summary of fahrenheit 451 part 2

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  • Fahrenheit 451

Ray Bradbury

  • Literature Notes
  • Book Summary
  • About Fahrenheit 451
  • Character List
  • Summary and Analysis
  • Character Analysis
  • Captain Beatty
  • Clarisse McClellan
  • Professor Faber
  • Mildred Montag
  • The Mechanical Hound
  • Character Map
  • Ray Bradbury Biography
  • Critical Essays
  • Dystopian Fiction and Fahrenheit 451
  • The Issue of Censorship and Fahrenheit 451
  • Comparison of the Book and Film Versions of Fahrenheit 451
  • Ray Bradbury's Fiction
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Summary and Analysis Part 2

Millie and Montag spend the rest of the cold, rainy, November afternoon reading through the books that Montag has acquired. As Montag reads, he begins to understand what Clarisse meant when she said that she knew the way that life is to be experienced. So entranced are Montag and Millie by the substance of the books, they ignore the noise of a sniffing dog outside their window.

In Millie's mind, books hold no value; she would rather avoid reality and bask in the fantasy of her television. Although she can choose books and life, she chooses instead to place her loyalties with the television character, White Clown, and the rest of her television family. Montag, however, needs to find someone from whom he can learn and discuss what the books are trying to tell him; he needs a teacher. In his desperation and thirst for knowledge, Montag recalls an encounter last year with an elderly man in the park. The old man, a retired English professor named Faber, made an impression on Montag because he actually spoke with Montag about real things. Montag remembers that he keeps Faber's phone number in his files of possible book hoarders, and he determines that if anyone can be his teacher and help him understand books, Faber can. Consequently, Montag takes the subway to Faber's home and carries with him a copy of the Bible.

Faber is a devotee of the ideas contained in books. He is also concerned with the common good of man. Montag immediately senses Faber's enthusiasm and readily admits his feelings of unhappiness and emptiness. He confesses that his life is missing the values of books and the truths that they teach. Montag then asks Faber to teach him to understand what he reads. At first, Faber views this new teaching assignment as a useless, as well as dangerous, undertaking. His attitude, however, does not deter Faber from launching into such a challenging and exciting task.

Nevertheless, Faber is skeptical and pessimistic of whether books can help their society. As if responding to Faber's pessimism, Montag presents Faber with an insidious plan that entails hiding books in the homes of firemen so even they will become suspect. Ultimately, through supposed treason, the firehouses themselves will burn. Faber acknowledges the cleverness of the plan, but cynically, he urges Montag to return home and give up his newly acquired rebelliousness.

Faber's demonstration of cowardice and political nihilism incites Montag to begin ripping pages out of the Bible . Shocked by the destruction of this rare, precious book and stirred by Montag's rebellious convictions, Faber agrees to help him.

As a result of Montag's concern about how he will act when he and Beatty next meet, Faber shows Montag one of his inventions — a two-way, Seashell Radio-like communication device that resembles a small green bullet and fits into the ear. Through the use of this device, Faber can be in constant contact with Montag, and he promises to support him if Beatty attempts to intimidate Montag. Through the use of Faber's spying invention, they listen to Captain Beatty together.

Throughout Part Two, the threat of war increases. Ten million men have been mobilized, and the people expect victory. Montag's war is just beginning.

After his meeting with Faber, Montag returns home hoping to discuss ideas and books with Millie. Unfortunately, in Montag's case, a little learning is dangerous thing, because when he returns home, he finds company. Immediately, he launches into a tirade in the presence of two of Millie's human friends, Mrs. Phelps and Mrs. Bowles. This tirade will prove costly to his idealistic plans.

Montag, who is tired of listening to the women's meaningless triviality, decides to disconnect the television and begins to attempt a discussion with the women. He reads Matthew Arnold's "Dover Beach" in hopes that the women will be motivated to discuss the work. Although the women — especially Mrs. Phelps — are moved by the poem, they can't say why and dismiss any further discussion.

Faber attempts, through the two-way radio, to calm Montag's zealous anger. He urges Montag to make believe, to say that he is joking, and Faber commands him to throw his book of poems into the incinerator. Despite Faber's admonitions and Millie's defensive maneuvers, Montag continues by soundly cursing Mrs. Phelps and Mrs. Bowles for their empty and corrupt lives. Mrs. Bowles leaves in a fury; Mrs. Phelps, in tears. Characteristically, Millie escapes from this horrible scene by rushing to the bathroom and downing several pills. She wants to sleep and forget. Montag hides several of the remaining books in some bushes in his backyard and then goes off to work. He carries with him a substitute book to give Beatty in place of the Bible that he left with Faber.

