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Ray Bradbury's Fahrenheit - How Clarice Influenced Montag in Clarisse and Montag befriend each other quickly, and Clarisse's impact on Montag Clarisse comes into Montag's life, and immediately begins to question his relationship with She questions his whole life, teaches him to appreciate the simple things. -Clarisse demonstrates the value of human relationships. The novel " Fahrenheit " protagonist is named Guy Montag (known as Montag). In his novel Fahrenheit , Ray Bradbury envisions a society in which manifested, and thus correlated, to Montag's relationship with fire as . He doesn' t entertain these questions to any real extent until Clarisse says.
One fireman, Guy Montag, remembers a time before book burning and tries to right this horrible metropolis of zombies. An important part of the novel Fahrenheit is the meetings between Montag and Clarisse. The meetings between Montag and Clarisse begins a series of events and changes in Montag's way of thinking and lifestyle.
Clarisse remarks " Are you happy? Montag begins to realize that he is not happy after Clarisse asks the question and arrives in his home. Montag observes " Darkness. He was not happy. He said the words to himself. He recognized this as the true state of affairs " Montag's awareness is triggered at the point in which Clarisse states " But you're just a man, after all " 7.
This statement by Clarisse makes Montag think of a time when he was a child during power failure, and he wishes it not to end. In Montag's second meeting with Clarisse, the two of them find a dandelion and Clarisse tells Montag of rubbing it under his chin. Clarisse explains " If it rubs off, it means I'm in love " Clarisse rubs the dandelion under Montag's chin and Clarisse remarks "What a shame, you're not in love with anyone " Montag thinks that he is in love, but realizes that he is not in love and not at all happy.
In the third meeting, Montag begins to feel that he has known Clarisse forever. When Montag meets Clarisse McClellan, his new vivacious teenage neighbor, he begins to question whether he really is happy.
Clarisse gives Montag enlightenment; she questions him not only about his own personal happiness but also about his occupation and about the fact that he knows little truth about history.
At the same time, she also gives the reader the opportunity to see that the government has dramatically changed what its citizens perceive as their history.
For example, Montag never knew that firemen used to fight actual fires or that billboards used to be only 20 feet long. Nor did Montag know that people could actually talk to one another; the governmental use of parlor walls has eliminated the need for casual conversation. Clarisse arouses Montag's curiosity and begins to help him discover that real happiness has been missing from his life for quite some time. After Montag's encounter with Clarisse, he returns home to find his wife Mildred Montag Millie unconscious; she is lying on the bed with her Seashell Radios in her ears and has overdosed on tranquilizers and sleeping pills.
Two impersonal technicians, who bring machines to pump her stomach and provide a total transfusion, save Millie, but she could possibly overdose again and never even know it — or so it may seem. The matter of the overdose — whether an attempted suicide or a result of sheer mindlessness — is never settled. Although Montag wishes to discuss the matter of the overdose, Millie does not, and their inability to agree on even this matter suggests the profound estrangement that exists between them.
Even though Montag and Millie have been married for years, Montag realizes, after the overdose incident, that he doesn't really know much about his wife at all.
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- The relationship of Montag and Mildred
He can't remember when or where he first met her. In fact, all that he does know about his wife is that she is interested only in her "family" — the illusory images on her three-wall TV — and the fact that she drives their car with high-speed abandon. He realizes that their life together is meaningless and purposeless. They don't love each other; in fact, they probably don't love anything, except perhaps burning Montag and living secondhand through an imaginary family Millie.
When Montag returns to work the next day, he touches the Mechanical Hound and hears a growl. The Mechanical Hound is best described as a device of terror, a machine that is perversely similar to a trained killer dog but has been improved by refined technology, which allows it to inexorably track down and capture criminals by stunning them with a tranquilizer.
Montag fears that the dog can sense his growing unhappiness. He also fears that the Hound somehow knows that he's confiscated some books during one of his raids. The fire chief, Captain Beatty also senses Montag's unhappiness. Upon entering the upper level of the firehouse, Montag questions whether the Mechanical Hound can think.
Beatty, who functions as the apologist of the dystopia, points out that the Hound "doesn't think anything we don't want it to think. After several more days of encountering Clarisse and working at the firehouse, Montag experiences two things that make him realize that he must convert his life. The first incident is one in which he is called to an unidentified woman's house to destroy her books. Her neighbor discovered her cache of books, so they must be burned.
The woman stubbornly refuses to leave her home; instead, she chooses to burn with her books.
Montag/ Clarisse - Topic
The second incident, which occurs later the same evening, is when Millie tells Montag that the McClellans have moved away because Clarisse died in an automobile accident — she was "run over by a car. Montag decides to talk with Millie about his dissatisfaction with his job as a fireman and about the intrinsic values that a person can obtain from books.
Suddenly, he sees that Millie is incapable of understanding what he means. All she knows is that books are unlawful and that anyone who breaks the law must be punished. Fearing for her own safety, Millie declares that she is innocent of any wrongdoing, and she says that Montag must leave her alone. After this confrontation with Millie, Montag entertains the idea of quitting his job, but instead, he decides to feign illness and goes to bed.
When Captain Beatty, who is already suspicious of Montag's recent behavior, finds that Montag hasn't come to work, he makes a sick call to Montag's home. Beatty gives Montag a pep talk, explaining to him that every fireman sooner or later goes through a period of intellectual curiosity and steals a book.
