Fahrenheit 451 the hearth and the
Fahrenheit 451 summary
Beatty responds that the fireman can keep it for a day, but that then they will come to burn it. Clarisse arouses Montag's curiosity and begins to help him discover that real happiness has been missing from his life for quite some time. In all fairness, however, Montag feels sick because he burned the woman alive the night before. She immediately recognizes him as a fireman and seems fascinated by him and his uniform. It came into being later, after movies and radio took people away from books. He tells Montag that because of photography, television and film, information over the years has become much easier to digest and process, which eventually made books-a slower, more difficult medium to process-much less popular. Here, Montag wonders about the man, and he almost reveals that he read the first line of a book of fairy tales before burning the man's library. While discussing death, Beatty points out, "Ten minutes after death a man's a speck of black dust. Montag, however, has never concerned himself with such "insignificant" matters. They make you feel lost. However, the very idea of home for Guy Montag is called into question in this chapter. In ancient mythology, the salamander was a creature that could survive fire.
Mildred spends her days with her television "family," and this is all she ever wants to talk about with Montag even when he has real-life concerns he wants to discuss. Here, vehicles resemble beetles in the dystopian society.
But Mildred is logical and fears hunger-stricken poverty. The novel starts off with a concise description of the joy he experiences while on the job of burning books.
Later it is revealed that the Mechanical Hound was the second visitor. Beatty leaves, and Montag tells Mildred that he does not want to continue working at the fire station, and he shows her a stash of some twenty books he has been hiding in the ventilator.
Mildred says she has no memory of her attempted suicide. TV parlor a multidimensional media family that draws the viewer into action, thereby supplanting the viewer's real family.
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