Montag dreads the meeting with Beatty, even though Faber promises to be with him via the two-way radio implanted in Montag's ear. Beatty tries to coax Montag into admitting his crime of stealing (and reading) books, but Faber is true to his word and supports Montag during Beatty's taunting.

Before Montag can respond to Beatty's tirade, the fire alarm sounds, and the firemen rush off to work. Ironically, Montag realizes that his own home is the firemen's target.

While Millie and Montag are reading, Clarisse's profound influence on Montag becomes obvious. In fact, Montag points out that "She was the first person I can remember who looked straight at me as if I counted." However, Millie and Montag have forgotten — or are ignoring — the danger of their situation. They hear "a faint scratching" outside the front door and "a slow, probing sniff, and exhalation of electric steam" under the doorsill. Millie's reaction is "It's only a dog." Only a dog? The Mechanical Hound lurks outside, probably programmed by Beatty to collect evidence that he can use later against Montag.

The Montags, however, can't ignore the sounds of bombers crossing the sky over their house, signaling the imminence of war. Although no on knows the cause of the war or its origins, the country is filled with unrest, which is a parallel to the growing unrest and anger smoldering within Montag.

Abandonment of reality has become uppermost in Millie's mind. When Montag speaks to her about the value and merit in books, she shrieks and condemns him for possessing the books. Bradbury describes her as "sitting there like a wax doll melting in its own heat." Here, fire imagery again implies destruction. This time, however, Millie carries the seeds of her own destruction. As stated earlier at the end of Part One, she can choose books (and life). But because she shuns books and the lessons that she can learn from them, Bradbury describes her as a doll that melts in its self-generated heat. Montag, on the other hand, wants to comprehend the information that the books give him. More importantly, however, Montag realizes that he needs a teacher if he wants to fully understand the books' information.

The person to whom Montag chooses to turn, Faber, "had been thrown out upon the world forty years ago when the last liberal arts college shut for lack of students and patronage." Montag recalls from their earlier encounter Faber's "cadenced voice" and "convictions"; in particular, Faber's words seemed a great deal like poetry. He said to Montag, "I don't talk things , sir; I talk the meaning of things. I sit here and know I'm alive."

While riding the subway to Faber's house, Montag experiences a moment of self-reflection. He discovers that his smile, "the old burnt-in smile," has disappeared. He recognizes his emptiness and unhappiness. Moreover, he recognizes his lack of formal education — what he thinks is his essential ignorance. This sense of helplessness, of ineffectuality, of powerlessness, of his utter inability to comprehend what is in books, overwhelms him, and his mind flashes back to a time when he was a child on the seashore "trying to fill a sieve with sand." Montag recalls that "the faster he poured [the sand], the faster it sifted through with a hot whispering." He now has this same feeling of helplessness as he reads the Bible ; his mind seems to be a sieve through which the words pass without Montag's comprehending or remembering them. He knows that in a few hours he must give this precious book to Beatty, so he attempts to read and memorize the scriptures — in particular, Jesus' Sermon on the Mount. As he attempts to memorize the passages, however, a loud and brassy advertisement for "Denham's Dental Detergent" destroys his concentration.

Montag is trying to rebel, but he is confused because of his many mental blocks against nonconformity. He has never before deviated from the norm, and his attempts to establish an individual identity are continually frustrated. Montag's flight to Faber's home is his only hope. The scene represents a man running for his life, which, in fact, Montag is doing, though he doesn't fully realize it yet. Nor does he know that he is already an outcast. He can never return to his former existence. His transformation is inevitable.

Of significance in this part of the book is that Faber bears a close resemblance to Carl Jung's archetypal figure of the "old man." According to Jung in his essay "The Phenomenology of the Spirit in Fairy Tales," the old man archetype represents, on the one hand, knowledge, reflection, insight, wisdom, cleverness, and intuition, and on the other hand, he represents such moral qualities as good will and readiness to help, which makes his "spiritual" character sufficiently plain. Faber displays these qualities, and he, like Clarisse, is associated with the color white, symbolic of his spiritual nature: "He [Faber] and the white plaster walls inside were much the same. There was white in the flesh of his mouth and his cheeks and his hair was white and his eyes had faded, with white in the vague blueness there." The color white is significant here because it indicates purity and goodness. White is also the opposite of the blackness of the burnt books and the dark ashes into which they are burned.

