and only later on does he realize that “Beatty wished to pass away. … He had just stood there, not really trying to conserve himself.” With these words, Montag might simply as easily be explaining Mildred, if only Mildred had actually taken control of her own decay instead of merely sitting by and permitting it to take place to her. Unlike Mildred, both Beatty and Montag would rather be ruined than allow themselves to decay. Therefore, they both freely and unreservedly share literature and literary allusions with other people– although it is clearly prohibited due to the fact that, with neither guy being able to ruin himself knowingly, they are both aware that the repercussions of such actions will serve to ruin them instead: essentially, they both flirt with self-destruction by enticing and provoking some reaction or retribution from the world whose guidelines they are breaking. Simply as the old lady insists to them both “I want to stay here” as her home increases in flames, so too does Beatty recite ‘Julius Caesar’, while Montag recites ‘Dover Beach’: three various actions, each with the very same objective of self-destruction. Only 2 of those people, however, be successful in being damaged, while the last, Montag, makes it through, and ultimately uses the very same enthusiasm for literature that almost resulted in his death to rebuild a whole world that has destroyed itself.
Eventually, it is this ability to reconstruct that sets Montag apart from his contemporaries and his society, and even apart from Faber, for, unlike Faber, Montag is as much against the self-destruction of his society as he is an item of it. He neither completely knocks it nor does he totally accept it; rather, he agrees to carry out Faber’s joking tip that they plant books in the houses of firemen in order to ‘fix’ the problem of firemen and book-burning entirely.
“Fire is intense and fire is tidy,” states Beatty; his service is to ruin. “Do your own bit of conserving,” says Faber, “and if you drown, a minimum of die knowing you were headed for shore”; his solution is to develop something much better. Neither of these extremes will work as a ‘option’ for the problems dealt with by a society that is founded on a fiction, which denounces all other fiction. The only service is to reach a compromise, to play by the rules of society in order to break them: “When you have actually got absolutely nothing to lose,” states Montag, “you run any risk you want.” This, then, is how he gets rid of the barriers of this book-burning society– he comprehends both the disease of self-destruction and its treatment. And so it is that this self-destructive society is itself ruined under his watch, and is restored into something altogether more positive by way of his hands.