What happens at the end of the story of Daedalus? Sure enough, his wings melt, and Icarus plummets into the sea and drowns. Daedalus is of course devastated by his son's death, but the show must go on. He flies on to Sicily, where he mourns Icarus and builds a temple in honor of the god Apollo. Kamelia Rachinhas Pundit. Why did Montag kill Captain Beatty? Captain Beatty annoyed him by saying books are useless. He made him burn down his own house, and said he would kill Faber. Cyra Molin Pundit.
Why does the poem allude to Icarus and Daedalus? Bradbury's allusion to the story of Daedalus and Icarus represents the connection to Montag and his dangerous longing for more freedom and knowledge.
Both are locked within certain confines. Both Icarus and Montag are warned. Both ignore their warnings and make mistakes because of their pride. Malka Sarita Pundit. What old feeling came back to Montag? Before he met Clarisse, and before the old lady killed herself, Montag used to like burning down houses. Now, as he burns down his own, he gets that feeling back again. Once again, it feels good to be burning things down.
Melca Fumero Pundit. How does Icarus relate to Fahrenheit ? In the myth about Icarus , Icarus enjoyed flying and despite his father's warnings, he flew higher and higher and drowns. In Fahrenheit , Bradbury adds this allusion to imply that Montag is curious about books. As they made their escape, Daedalus warned Icarus to not fly too close to the sun, or the sea. Elwanda Litz Teacher. What did Montag mean by we never burned right? He says this line after he has burned down his own house.
He says it to Captain Beatty after Beatty has been taunting him about being a snob. This, to me, implies that the right kind of burning is when you burn someone or something like Beatty that is part of the repressive society. Zainab Baldeh Supporter. How does Captain Beatty affect Montag? It is Beatty who ends up forcing the greatest amount of change in Montag as he leads the firemen to burn down Montag's home.
Beatty does not change, but Montag does and the more the latter changes it proves to distance himself from the former. Xueqin Havers Supporter. When did Montag kill Beatty?
Montag kills Beatty at the beginning of part three of Fahrenheit by Ray Bradbury. Wystan Hugh. Wystan Hugh was born on February 21, in York, England. His father,. Thesis Statements A thesis statement identifies the purpose of the essay large claim It is an opinion or claim, not. Similar presentations.
Upload Log in. My presentations Profile Feedback Log out. Log in. Auth with social network: Registration Forgot your password? Download presentation. Cancel Download. Presentation is loading. Please wait. As he turns the flamethrower on Beatty, who collapses to the pavement like a "charred wax doll," you can note the superb poetic justice in this action.
Beatty always preached to Montag that fire was the solution to everyone's problems "Don't face a problem, burn it," Beatty told him and Beatty, himself, is burned as a solution to Montag's problem. Note once again, that in describing Beatty's death, Bradbury uses the image of a wax doll. The imagery of the wax doll is thus used in Fahrenheit to describe both Beatty and Millie. By using this comparison, Bradbury shows that Beatty and Millie do not appear to be living things; they fit the mold made by a dystopian society.
As a result, Beatty is charred and destroyed by the fire that gave purpose and direction to his own life. Although Montag, who is now a fugitive, feels justified in his actions, he curses himself for taking these violent actions to such an extreme.
His discontent shows that he is not a vicious killer, but a man with a conscience. While Montag stumbles down the alley, a sudden and awesome recognition stops him cold in his tracks: "In the middle of the crying Montag knew it for the truth. Beatty had wanted to die. He had just stood there, not really trying to save himself, just stood there, joking, needling, thought Montag, and the thought was enough to stifle his sobbing and let him pause for air.
Montag suddenly sees that, although he always assumed that all firemen were happy, he has no right to make this assumption any longer. Although Beatty seemed the most severe critic of books, he, in fact, thought that outlawing individual thinking and putting a premium on conformity stifled a society. Beatty was a man who understood his own compromised morality and who privately admired the conviction of people like Montag.
In a strange way, Beatty wanted to commit suicide but was evidently too cowardly to carry it out. Bradbury illustrates the general unhappiness and despondency of certain members of society three times before Beatty's incident: Millie's near-suicide with the overdose of sleeping pills; the oblique reference to the fireman in Seattle, who "purposely set a Mechanical Hound to his own chemical complex and let it loose"; and the unidentified woman who chose immolation along with her books.
People in Montag's society are simply not happy. Their desire for death reflects a social malaise of meaningless and purposelessness. When war is finally declared, the hint of doom, which has been looming on the horizon during the entire novel, now reaches a climax. This new development serves as another parallel to the situation in which Montag finds himself. Montag sees his former life fall apart as the city around him faces a battle in which it will also be destroyed.
