Twentieth
Century
American
novels
Noyes
Fahrenheit
451
–
Study
Guide
Part
1:
“The
Hearth
and
the
Salamander”
1) What
does
the
novel’s
epigraph
mean?
2) What
might
the
part
one’s
title
signify?
3) Why
might
the
protagonist’s
name
be
“Guy”?
4) How
does
our
introduction
to
Montag
emphasize
how
his
job
makes
him
feel?
5) Montag
is
described
as
a
conductor
at
the
start;
what
does
this
imply?
6) Clarisse:
what
images
does
author
Bradbury
use
to
describe
her?
Why
would
he
use
such
imagery?
Why
is
her
name
“Clarisse”?
7) Pay
attention
to
the
colors
‐‐
particularly
white
and
green
throughout
part
one!!!
These
colors
carry
different
meanings
throughout;
what
are
some
of
its
possible
symbolic
/thematic
implications?
8) Pay
particular
attention
to
the
use
of
light
and
dark
–
especially
shadows.
What
could
such
imagery
mean
at
the
various
times
it
appears?
9) How
does
the
author
portray
nature
in
this
part
(and
throughout
the
novel)?
How
does
the
author
portray
the
constructed
(unnatural)
world
–
i.e.
steel/concrete/elctronic/computer/mechanical/robotic.
10)
How
does
the
narrator
present
Mildred?
What
does
she
represent
–
especially
in
contrast
too
Clarisse?
11)What
does
the
entire
episode
with
the
EMT
workers
mean
to
Montag?
12)Pay
attention
to
inner
conflicts!
How
does
Montag
feel
at
this
point?
13)
Why
are
Clarisse’s
family
viewed
as
oddballs
in
this
society?
14)
Pay
attention
to
the
use
of
water
in
part
one
–
and
throughout
the
novel.
What
does
the
rain
represent
when
Montag
lies
in
bed.
15)Why
would
we
be
able
to
say
that
Mildred
is
an
extremely
relevant
character
in
our
own
society
–
despite
the
fact
that
this
novel
first
appeared
over
50
years
ago?
16)What
larger
symbolic
role
do
the
parlor
walls
play
in
the
novel?
17)Pay
attention
to
the
contrast
between
Mildred
and
Clarisse!
What
larger
thematic
role
does
this
contrast
play
in
the
novel?
18)What
does
Mildred’s
“play”
and
“acting”
mean
on
a
larger
symbolic
level?
19)What
is
the
Mechanical
Hound’s
role
in
the
plot?
What
is
his
larger
symbolic/thematic
role?
20)
Pay
particular
attention
to
a
very
important
character
–
Captain
Beatty.
What
role
in
Montag’s
life
does
he
seem
to
inhabit?
21)What
could
be
the
symbolism
of
hiding
books
in
the
vent?
22)Why
would
the
narrator
repeatedly
associate
Clarisse
with
nature
and
light?
23)Why
does
Clarisse
carry
the
label
“antisocial”?
She
seems
particularly
social
to
us,
doesn’t
she?
In
what
sense
is
this
word
used?
24)What
are
Clarisse’s
school
classes
like?
What,
apparently,
does
the
curriculum
not
try
to
foster
in
students?
25)Have
you
noticed
how
much
death
permeates
this
novel?
There
are
homicides
and
–
especially
–
suicides
all
over
the
place.
Why?
26)There
is
a
war
going
on
–
why
isn’t
it
really
all
that
large
a
topic
of
conversation?
27)What
is
the
role
of
the
individual
in
this
society?
How
does
the
woman
who
immolates
herself
not
go
along
with
the
prevailing
plan?
28)Why
are
the
words
about
“Master
Ridley”
so
relevant?
29)Why
are
Stoneman
and
Montag
so
flustered
after
the
woman
immolates
herself?
30)What
larger
symbolic/thematic
role
do
Mildred’s
“seashells”
play?
31)What
role
do
questions
play
in
this
society?
32)
Pay
very
close
attention
to
the
visit
Captain
Beatty
plays,
and
the
important
ideas
in
his
long
monologue
on
pp.
53‐62.
Pay
attention!!!
It’s
at
the
heart
of
the
novel
and
the
reason
the
novel
was
written!!!
Part
Two:
“The
Sieve
and
the
Sand”
33)What
does
this
section’s
title
refer
to,
and
what
does
it
mean?
Who
is
the
sieve,
and
what
is
the
sand?
On
a
larger
thematic
level,
what
does
this
title
say
about
most
of
the
people
within
the
novel?
34)Why
is
it
raining
at
the
start
of
part
2?
35)What
are
the
larger
existential
issues
involved
in
Mildred’s
allegiance
to
“the
family”?