Besides enlightening Montag, Faber expands on his philosophy about the use of the books, as well as about society in general. (One can't help but think that Faber's discussion is close to Bradbury's own view, but of course, this assertion is simply speculation.) Faber explains that books have "quality" and "texture," that they reveal stark reality, not only the pleasant aspect of life but also the bad aspects of life: "They show the pores in the face of life," and their society finds this discomforting. Tragically, society has started programming thoughts: People are no longer allowed leisure time to think for themselves. Faber insists that leisure is essential to achieving proper appreciation of books. (By "leisure," Faber doesn't mean "off hours," the time away from work, but simply ample time to think about things beyond one's self.) Distractions, such as the all-encompassing television walls, simply will not allow for leisure time. Ultimately, however, Faber thinks that the truth in books can never be of value in this society again unless its individuals have "the right to carry out actions based on" what they find in the books. Books are of value only when people are allowed the freedom to act upon what they've learned. On this last point, Faber is pessimistic; he is convinced that people in his society will never have the freedom to act upon what they've learned.

When Montag presents Faber with his plan to incite revenge upon the other firemen, Faber is skeptical because "firemen are rarely necessary"; their destruction would hardly warrant a change in society. Faber means that "So few want to be rebels anymore." People are too distracted — that is, too "happy" — to want to change things.

After Faber decides to join Montag in his plight, Bradbury later describes this coalition of two as "Montag-plus-Faber, fire plus water." Fire and water images blend, because the product resulting from the union of these two separate and opposite items is a third product — wine. Wine looks like water, but it burns like fire. Montag and Faber work together, because all is far from well in the world.

By joining Montag, Faber also states that he will be, in effect, "the Queen Bee," remaining safely in the hive; Montag is "the drone." Before parting, they initiate plans to "[print] a few books, and wait on the war to break the pattern and give us the push we need. A few bombs and the 'families' in the walls of all the homes, like harlequin rats, will shut up!" Perhaps this subversion (the destruction of TV) will restore the public's interest in books. However, despite his decision to help Montag, Faber acknowledges that he is ultimately a coward. He will stay safe at home while Montag faces the threat of punishment.

As the threat of war increases, you can see that the war is a parallel to Montag's attitude concerning his own personal battle. His inner turmoil intensifies. Armed with a friend such as Faber, the two-way green-bullet radio, and a beginner's knowledge of the true value of books, he is now ready to wage war against Beatty and the rest of his stagnant society. Montag feels that he is becoming a new man, intoxicated by his newfound inner strength, but his is an idealistic knowledge blended with the zealousness of a convert; he has not considered any sort of pragmatic implementation plan.

When Montag meets with Mrs. Phelps and Mrs. Bowles, he forgets that they are a good deal like Millie; they are devoted to their television families, they are politically enervated, and they show little interest in the imminent war. Because their husbands are routinely called away to war, the women are unconcerned. War has happened before and it may happen again.

Listening to their empty babble, animated by his rebel posture, and with Faber whispering comfortably in his ear, Montag impulsively shouts, "Let's talk." He begins reading from "Dover Beach" by Matthew Arnold:

Ah, love, let us be true  To one another! for the world, which seems  To lie before us like a land of dreams,  So various, so beautiful, so new,  Hath really neither joy, nor love, nor light,  Nor certitude, nor peace, nor help for pain;  And we are here as on a darkling plain  Swept with confused alarms of struggle and flight,  Where ignorant armies clash by night.

Despite their flippancy and chatter, the women are moved, but again, they do not understand why. Although Mildred makes the choice of what her husband should read, Matthew Arnold's poem typifies Montag's pessimism as he tries to fathom the vapid, purposeless lifestyles of the three women. The poem forces the women to respond — Mrs. Phelps with tears and Mrs. Bowles with anger. The Cheshire catlike smiles that Millie and her friends wear indicate their illusion of happiness. Montag imagines these smiles as burning through the walls of the house. Ironically, smiles should signify joy, but not in this case, just as they did not in Montag's case. However, the smiles of these women are destructive and perhaps evil. Furthermore, Millie and her friends are characterized by fire imagery; they light cigarettes and blow the smoke from their mouths. They all have "sun-fired" hair and "blazing" fingernails. They, like the fleet of firemen, are headed toward their own destruction.