As Montag runs, his wounded leg feels like a "chunk of burnt pine log" that he is forced to carry "as a penance for some obscure sin. The penance Montag must pay is the result of all his years of destruction as a fireman.
Even though the pain in his leg is excruciating, he must overcome even more daunting obstacles before he achieves redemption. Unexpectedly, the seemingly simple task of crossing the boulevard proves to be his next obstacle. The "beetles" travel at such high speeds that they are likened to bullets fired from invisible rifles. Bradbury enlists fire imagery to describe these beetles: Their headlights seem to burn Montag's cheeks, and as one of their lights bears down on him, it seems like "a torch hurtling upon him.
After Montag and Faber make their plans for escape, the reader witnesses Faber's devotion to the plans that he and Montag have made. In choosing to flee to St. Louis to find an old printer friend, Faber also places his life in jeopardy to ensure the immortality of books. Montag imagines his manhunt as a "game," then as a "circus" that "must go on," and finally as a "one-man carnival.
When Montag escapes to the river, the imagery of water, a traditional symbol of regeneration and renewal and, for Carl Jung, transformation , coupled with Montag's dressing in Faber's clothes, suggests that Montag's tale of transformation is complete. He has shed his past life and is now a new person with a new meaning in life. His time spent in the water, accompanied by the escape from the city, serves as an epiphany for Montag's spirit: "For the first time in a dozen years [that is, since he became a fireman] the stars were coming out above him, in great processions of wheeling fire.
He thinks about his dual roles as man and fireman. While floating in the river, Montag suddenly realizes the change that has taken place: "He felt as if he had left a stage behind him and many actors. He was moving from an unreality that was frightening into a reality that was unreal because it was new. The stage imagery implies that Montag actually realized that he was merely acting for a long period of his life, and that he is now entering into an entirely new stage of life. Montag emerges from the river transformed.
Now in the country, his first tangible sensation — "the dry smell of hay blowing from some distant field" — stirs strong melancholic emotions. Though Montag may be a man who has trouble articulating his feelings, one learns that he is a man of deep emotions.
The entire episode of him leaving the river and entering the countryside is evocative of a spiritual transformation. He has sad thoughts of Millie, who is somewhere back in the city, and has a sensuous fantasy of Clarisse; both of which are now associated with the city and a life that he no longer lives, to which he can never return.
Whereas the city was metaphorically associated with a stifling and oppressive technology, the countryside is a place of unbounded possibility, which at first terrifies Montag: "He was crushed by darkness and the look of the country and the million odors on a wind that iced the body.
The forest into which he stumbles is rampant with life; he imagines "a billion leaves on the land" and is overcome by the natural odors that confront him. To underscore the strangeness of this new environment, Bradbury makes Montag stumble across a railroad track that had, for Montag, "a familiarity.
Because he is most familiar and comfortable with something associated with urban life the railroad tracks , Montag remembers that Faber told him to follow them — "the single familiar thing, the magic charm he might need a little while, to touch, to feel beneath his feet" — as he moves on. When he sees the fire in the distance, the reader sees the profound change that Montag has undergone. Montag sees the fire as "strange," because "It was burning, it was warming. Curiously, Granger was expecting Montag, and when he offers him "a small bottle of colorless fluid," Montag takes his final step toward transformation.
Not only is Montag garbed in clothes that are not his, but the chemical that Granger offers him changes his perspiration. Literally, Montag becomes a different man. When Montag expresses his prior knowledge of the Book of Ecclesiastes, Granger is happy to tell Montag of his new purpose in life: Montag will become that book.
Not only does Montag learn the value of a book, but he also learns that he can "become the book. Talking with Granger and the others around the fire, Montag gains a sense of warmth and personal well-being and recovers a sense of faith in the future. He begins gaining an understanding of the fire of spirit, life, and immortality, as well as forgetting the fire that destroys. Notice that when the campfire is no longer necessary, every man lends a hand to help put it out. This action is further proof of the things that Granger has been telling Montag: Group effort is necessary if a positive goal is ever to be reached.
When the commune moves south due to the war threat , Montag associates Millie with the city, but he admits to Granger that, strangely, he doesn't "feel much of anything" for her. That part of his life, as well as everything relating to the city, seems distant and unreal. He feels sorry for her because he intuitively knows that she will probably be killed in the war. He is also ashamed, because in all their years together, he was able to offer her nothing.
As the city is destroyed "as quick as the whisper of a scythe the war was finished" , Montag's thoughts return to Millie. He imagines how the last moments of her life must have been. He pictures her looking at her wall television set. Suddenly, the television screen goes blank, and Millie is left seeing only a mirror image of herself. Montag imagines that just before her death, Millie finally sees and knows for herself how superficial and empty her life has been. And, in that instant, Montag recalls when he met her: "A long time ago" in Chicago.
His former life seems like only a dream.
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