Different Stylistic Devices Used In Fahrenheit 451
As millions of American citizens stare hopefully at the television screen, the news broadcaster reads the current electoral votes cast for each presidential candidate. At such a crucial time as during an election, one could not possibly imagine life without democracy and freedom. In a society based on majority rule, the masses must remain level-headed and critical of demagogues in order to maintain and protect their beloved republic. Thus, education of the public is and must be considered a serious political issue, as well as the corner-stone to any free society. How, then, would a nation that abhors literacy and knowledge function? In Fahrenheit 451, Ray Bradbury depicts a community built on instant gratification, shallowness, and a hatred of bibliophiles. Guy Montag, a firefighter who is tasked with the chore of incinerating books, is the window through which the audience is able to view this odd community.
However, once Montag encounters a curious, teenage girl named Clarisse, the protagonist encounters deeper thoughts and emotions than the skin-deep society encourages. So, because of Clarisse, Montag transforms into a thoughtful individual and becomes ostracized because of it. As Montag battles against his superficial society and a government that bans books, Bradbury utilizes the protagonist’s experiences and a variety of tools to develop the author’s central ideas. Therefore, throughout the novel Fahrenheit 451, Bradbury implements the stylistic devices of symbolism, paradoxes, and characterization to develop the themes of transformation and alienation.
Bradbury’s utilization of characterization aids in the development of Montag as a dynamic protagonist, maintaining the theme of transformation over the course of the text. One of the most evident changes in Montag’s behavior is developed through indirect characterization of Clarisse, as seen in her and Montag’s conversations. In one such discussion, Clarisse questions Montag’s behavior, asking, "How did you pick your work and how did you happen to think to take the job you have? I think it's so strange you're a fireman, it just doesn't seem right for you, somehow” (Bradbury 11).
In this quote Bradbury maintains a form of indirect characterization, implying that Clarisse is a curious person whose questions and encouragements will eventually aid in Montag’s behavioral alterations. Literary critic Donald Watt agrees, claiming, “He [Montag] meets a young woman whose curiosity and love of natural life stir dissatisfaction with his role in society” (Watt 2). So, through the characterization of Clarisse as an inquisitive, affectionate girl, Bradbury is then able to utilize Clarisse as a catalyst for Montag’s transformation. Other literary critics also maintain that there is a direct causational relationship between Clarisse’s developing personality and Montag’s transformation, like literary critic Wayne Johnson. Johnson once asserted that “[Clarisse] progresses [Montag] through a period of doubts and questioning, and [he] ends up rebelling against the system and doing his part to keep man's literary heritage alive” (Johnson 1).
Thus, as Johnson professes, Clarisse’s supportive, curious, and loving personality, as developed through indirect characterization, influences Montag, enabling his transformation from complacency to an enlightened rebel. So, in general, based on a quote of Clarisse’s dialogue and the opinions of a variety of accredited literary critics, Bradbury’s implementation of characterization while developing Clarisse’s personality results in the promotion of the theme of transformation, since her unique personality partially contributes to Montag’s metamorphosis. In addition to the central idea of change, the theme of alienation is also developed through the use of the very same stylistic device.
Bradbury’s characterization of Montag’s own shallow wife depicts the protagonist’s growing sense of alienation while maintaining the theme of loneliness. The author first exposes Mildred’s two-dimensional personality while implying her preoccupation with television. In this unnamed dystopian society, most houses contain a parlor room with television-screen walls. When the user turns on the device, he or she is bombarded with flashing pictures, deafening noises, and confounding characters who Mildred often refers to as her “family”.
Mildred is obsessed with the instant gratification the television shows provide, so that she is unable to understand her husband’s growing love of books. Mildred’s utter disregard for literary works is highlighted when she declares, ‘"Books aren't people,” but "my `family' is people... they tell me things; I laugh, they laugh! And the colors"’ (Bradbury 34). In this quote, Bradbury utilizes indirect characterization to portray Mildred’s obliviousness to deeper thought and her overall empty personality. Since Mildred is unable to value literary works’ seemingly bottomless knowledge and instead favors the meaningless enjoyment of television, her personality prevents Montag from connecting with his wife in a valuable manner, resulting in the protagonist’s sense of loneliness.