After this disastrous situation with Millie, Mrs. Phelps, and Mrs. Bowles, Montag anxiously prepares for his meeting with Beatty. Captain Beatty's suspicion of Montag steadily increases as he watches Montag with an "alcohol-flame stare." While Beatty is baiting Montag to slip about stealing books, Faber proves himself to be a good partner to Montag and supports him throughout the entire confrontation. In a most striking diatribe, Beatty reveals that he is extremely well read; he accurately quotes authors from a wide range of historical periods and is able to apply what he has read. He has obviously thought about what the works mean and, in a curious way, uses them to good effect against Montag. He is aware of Montag's newfound zealousness (as Beatty states, "Read a few lines and off you go over a cliff. Bang, you're ready to blow up the world, chop off heads, knock down women and children, destroy authority,") and manages to urge Montag in a direction that would cause him to abandon his recently acquired humanistic convictions. Through ignoring the title of the book returned by Montag, Beatty shows that he is aware of Montag's collection and is trying to get Montag to admit his guilt. Also, Beatty wants to prove to Montag that the title (and the book itself) is not significant. The only important point about the book is that it needs to be destroyed.

Montag can't respond to Beatty's denunciation of him (no doubt his rebuttal would have failed miserably) because the fire alarm sounds. In a colossal act of irony, Montag realizes when the firemen are called to action that his own home is the target for the firemen. Instead of implementing a plan to undermine the firemen by planting books in their houses, Montag, in a grotesque reversal of expectations, becomes a victim himself.

Part Two centers on Montag's first personal experience with ideas found in books, and it details his change into a social rebel. The section seemingly ends on a note of defeat.

We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so in a series of kindnesses there is at last one which makes the heart run over from James Boswell's Life of Dr. Johnson , published in 1791. The quotation helps Montag understand his relationship with the mysterious Clarisse, who brings joy into his life for no obvious reason.

That favorite subject. Myself. taken from a letter of the British biographer James Boswell, dated July 16, 1763. The quotation emphasizes the chasm that separates Montag from Mildred, who shuns self-analysis and submerges herself in drugs and the television programs that sedate her mind.

half out of the cave Bradbury alludes to Plato's cave allegory, found in Book 7 of his Republic . The analogy describes how people rely on flickering shadows as their source of reality.

Faber the character's name suggests that of Peter Faber (1506-1545), tutor of Ignatius Loyola and founder of two Jesuit colleges.

Mr. Jefferson? Mr. Thoreau? Thomas Jefferson, the chief author of the Declaration of Independence, and Henry David Thoreau, author of Walden and Civil Disobedience . This phrase is used to illustrate that all books and authors are valuable. These two authors are chosen to show who wrote about revolution and fighting opression.

dentrifice any preparation for cleaning teeth. This word is part of the phrase that Montag hears repeatedly in the subway.

Consider the lilies of the field. They toil not, neither do they In his surreal dash on the subway toward Faber's house, Montag tries to read a line from Jesus' Sermon on the Mount from the Gospel of St. Matthew. The line, which is taken from Chapter 6, verses 28-29, concludes, "And yet I say unto you, that even Solomon in all his glory was not arrayed like one of these." This quotation reminds Montag that spiritual hunger is greater than material need.

Caesar's praetorian guard a reference to the bodyguards that surrounded the Roman Caesars, beginning with Rome's first emperor, Octavian, later named Augustus. While holding back the mob, the praetorians wielded supreme control over the rulers who they sought to protect, and they are thought to have assassinated Caligula and replaced him with Claudius, a crippled historian who was their choice of successor.

the salamander devours its tail Faber, who creates a way to implicate firemen in their own menace and therefore eradicate them, characterizes his plot with an image of self-destruction.

this electronic cowardice Faber, an old man who is too fearful to confront Captain Beatty, is willing to direct Montag's confrontation through his electronic listening and speaking device.

The Book of Job Faber selects this book of the Old Testament, which describes how Job is tested by God. The upshot of Job's struggle with suffering, loss, and temptation is that he learns to trust.

Vesuvius a volcano near Naples that erupted August 24, 79 A.D., burying the citizens of Pompeii and Herculaneum.

Cheshire cat a grinning cat, a character from Chapter 6 of Lewis Carroll's Alice in Wonderland .

