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Cameron Talley Mrs. Ratliff January 31, 2000
In the competitive world of science fiction, Ray Bradbury's Fahrenheit 451 is highly regarded as a classic work of American literature. The novel takes the reader to a futuristic world in which all books have been banned; firefighters, instead of extinguishing fires, are now responsible for starting the flames that burn the forbidden pages. Montag, the novel's central character, is an ordinary man who enjoys his job of book-burning. One evening, he meets a mysterious girl named Clarisse; she is a catalyst for his moral-questioning mind. Clarisse helps him to see the world in a new light, and Montag begins to understand the value hidden in the pages of the books he illegally reads. Montag's wife, Mildred, soon discovers his reading and informs Captain Beatty, head of the firefighters. Montag escapes Beatty's grasp and flees, first to an old English teacher and later, with a pack of mechanical hounds at his feet, to the backwoods society of the book people, who devote their lives to memorizing books. Soon, Montag learns of a new fire, the fire of the hearth. Montag's transformation proves that man can pull himself out of the flames of shame and disgrace. Despite this powerful theme, some fault Bradbury's Fahrenheit 451 for its abstruse, excessively simplified allusions and lack of confidence towards the masses; however, careful analysis of the novel's themes and characters prove the superiority of this great American classic. While Bradbury's themes and characters mark the height of literary perfection, the author has received negative criticism for his esoteric allusions and unfavorable attitudes towards the masses. For instance, critics label the author's allusions as overly simplistic and recondite for the general reader. In one moving instance, Bradbury refers to a sixteenth century martyr, 'Master Ridley': 'She said, 'Master Ridley' . . . 'We shall this day light such a candle, by God's grace, in England, as I trust shall never be put out' . . . A man named Latimer said that to a man named Nicholas Ridley, as they were being burnt alive at Oxford, for heresy, on October 16,1555.' (40)However, most ordinary people, even those who are well-schooled, would not know to whom Bradbury refers (Contemporary Literary Criticism 98:103). The quote is too remote for the general reader; thus, the reader cannot fully comprehend the meaning behind it. Bradbury's obscure quote compromises the understanding of his readers. Other critics claim that Bradbury's allusions are "overly simplistic, as exemplified by Granger's involved exposition of the Phoenix myth" (CLC 103). Bradbury takes the story and cuts it down to fit his idea, while failing to provide the reader with the entire story behind the myth. Therefore, he renders the idea he is trying to present incomplete. Likewise, many critics have questioned Bradbury's faith in the general masses. When Captain Beatty explains his twisted version of the firemen's history, Montag does not dispute this claim. Critics see this as pitting the intellectuals against the masses instead of individual people and ideas against the state (CLC 103). This form of reasoning does little to encourage the non-intellectual reader and disgusts him with discrimination; because of this, the reader decides to dislike Bradbury's ideas. Thus, the author cannot effectively carry his point across. Considering this, some critics believe that the "totalitarian state is thereby implicitly exonerated by blaming the masses for the book's decline, while intellectuals in the form of the book people are entrusted with saving and repopulating the world" (CLC 103). Bradbury obviously shows little hope in the people as a whole; but, as individuals unswayed by society, he praises them. This goes against traditional ideas in which the masses overthrow a single person. Bradbury's lack of faith causes others to lose their faith in him as a writer. Nevertheless, the author receives praise for his strong themes and intricate characters. Critics exult Bradbury for his themes that exhibit "confidence in the redemptive capacity of mankind, displayed by the survival of the book people and the miraculous inner transformation of Montag" (CLC 103). The author redeems his lack of faith in the masses through his themes that display man's power to overcome, even as an individual. Montag's spiritual/psychological metamorphosis is a theme that many people can relate to, as well as proof that a member of 'the masses' can be saved. Furthermore, Bradbury makes up for his weak allusions with strong characters conceived by contrasts (Meyers 502). For example, Clarisse, who represents the ideal, is a lover of natural things; Mildred, who represents the actual, feels compassion only for the mechanical world in the form of television. The contrasts presented in the characters allows the readers to understand the novel without knowing what Bradbury's allusions refer to. The author's themes and characters are the novel's redeeming factors. In contiuing analysis, Bradbury suggests his themes with both reality based and intellectually based ideas. First, the author's use of mechanical objects as barriers to a free will reflects the primary theme of the natural versus the mechanical. Before Montag can escape from the hectic city, "he must first cross a mechanical moat, a highway 100 yards across on which the 'beetle' cars seem to take pleasure in using pedestrians for target practice" (Johnson 