Literary critic George Connor also maintains Bradbury’s indirect characterization of Mildred as foolish and empty while emphasizing, “Mildred has become so engrossed in her shadow ‘family’ that she cannot remember when she and Montag met and concludes that it doesn't matter” (Connor 4). Thus, Mildred’s shallow nature and gravitation towards meaningless activities prevents her from simply remembering basic information about her relationship to her husband, let alone maintaining a deeper connection with her spouse.
Therefore, Mildred’s truly static personality, as developed through Bradbury’s characterization, prevents her from relating to Montag, partially inducing his sense of isolation while developing the theme of alienation. However, Bradbury also utilizes a variety of other stylistic devices to develop his central ideas, such as symbolism.
Bradbury’s interweaving of the Phoenix, a symbol of periodic change in mythology, into the novel further maintains the theme of transformation throughout Montag’s adventure. Bradbury explicitly mentions the Phoenix near the end of the story through the wise character of Granger, who asserts:
“every time he [the Phoenix] burnt himself up he sprang out of the ashes, he got himself born all over again. And it looks like we're doing the same thing, over and over, but we've got one damn thing the Phoenix never had. We know the damn silly thing we just did” (Bradbury 76).
In this quote, Granger relates mankind’s continuous mistakes to the rebirth and transformation of the Phoenix from its ashes, directly correlating the unnamed society and Montag to the central theme of change, or a lack thereof. Like the Phoenix, the anonymous city continues to make the very same mistake; the city deliberately marginalizes the intellectuals of the community, resulting in a dystopian, uneducated society. Bradbury implies that only through change and by avoiding the repetitive cyclism that the Phoenix represents will the community grow socially. Montag himself realizes the need for change and attempts to force society to grow and transform in a manner that the Phoenix was never able to, so that the central idea of change is maintained throughout the novel. Literary critic Peter Sisario further supports the interpretation of the Phoenix as a call for change, asserting:
“The major metaphor in the novel, which supports the idea of the natural cycle, is the allusion to the Phoenix, the mythical bird of ancient Egypt that periodically burned itself to death and resurrected from its own ashes to a restored youth” (Sisario 2).
Sisario’s emphasis on the interpretation of the Phoenix as a natural cycle of mankind’s mistakes further stresses the need for the community to grow and develop based on its past mistakes, highlighting the central idea of transformation that Montag advocates for. Moreover, Montag himself can be applied to the symbolism of the Phoenix, wherein literary critic Rafeeq McGivern upholds, “Montag's mind has been purified, refined by fire, and phoenix-like, Montag—hence mankind—rises from the ashes of the destructive, self-destroying civilization” (McGiveron 2). Thus, McGivern’s interpretation of the Phoenix as a symbol of Montag’s transformation emphasizes the change the protagonist undergoes throughout the novel, namely from a complacent worker to a forlorn rebel. Overall, the symbolism of the Phoenix, as applied to society as a whole and to Montag himself, upholds the central idea of change. Although, Bradbury’s masterful use of symbolism can also be applied to the development of the theme of alienation.
The symbolism Bradbury lends to the simple structure of front porches as a place to converse and share ideas, a setting which is no longer present in Montag’s society, further develops the theme of alienation by exposing the loneliness every citizen in the novel experiences. In the beginning of the novel, Bradbury utilizes Clarisse’s dialogue to express the symbolism of front porches, in which she claims,"My uncle says there used to be front porches. And people sat there sometimes at night, talking when they wanted to talk, rocking, and not talking when they didn't want to talk” (Bradbury 30).
Bradbury’s use of the past tense in Clarisse’s statement implies that in the fictional, dystopian society, the citizens no longer have a location in which they can gather to converse on various subjects. Since the characters no longer have places where they can communicate, enjoy each other’s company, and swap ideas, a mutual sense of alienation is inevitable. George Slusser, a literary critic, stated the reasoning behind the alienation represented by the front porches, that “We see a world where… [there is a] suppression of inquiry” (Slusser 2). In a dystopian world in which curiosity is a crime, one could argue that the removal of all social gathering places, as symbolized by the lack of front porches, would become inevitable, resulting in the development of alienation.
Therefore, an arbitrary attempt at forbidding inquisitiveness has motivated this society to remove all places involved in genuine social interaction, as symbolized by the front porches, so that Bradbury is then able to develop the sense of alienation that is a central idea of the novel. This very same isolation that Bradbury develops motivates Montag to reach out to his comrades and his wife, where he soon discovers a variety of paradoxes that highlight his personality changes.