In again out again Finnegan a common nonsense rhyme indicating Mrs. Phelps' lack of concern about the war and her husband's part in it. The quotation restates "Off again, on again, gone again, Finnegan," a terse telegram about a rail crash from Finnegan (a railroad boss) to Flanagan (his employer).

fire plus water Montag, who perceives the split halves of his being, anticipates the distillation of his fiery self into wine after Faber has molded his intellect with wisdom and teaching.

Who are a little wise, the best fools be a line from John Donne's poem "The Triple Fool," which Beatty uses to confuse and stifle Montag.

the sheep returns to the fold. We're all sheep who have strayed at times Beatty alludes to the prophecy in Isaiah 53:6: "All we like sheep have gone astray; we have turned ever one to his own way; and the Lord hath laid on him the iniquity of us all." The message implies that Montag has betrayed his fellow firemen.

Truth is truth, to the end of reckoning Beatty's montage of quotations rambles on to a verse from Shakespeare's Measure for Measure , Act V, Scene i, Line 45.

They are never alone that are accompanied with noble thoughts a verse taken from Sir Philip Sidney's Arcadia , which in turn paraphrases a line from Beaumont and Fletcher's Love's Cure , Act III, Scene iii.

Sweet food of sweetly uttered knowledge a line from Sir Philip Sidney's Defense of Poesy .

Words are like leaves and where they most abound, Much fruit of sense beneath is rarely found Beatty quotes a couplet from Alexander Pope's Essay on Criticism as cynical commentary on his profusely garbled and contradictory recitation.

A little learning is a dangerous thing. Drink deep, or taste not the Pierian spring; There shallow draughts intoxicate the brain, and drinking largely sobers us again a famous pair of couplets from Alexander Pope's Essay on Criticism , which warns the learner that scholarship requires dedication for maximum effect.

Knowledge is more than equivalent to force an aphorism from Chapter 13 of Dr. Samuel Johnson's Rasselas.

He is no wise man that will quit a certainty for an uncertainty an aphorism from Dr. Samuel Johnson's Idler.

Truth will come to light, murder will not be hid long! from Shakespeare's Merchant of Venice , Act II, Scene ii, Line 86.

Oh God, he speaks only of his horse a paraphrase of "he doth nothing but talk of his horse" from Shakespeare's Merchant of Venice , Act I, Scene ii, Lines 37-38.

The Devil can cite Scripture for his purpose from Shakespeare's Merchant of Venice , Act I, Scene iii, Line 99.

This age thinks better of a gilded fool, than of a threadbare saint in wisdom's school a couplet from Thomas Dekker's Old Fortunatus .

The dignity of truth is lost with much protesting a line from Ben Jonson's Catiline's Conspiracy , Act III, Scene ii.

Carcasses bleed at the sight of the murderer a line from Robert Burton's Anatomy of Melancholy , Part I, Section I, Member 2, Subsection 5.

trench mouth an infectious disease characterized by ulceration of the mucous membranes of the mouth and throat and caused by a bacterium; derived from its prevalence among soldiers in trenches.

Knowledge is power a line from Francis Bacon's Advancement of Learning , Book I, i, 3.

A dwarf on a giant's shoulders sees the furthest of the two from Democritus to the Reader , Robert Burton's paraphrase from Lucan's Civil War , which is echoed in Sir Isaac Newton's letter to Robert Hooke, February 5, 1675 or 1676.

The folly of mistaking a metaphor for a proof, a torrent of verbiage for a spring of capital truths, and oneself as an oracle is inborn in us a paraphrase of Paul Valery's Introduction to the Method of Leonardo da Vinci .

A kind of excellent dumb discourse a line from Shakespeare's Tempest , Act III, Scene iii, Line 38.

All's well that is well in the end a paraphrase of Shakespeare's All's Well That Ends Well , Act IV, Scene iv, Line 35.

the tyranny of the majority from John Emerich Edward Dalberg-Acton's History of Freedom and Other Essays .

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Fahrenheit 451

By ray bradbury, fahrenheit 451 summary and analysis of part ii.