How
is
she
a
character
emblematic
of
the
larger
masses?
How
is
Guy
an
outsider?
36)Pay
attention
to
Montag’s
statement
about
nuclear
war
at
the
bottom
of
page
73
and
society’s
view
of
it.
How
relevant
is
such
a
statement
today?
37)Pay
attention
to
the
portrayal
of
the
“White
Clown”
and
his
audience’s
reaction
to
him.
38)Why
does
the
character
named
Faber
talk
about
anger?
Why
is
that
word
–
and
Montag’s
reaction
to
it
–
so
telling?
39)What
relevance
is
there
in
Montag’s
questions
about
love
and
the
White
Clown?
Where
is
the
love
in
this
society?
40)Why
is
Montag’s
use
of
the
subway
so
appropriate
during
this
sequence?
What
is
he
doing
that
makes
the
subway
symbolic?
41)What
is
so
symbolic
about
Montag’s
unsuccessful
attempts
to
read
during
the
“Denham’s
Dentifrice”
sequence?
How
is
this
appropriate
in
our
time
‐‐‐
especially
during
Super
Bowl
time?
42)What
does
Montag
mean
when
he
says,
“My
wife
is
dying”?
43)What
does
Faber
mean
when
he
talks
about
Jesus
and
commercialism?
44)Pay
attention
to
the
use
of
light,
shadows,
and
the
various
shades
of
the
color
white
during
the
first
meeting
with
Faber.
45)Pay
close
attention
to
Faber’s
lengthy
speech
and
his
ideas
from
pp,.
81‐91,
and
contrast
them
with
Beatty’s
earlier
long
speech.
How
do
their
ideas
play
off
each
other?
46)Are
you
yourself
aware,
or
are
you
merely
awake?
47)The
“White
Clown”
vs.
“Dover
Beach”:
what
do
these
two
creative
works
symbolize?
48)Go
to
the
Internet
and
find
a
copy
of
“Dover
Beach.”
Why
is
this
poem
so
perfect
to
present
at
this
point?
What
is
Montag
trying
to
do
by
reading
it?
49)How
is
the
reaction
of
Mildred’s
friends
so
in
line
with
Beatty’s
earlier
long
speech
about
the
dangers
of
literature?
50)More
talk
of
suicides.
51)What
about
the
Caesarean
sections?
What
is
Montag
talking
about
there?
52)How
do
the
women
talk
about
the
war?
How
is
their
attitude
reminiscent
of
American
attitudes
at
the
start
of
the
Iraq
war?
53)Why
is
it
appropriate
that
Faber
is
“inside”
Montag’s
head?
54)What
are
the
two
sides
of
the
dream
that
Beatty
has?
What
is
surprising
or
ironic
about
Beatty’s
revelation
of
his
dream?
55)Why
is
Montag
feeling
dirty
as
he
sits
in
the
firehouse?
Part
3:
“Burning
Bright”
56)What
does
the
title
of
this
section
refer
to?
What
are
the
multiple
meanings
of
“burning
bright”?
What
are
the
multiple
meanings
of
the
word
“bright”?
57)What
are
the
complex
emotions
going
through
Montag’s
mind
as
he
torches
his
own
home?
58)Why
does
Mildred
look
like
a
corpse
at
her
final
appearance?
59)What
does
Montag
mean
hen
he
says,
“We
never
burned
right.”
60)Beatty
wanted
to
die:
how
does
this
sentence
affect
our
view
of
Beatty’s
death
and
author
Bradbury’s
seemingly
reckless
choice
to
have
his
protagonist
suddenly
torch
an
unarmed
man?
61)Do
you
see
the
progress
of
Montag:
from
oppressing
law
enforcer
to
fugitive
lawbreaker?
62)What
symbolism
do
you
see
in
the
scene
in
which
people
leave
their
homes
at
the
count
of
10
to
look
for
Montag?
63)What
symbolism
might
the
dark
forest
posess?
64)Any
symbolism
in
the
river?
65)What
might
Montag’s
changing
into
Faber’s
clothing
symbolically
mean?
66)Apple,
milk,
pear
–
any
symbolism?
67)Clarisse’s
makes
a
brief
reappearance:
how
is
she
portrayed?
68)The
warming
fire:
any
symbolic
relevance?
69)The
“execution”
of
Montag:
any
statement
about
the
power
of
the
meadia,
or
the
acceptance
of
illusion
in
place
of
reality?
70)What
is
the
larger
symbolic
relevance
of
the
fact
that
people
“become”
books?
71)What
is
the
symbolic
relevance
of
the
nuclear
holocaust
tthat
takes
place?
