The way most sites said it, the qote is about life and death, and healing. In the book, right after Guy quotes Revelations When we reach the new city. Some man is killed, and I guess he is believed to be Guy Montag.
The goverment didn't want to chase someone down if they already had a body, the scandal could just die out. The books are being memorized in bits and pieces. Its like each person is a file of a book that needs to be kept. I'm not sure if thats the BEST way to keep the literature, but its the safest way.
Since nobody wants to get caught, it seems like it would be the easiest way to not leave a trail. Killing an innocent man just to calm the society down.
That is pretty darn ridiculous. The earliest novels were called picaresque in that they involved a roguish main character who travelled widely, s What are examples of indirect and direct characterization in "Romeo and Juliet"? An example of indirect characterization comes from Act 1, scene 5.
In this scene, Romeo has seen Juliet for the first time and is commentin Describe the narration in "Snow" by Ann Beattie. The police can't allow the public to know of their failure to snare Montag, so they enact a hoax: An innocent man is chosen as a victim for the TV cameras. The populace is deceived into thinking that Montag is dead because their wall televisions depict the murder of the suspect Montag. Note that the population has never seen the real Montag. While the chase continues elsewhere, Montag floats in the river toward the far shore and safety.
In just a few short days, Montag has become a rebel and an outlaw. As if seeing the world and nature for the first time, Montag continues his journey on land. Half an hour later, he sees a fire in the black distance where he stumbles upon a group of outcasts. The leader of these outcasts is Granger, a former author and intellectual.
Curiously, Granger seems to have expected Montag and reveals his good will by offering him a vial filled with something that alters Montag's perspiration; after Montag drinks the fluid, the Mechanical Hound can no longer track him. Granger explains to Montag the nature of the commune and how each member chooses a book and memorizes it.
After the entire book has been memorized, he burns it to prevent the individual from being arrested by the authorities. From that time on, the story is transmitted verbally from one generation to another. Montag confesses to Granger that he once memorized some of the Book of Ecclesiastes.
Granger tells him that a man named Harris knows the verses from memory, but if anything ever happens to Harris, Montag will become the book.
When Montag admits the grand failure of his plan to plant books in firemen's houses, Granger replies that the plan may have worked had it been carried out on a national scale. Granger feels, however, that the commune's way of giving life to books through their embodiment in people is the best way to combat the censorship of the government.
Because of war that could begin at any minute , the commune is forced to move south, farther down the river, away from the city that is a sure target of attack.
Jets shriek overhead continually, heading for battle. Although Montag thinks briefly of Millie and of his former life, he is forced back to reality when, in an abrupt finale, the city is destroyed. Shaken by the destruction of the city, Granger, Montag, and the rest of the commune are compelled to return to the city and lend what help they can.
The ironies in this book continue to multiply as Montag discovers that Millie was the one who turned in the fire alarm. In fact, it's interesting to note that as Millie makes her abrupt departure, her worries and concern focus only on her television family and not her husband Montag. Although Beatty feels some remorse over what will happen to Montag, he continues to ridicule him: "Old Montag wanted to fly near the sun and now that he's burnt his damn wings, he wonders why.
Didn't I hint enough when I sent the Hound around your place? He does not particularly want to arrest Montag for breaking the law and his metaphorical concept of Montag as Icarus further reveals his active imagination and knowledge of illegal books. Yet through sheer maliciousness, Beatty demands that Montag burn his own home. However, note that Montag does not burn the television with remorse — in fact, he takes great pleasure in burning it: "And then he came to the parlor where the great idiot monsters lay asleep with their white thoughts and their snowy dreams.
And he shot a bolt at each of the three blank walls and the vacuum hissed out at him. The entire episode has, for Montag, a phantasmagorical quality. He perceives his arrival and the preparations for the burning as a "carnival" being set up. Later, after the destruction of his house and after the spectators disappear, Montag remarks that the incident was as if "the great tents of the circus had slumped into charcoal and rubble and the show was well over. With Faber screaming in his ear to escape, Montag experiences a moment of doubt when Beatty reduces Montag's book knowledge to pretentiousness: "Why don't you belch Shakespeare at me, you fumbling snob?
Go ahead now, you secondhand literateur, pull the trigger. The meaning of Montag's utterance is open to speculation. At first glance, this statement is about passion: If the firemen have to burn books, they should know the subjects of the books and what information they contain.
Or possibly, burning shouldn't be done simply as a mindless job that one does out of habit, but should be done out of political and ideological convictions. Given the context, however, Montag says his line with the implication that Beatty was wrong to encourage burning when he, Beatty, knew the value of books. As he turns the flamethrower on Beatty, who collapses to the pavement like a "charred wax doll," you can note the superb poetic justice in this action.
Beatty always preached to Montag that fire was the solution to everyone's problems "Don't face a problem, burn it," Beatty told him and Beatty, himself, is burned as a solution to Montag's problem. Note once again, that in describing Beatty's death, Bradbury uses the image of a wax doll. The imagery of the wax doll is thus used in Fahrenheit to describe both Beatty and Millie. By using this comparison, Bradbury shows that Beatty and Millie do not appear to be living things; they fit the mold made by a dystopian society.
As a result, Beatty is charred and destroyed by the fire that gave purpose and direction to his own life. Although Montag, who is now a fugitive, feels justified in his actions, he curses himself for taking these violent actions to such an extreme. His discontent shows that he is not a vicious killer, but a man with a conscience. While Montag stumbles down the alley, a sudden and awesome recognition stops him cold in his tracks: "In the middle of the crying Montag knew it for the truth.
Beatty had wanted to die. He had just stood there, not really trying to save himself, just stood there, joking, needling, thought Montag, and the thought was enough to stifle his sobbing and let him pause for air. Montag suddenly sees that, although he always assumed that all firemen were happy, he has no right to make this assumption any longer. Although Beatty seemed the most severe critic of books, he, in fact, thought that outlawing individual thinking and putting a premium on conformity stifled a society.
Beatty was a man who understood his own compromised morality and who privately admired the conviction of people like Montag. In a strange way, Beatty wanted to commit suicide but was evidently too cowardly to carry it out. Why does Mildred overdose on sleeping pills?
Why does Montag want to read books? How does Montag know about Faber? What happens to Clarisse? Why does Mrs. Phelps cry when Montag reads aloud the poem? Why does Montag think Beatty wants to die?
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