Once Montag develops his sense of self, he begins to notice the hypocrisy and paradoxes hidden in the city’s self-indulging, superficial laws, resulting in the emphasis on the theme of transformation. Captain Beatty, who is the leader of the fire department, oftentimes speaks in quotes and seemingly contradictory statements in an attempt to confuse Montag. In one such sentence Captain Beatty declares,“The word ‘intellectual’, of course, became the swear word it deserved to be” (Bradbury 28). At this point in the novel, Montag accepts this paradox without questioning the flaws in this contradictory assertion.
Thus, Bradbury portrays the protagonist's original, unquestioning personality through his response to Captain Beatty’s statement. However, later on, Montag embraces knowledge and views intellectualism as power, resulting in his rebellious nature. The protagonist’s dynamic personality is evident when he later attempts to disregard Beatty’s statement, namely that ‘A little learning is a dangerous thing. Drink deep, or taste not the Pierian spring’ (Bradbury 50). At this point in time, Montag begins to realize that Beatty is wrong for justifying society and is invalid in his statements towards education.
The protagonist questions Beatty’s second statement, highlighting Montag’s changing characteristics. Montag may have disregarded his superior’s later statements because of the subconscious realization that Beatty himself is actually a paradox. As literary critic Peter Sisario notes, “Bradbury [through Beatty] carries through a basic irony in the book: he is using books to underscore his ideas about a world in which great books themselves have been banned” (Sisario 1). So, Bradbury’s creation of a character who justifies the banning of books while quoting the contraband material, as emphasized by Sisario, and Montag’s varying reactions to such paradoxes highlight Montag’s transformation into a more thoughtful person, aiding in the development of the central idea of change. Bradbury’s masterful use of paradoxes is also utilized in other aspects of the novel, like when developing the theme of alienation.
Once Montag develops the deep thoughts required to analyze society, he begins to criticize the paradoxes embedded in the community, ostracizing himself and supporting the theme of alienation in the process. In the middle of the novel, Montag overhears a very shallow conversation between his wife and her friends, in which they flippantly remark on their negligence in regards to their children and to the previous general election. Soon afterwards, Montag becomes outraged by this talk and vehemently asks:
"Did you hear them, did you hear these monsters talking about monsters? Oh God, the way they jabber about people and their own children and themselves and the way they talk about their husbands and the way they talk about war, dammit, I stand here and I can't believe it" (Bradbury 45).
Though Montag may not have realized it, he had become outraged by a paradox, which these women represent. As illustrated in the quote, the protagonist sees the women's shallow dismission of elections and family and realizes the true irony in society, that the community does not see the worth in the most valuable resources of life: family, friends, and freedom. Since Montag is unable to understand the shallowness that is embedded in society, as represented by this paradox, he begins to feel like an objective outsider analyzing a foreign community.
The protagonist does so when analyzing the community’s obsession with“‘intellectual’ entertainment” which is actually “provided by tapioca-bland television that broadcasts sentimental mush on all four walls” (Touponce 1). When Montag begins to see the hypocrisy of popular entertainment and of society’s values, the protagonist is no longer able to connect with his fellow citizens and his own wife, developing Bradbury’s theme of alienation. Therefore, in general, Montag’s recognition of paradoxes, as created by Bradbury, contributes to the protagonist’s growing sense of loneliness and to the central idea of isolation.
Overall, Bradbury utilizes a variety of stylistic devices to develop the themes of alienation and transformation through the novel Fahrenheit 451. The author’s use of characterization is used to develop Clarisse’s personality, which heavily influenced Montag’s changing identity while supporting the central idea of change. This same stylistic device also reveals Mildred's shallow personality, which prevents her from understanding her husband, contributing to Montag’s sense of loneliness and the theme of alienation.
The symbolism of the Phoenix is also implemented to emphasize Montag’s developing psyche, aiding in the theme of transformation. Moreover, Bradbury’s reference to front porches represent the increasing alienation in the dystopian community, contributing to the central ideal of ostracization. Montag’s increasing recognition of paradoxes throughout the novel also contributes to the theme of change and to his augmented sense of isolation. So, Ray Bradbury’s implementation of symbolism, paradoxes, and characterization throughout the novel Fahrenheit 451 aids in the development of the themes of transformation and alienation.