72)What
relevance
does
the
phoenix
have?
Plato
Book VII of The Republic
The Allegory of the Cave
Here's a little story from Plato's most famous book, The Republic.
Socrates is talking to a young follower of his named Glaucon, and
is telling him this fable to illustrate what it's like to be a
philosopher -- a lover of wisdom: Most people, including
ourselves, live in a world of relative ignorance. We are even
comfortable with that ignorance, because it is all we know. When
we first start facing truth, the process may be frightening, and
many people run back to their old lives. But if you continue to
seek truth, you will eventually be able to handle it better. In fact,
you want more! It's true that many people around you now may
think you are weird or even a danger to society, but you don't care.
Once you've tasted the truth, you won't ever want to go back to
being ignorant!
[Socrates is speaking with Glaucon]
[Socrates:] And now, I said, let me show in a figure how far our
nature is enlightened or unenlightened: --Behold! human beings
living in a underground den, which has a mouth open towards the
light and reaching all along the den; here they have been from their
childhood, and have their legs and necks chained so that they
cannot move, and can only see before them, being prevented by the
chains from turning round their heads. Above and behind them a
fire is blazing at a distance, and between the fire and the prisoners
there is a raised way; and you will see, if you look, a low wall built
along the way, like the screen which marionette players have in
front of them, over which they show the puppets.
[Glaucon:] I see.
And do you see, I said, men passing along the wall carrying all
sorts of vessels, and statues and figures of animals made of wood
and stone and various materials, which appear over the wall? Some
of them are talking, others silent.
You have shown me a strange image, and they are strange
prisoners.
Like ourselves, I replied; and they see only their own shadows, or
the shadows of one another, which the fire throws on the opposite
wall of the cave?
True, he said; how could they see anything but the shadows if
they were never allowed to move their heads?
And of the objects which are being carried in like manner they
would only see the shadows?
Yes, he said.
And if they were able to converse with one another, would they not
suppose that they were naming what was actually before them?
Very true.
And suppose further that the prison had an echo which came from
the other side, would they not be sure to fancy when one of the
passers-by spoke that the voice which they heard came from the
passing shadow?
No question, he replied.
To them, I said, the truth would be literally nothing but the
shadows of the images.
That is certain.
And now look again, and see what will naturally follow if the
prisoners are released and disabused of their error. At first, when
any of them is liberated and compelled suddenly to stand up and
turn his neck round and walk and look towards the light, he will
suffer sharp pains; the glare will distress him, and he will be
unable to see the realities of which in his former state he had seen
the shadows; and then conceive some one saying to him, that what
he saw before was an illusion, but that now, when he is
approaching nearer to being and his eye is turned towards more
real existence, he has a clearer vision, -what will be his reply? And
you may further imagine that his instructor is pointing to the
objects as they pass and requiring him to name them, -- will he not
be perplexed? Will he not fancy that the shadows which he
formerly saw are truer than the objects which are now shown to
him?
Far truer.
And if he is compelled to look straight at the light, will he not have
a pain in his eyes which will make him turn away to take and take
in the objects of vision which he can see, and which he will
conceive to be in reality clearer than the things which are now
being shown to him?
True, he said.
And suppose once more, that he is reluctantly dragged up a steep
and rugged ascent, and held fast until he 's forced into the presence
of the sun himself, is he not likely to be pained and irritated? When
he approaches the light his eyes will be dazzled, and he will not be
able to see anything at all of what are now called realities.
Not all in a moment, he said.
He will require to grow accustomed to the sight of the upper world.
And first he will see the shadows best, next the reflections of men
and other objects in the water, and then the objects themselves;
then he will gaze upon the light of the moon and the stars and the
spangled heaven; and he will see the sky and the stars by night
better than the sun or the light of the sun by day?
Certainly.
Last of he will be able to see the sun, and not mere reflections of
him in the water, but he will see him in his own proper place, and
not in another; and he will contemplate him as he is.
Certainly.
He will then proceed to argue that this is he who gives the season
and the years, and is the guardian of all that is in the visible world,
and in a certain way the cause of all things which he and his
fellows have been accustomed to behold?
Clearly, he said, he would first see the sun and then reason
about him.
And when he remembered his old habitation, and the wisdom of
the den and his fellow-prisoners, do you not suppose that he would
felicitate himself on the change, and pity them?
Certainly, he would.
And if they were in the habit of conferring honours among
themselves on those who were quickest to observe the passing
shadows and to remark which of them went before, and which
followed after, and which were together; and who were therefore
best able to draw conclusions as to the future, do you think that he
would care for such honours and glories, or envy the possessors of
them? Would he not say with Homer,
Better to be the poor servant of a poor master, and to endure
anything, rather than think as they do and live after their manner?