Beatty seems to know, miraculously, that Montag stole a book — or books. Beatty emphatically stresses that books contain nothing believable. He attempts to convince Montag that they are merely stories — fictitious lies — about nonexistent people. He tells Montag that because each person is angered by at least some kind of literature, the simplest solution is to get rid of all books.
Ridding the world of controversy puts an end to dispute and allows people to "stay happy all the time. Ridding the world of all controversial books and ideas makes all men equal — each man is the image of other men. He concludes his lecture by assuring Montag that the book-burning profession is an honorable one and instructs Montag to return to work that evening. Immediately following Beatty's visit, Montag confesses to Mildred that, although he can't explain why, he has stolen, not just one book, but a small library of books for himself during the past year the total is nearly 20 books, one of which is a Bible.
He then begins to reveal his library, which he's hidden in the air-conditioning system. When Millie sees Montag's cache of books, she panics. Montag tries to convince her that their lives are already in such a state of disrepair that an investigation of books may be beneficial.
What neither of them know is that the Mechanical Hound probably sent by Captain Beatty is already on Montag's trail, seemingly knowing Montag's mind better than Montag himself. Analysis Fahrenheit is currently Bradbury's most famous written work of social criticism. It deals with serious problems of control of the masses by the media, the banning of books, and the suppression of the mind with censorship. The novel examines a few pivotal days of a man's life, a man who is a burner of books and, therefore, an instrument of suppression.
This man Montag lives in a world where the past has been destroyed by kerosene-spewing hoses and government brainwashing methods. In a few short days, this man is transformed from a narrow-minded and prejudiced conformist into a dynamic individual committed to social change and to a life of saving books rather than destroying them.
Before you begin the novel, note the significance of the title, degrees Fahrenheit, "the temperature at which book paper catches fire, and burns. The implications of both concepts — one, a simple fact, and the other, a challenge to authority — gain immense significance by the conclusion of the book. In the first part of FahrenheitBradbury uses machine imagery to construct the setting and environment of the book.
He introduces Guy Montag, a pyromaniac who took "special pleasure to see things eaten, to see things blackened and changed. Montag has a smile permanently etched on his face; he does not think of the present, the past, or the future. According to his government's views, the only emotion Montag should feel, besides destructive fury, is happiness. He views himself in the mirror after a night of burning and finds himself grinning, and he thinks that all firemen must look like white men masquerading as minstrels, grinning behind their "burnt-corked" masks.
Later, as Montag goes to sleep, he realizes that his smile still grips his face muscles, even in the dark. The language — "fiery smile still gripped by his face muscles" — suggests that his smile is artificial and forced.
Soon he will understand that this small bit of truth is an immense truth for himself. At present, Montag seems to enjoy his job as a fireman. He is a "smiling fireman. Montag smiles, but he is not happy. The smile, just like his "burnt-corked" face, is a mask. You discover almost immediately when Montag meets Clarisse McClellan that he is not happy.
By comparing and contrasting the two characters, you can see that Bradbury portrays Clarisse as spontaneous and naturally curious; Montag is insincere and jaded.
Clarisse has no rigid daily schedule: Montag is a creature of habit. She speaks to him of the beauties of life, the man in the moon, the early morning dew, and the enjoyment she receives from smelling and looking at things.
The social and cultural issues presented in Fahrenheit by john wall on Prezi
Montag, however, has never concerned himself with such "insignificant" matters. Clarisse lives with her mother, father, and uncle; Montag has no family other than his wife, and as you soon discover, his home life is unhappy. Clarisse accepts Montag for what he is; Montag finds Clarisse's peculiarities that is, her individuality slightly annoying.
Despite all these differences, the two are attracted to one another. Clarisse's vivacity is infectious, and Montag finds her unusual perspectives about life intriguing. Indeed, she is partly responsible for Montag's change in attitude. She makes Montag think of things that he has never thought of before, and she forces him to consider ideas that he has never contemplated. Moreover, Montag seems to find something in Clarisse that is a long-repressed part of himself: Impossible; for how many people did you know who refracted your own light to you?
She speaks to him about her delight in letting the rain fall upon her face and into her mouth. Later, Montag, too, turns his head upward into the early November rain in order to catch a mouthful of the cool liquid. In effect, Clarisse, in a very few meetings, exerts a powerful influence on Montag, and he is never able to find happiness in his former life again. Yet, if the water imagery of this early scene implies rebirth or regeneration, this imagery is also associated with the artificiality of the peoples' lives in the futuristic dystopia of Fahrenheit Each night before she goes to bed, Mildred places small, Seashell Radios into her ears, and the music whisks her away from the dreariness of her everyday reality.
As Montag lies in bed, the room seems empty because the waves of sound "came in and bore her [Mildred] off on their great tides of sound, floating her, wide-eyed, toward morning. She has abandoned reality through her use of these tiny technological wonders that instill mindlessness. The Seashell Radios serve as an escape for Millie because they help her avoid thoughts.
Although she would never — or could never — admit it, Millie Montag isn't happy either. Her need for the Seashell Radios in order to sleep is insignificant when measured against her addiction to tranquilizers and sleeping pills.