87). The highway represents a barrier of mechanical objects whose main purpose is to destroy any intruders. Montag, an organic life form, is trapped in a world that his fellow men created, but have not controlled; the mechanical creation has gained control over the natural being. Johnson also reminds the reader that the mechanical hound's growing suspicions portray the pursuit of the state (87). The state is no longer a group of organic life forms working towards a common goal. It has been compressed into a single, much more efficient mechanical beast. The state need no longer exist as sentient, natural beings, but can 'live' on in the mechanical world. The mechanical hound has taken over and disposed of the need for organic life. Mechanical creations have tightened their grip on their creators. Second, the author presents his own beliefs of personal freedom to broadcast the theme of intellectual liberty. Bradbury "believes very strongly that the free exchange of ideas must be guarded and preserved" (Meyers 503). The author intertwines his own ideas into the pages of the novel to expose them to the reader in an entertaining format. Subconsciously, readers are told to stand up for what they believe in, just as Montag stands for his beliefs. In further analysis, Meyers believes that the novel subconsciously encourages its "readers to defend their liberty of thought against any kind of external control, whether it be the official pressure of the government or the unofficial sanctions of the appropriately named 'pressure groups'" (503). Through a facade of book-burning, Bradbury influences his followers into believing his own idea of intellectual freedom: the idea that one can be free from the slogans and campaigns of government and society. Bradbury's clever use of personal beliefs contributes to his grand themes. Furthermore, Bradbury develops his characters by utilizing metaphors and carefully written action sequences. First, the author's metaphors reverberate his characters and the changes they undergo. By complete accident, Bradbury creates an ironic metaphor by naming his main character 'Montag,' a name his mind unconsciously registered from the company that produces his typewriter paper (McNelly 753). This association of Montag, a man whose profession is to burn paper, with a paper company produces incredible irony. When Montag burns paper, he is essentially setting fire to his own soul; his mind knows the evil of his ways, but he pushes his thoughts aside. Bradbury's accidental metaphor allows the reader to see this irony. In another instance, the author uses fire as a metaphor for how Montag looks at life. Early on, Bradbury utilizes fire to represent a terrible evil that brings darkness, not light; by the time Montag has gained acceptance with the book people, fire brings warmth, hope, and spiritual enlightening (Mogen 109). This fire metaphor allows the reader to clearly see the full effects of Montag's transformation. When the story begins, Montag's spirit is dark and cold, filled with the fire of hate; after his metamorphosis, Montag finds that his flame of hate has diminished and a new flame, one of warmth and hope, has ignited. Bradbury's metaphors mold his characters lives. In further analysis, Bradbury's characters define themselves through their actions. Meyers observes that the author's characters make their final appearance in a manner consistent with their lifestyle. Mildred, who is faithful to the masses, gives away Montag's secret because 'they' say that it is wrong. Captain Beatty adores the destructive power of fire; he allows himself to be literally consumed by it (503). The actions of these characters help define them; the reader can now see how improbable it is to associate Beatty with anything other than destruction. Also, any hope the reader had for the redemption of Mildred is shattered; she could never follow anyone other than the people in her social group, so she does what her friends tell her to and denounces her husband. She sheds no tears from her eyes; she is only glad to no longer be associated with such a horrid man. In a more specific example, Bradbury allows the reader to traverse into the self-denying mind of Mildred, whose "clearest sign of her denial of life is her refusal to have children, despite Montag's claim that he has always liked children" (Meyers 502). Mildred declines to have children because she denies that life really exists; to her, life is trivial. As long as she follows the trends and believes what everyone else believes, she will never have to experience life. A baby would be individual, special, and she would no longer be a part of the normal flow; life would enter into her soul. Mildred's simple statement defines her entire character: a member of the masses. The actions of Bradbury's characters allow the reader to view inside each ones mind. In conclusion, despite claims of simplistic allusions and pessimistic attitudes towards the general public, Bradbury's highly effective characterizations and themes secure the author a place as one of America's great novelists. His employment of mechanical barriers and his own intellectual ideas, as well as his brilliant, defining characterizations through metaphors and actions establishes a grip on the reader that is never loosened. Despite all his horrific qualities, man has proven time and time again that a soul troubled by the fire of hate can be reborn as one endowed with the truth of love.
Bradbury, Ray. Fahrenheit 451. New York: Ballantine Books, 1951. |