Yes, he said, I think that he would rather suffer anything than
entertain these false notions and live in this miserable manner.
Imagine once more, I said, such an one coming suddenly out of the
sun to be replaced in his old situation; would he not be certain to
have his eyes full of darkness?
To be sure, he said.
And if there were a contest, and he had to compete in measuring
the shadows with the prisoners who had never moved out of the
den, while his sight was still weak, and before his eyes had become
steady (and the time which would be needed to acquire this new
habit of sight might be very considerable) would he not be
ridiculous? Men would say of him that up he went and down he
came without his eyes; and that it was better not even to think of
ascending; and if any one tried to loose another and lead him up to
the light, let them only catch the offender, and they would put him
to death.
No question, he said.
This entire allegory, I said, you may now append, dear Glaucon, to
the previous argument; the prison-house is the world of sight, the
light of the fire is the sun, and you will not misapprehend me if
you interpret the journey upwards to be the ascent of the soul into
the intellectual world according to my poor belief, which, at your
desire, I have expressed whether rightly or wrongly God knows.
But, whether true or false, my opinion is that in the world of
knowledge the idea of good appears last of all, and is seen only
with an effort; and, when seen, is also inferred to be the universal
author of all things beautiful and right, parent of light and of the
lord of light in this visible world, and the immediate source of
reason and truth in the intellectual; and that this is the power upon
which he who would act rationally, either in public or private life
must have his eye fixed.
Fahrenheit
451
Essay
Topics
1)
How
does
Fahrenheit
451
present
its
society
as
engaged
in
a
battle
between
organic
and
inorganic
forces
in
both
literal
and
figurative
ways?
What
does
each
side
symbolize?
Where
do
the
differences
between
these
forces
most
clearly
appear?
Who/what
are
the
representatives
of
each
side,
and
what
is
Bradbury
saying
by
presenting
these
two
sides?
2)
What
are
the
major
themes
of
Fahrenheit
451?
How
does
Bradbury
employ
symbols
to
communicate
them?
Choose
three
major
themes
and
analyze
how
various
symbols
work
to
show
them.
3)
How
do
various
characters
fit
into
Maslow’s
Hierarchy
of
Human
Needs?
How
do
their
actions
and
various
aspects
of
their
character
place
them
at
that
step
of
the
pyramid?
What
larger
statements
is
Bradbury
making
by
placing
them
where
they
are?
You
may
want
to
analyze
characters
such
as
Montag,
Beatty,
Faber,
Clarisse,
Mildred,
Mrs.
Bowles,
the
woman
who
burns
herself
to
death,
and
the
society
as
a
whole.
4)
How
does
the
novel
present
a
symbolic
battle
between
two
fathers
over
a
son?
What
does
each
father
represent?
How
does
each
father
act
in
a
way
that
he
sees
as
his
son’s
“best
interest”?
Who
ultimately
wins,
and
what
does
that
victory
say
about
Guy
Montag’s
ascent
into
manhood
at
the
age
of
30?
5)
Play
Devil's
Advocate
and
defend
Beatty's
point
of
view.
How
may
one
agree
with
his
assertions
about
the
dangers
of
books
and
the
plurality
of
ideas?
6)
How
does
our
own
society
mirror
Fahrenheit
451
's
society?
You
may
want
to
look
at
aspects
of
society
such
as
technology
and
its
implications;
the
rise
of
popular
culture
and
the
results
of
its
dominance;
violence;
the
role
of
schools;
the
manipulation
of
information
for
political
ends;
the
suppression
of
ideas;
the
mass
drive
to
conform;
and
the
victory
of
materialist
consumerism.
7)
What
are
the
various
turning
points
of
the
novel,
and
how
do
they
shape
Guy
Montag's
character
change?
8)
Why
does
Bradbury
have
Montag
read
Matthew
Arnold’s
poem
“Dover
Beach”
to
the
women
who
want
to
watch
the
White
Clown?
Analyze
the
poem
and
discuss
the
various
themes
within
it;
read
the
novel,
(its
characters,
themes,
relationships,
symbols,
etc)
through
these
particular
ideas.
9)
Compare
the
growth
of
Guy
Montag
to
that
of
Richard
Wright
in
his
autobiography,
Black
Boy.
How
do
both
experience
epiphanies
about
their
lives
and
the
societies
in
which
they
live?
What
solutions
do
both
men
have
in
the
face
of
these
realizations?
What
do
both
works
say
about
the
masses
of
people
in
the
world
and
ability
(or
lack
of)
to
face
the
truth
about
themselves
and
the
world?