Part II: The Sieve and the Sand

Montag spends the rest of the rainy afternoon uneasily reading through books while Millie sits idly. As he reads, Montag is often reminded of Clarisse. Meanwhile, the already edgy couple is alarmed by a scratching at the door. Millie dismisses it as "just a dog", but Montag knows it is the Mechanical Hound . Luckily, the Hound leaves without causing a disturbance. Millie whines that there is no reason to read books and that that their house will be burned down if anyone finds out. Montag responds with a passionate rant, asserting that they really have no concept of what is going on in the world and that those who seek to learn are quickly quieted, just like Clarisse and the old woman. He talks of the ongoing wars and how people all over the world are toiling and starving while they live well and devote themselves to leisure. Montag is interrupted by the ringing phone. Millie answers it and is immediately enraptured in a conversation about a mindless television program.

As Millie chats, Montag wonders what his next step will be. He recalls an encounter with an elderly man in a park a year earlier. The man was a former English Professor (all the liberal arts colleges had been closed some 40 years) named Faber. It was obvious to Montag that the old man had a book tucked in his coat, but the fireman did nothing about it. Faber's words echoed in his head, "I don't talk of things, sir, I talk of the meaning of things. I sit here and know I'm alive." Montag remembers he took down Faber's contact information, and retrieves it from his files. He uses another phone to call Faber, who is shocked to hear from him. Montag questions Faber about how many copies of the book he stole from the old woman are left in the country. Faber tells him there are no other copies of the book and nervously hangs up on him.

When Millie and Montag finish their respective phone conversations, Millie has forgotten about the books in anticipation of her friends visiting to watch some television, while Montag's anxiety about the books has grown. As Montag deliberates on which of his books to hand over to Beatty, he wonders if Beatty might know of a specific title he possesses. Millie entreats him to get rid of all the books. Later, as he leaves to see Faber about getting a copy of the Bible made before he turns the original over to Beatty, he questions Millie about her beloved television characters, asking her if they love her, which they obviously cannot. She is befuddled by his questions, while he is saddened that she is so out of touch with reality.

Montag gets on the subway, heading for Faber's apartment. On the way, he realizes how numb to the world he has become and wonders if he'll ever regain his sense of purpose. He recalls the frustration he felt as a child when he attempted the impossible task of filling a sieve with sand. He resolves to read and memorize the Bible he carries with him before he must return it to Beatty, but finds himself unable to retain any of what he reads, just as a sieve is unable to retain sand. He becomes increasingly frustrated as his attempts at concentration are foiled by the toothpaste jingle that is incessantly playing over the subway speakers.

When Montag arrives at Faber's, the nervous old man is at first hesitant, but allows Montag in after ascertaining that he is alone. Montag tells the old professor that he is the only one who can help him now as Faber eagerly peruses the Bible. He muses about the portrayal of Christ on television and recalls that "there were a lot of lovely books once, before we let them go." Faber professes himself to be a coward for not having stood up in protest back when they were beginning to ban books. Montag asks Faber to help him understand his books, lamenting that society is missing something fundamental that allowed people to experience true happiness. Faber explains getting rid of books is not entirely to blame for society's superficiality. Rather, it is the quality of introspection, mystery and wonder found in books that society lacks. Faber asserts that books are feared because they "show the pores in the face of life" and make people uncomfortable. What the world needs, according to Faber, is quality of information like that found in books, the leisure to analyze and understand it, and the right to act on that understanding.

Montag and Faber hatch a plan to bring down the oppressive system by planting books in the homes of firemen throughout the country and calling in alarms, to shake the people's faith in the men they both fear and revere for "protecting" the nation from the dangers of books. However, Faber retreats from idea, saying people are having too much fun to care about the issue. Instead, he suggests they should wait for the impending war to implode society so that they may start anew. The old man is obviously frustrated, disheartened by the state of affairs and feels helpless to do anything about it. Montag, in an attempt to elicit the passion obviously burning somewhere within Faber, begins tearing pages from the Bible. Faber pleads with him to stop and finally agrees to enlist an old friend to print copies of books for them. Montag worries that when he returns to the firehouse Captain Beatty will, with his powerful rhetoric, convince him that burning books is a noble public service. Faber gives Montag a small, green, bullet-shaped two-way radio of his own invention, similar to the seashell radios Millie is so fond of. They plan to communicate through the radio, and thus, from the safety of his own home, Faber will hear all Montag does and provide suggestions for how to act.

Montag returns home and is eating alone in the kitchen when Mildred's friends, Mrs. Phelps and Mrs. Bowles , arrive to watch television with Millie. Montag, disturbed by the women's mindless pleasantries and lack of awareness of the world around them, unplugs the television walls and tries to engage the women in a discussion about the impending war. Mrs. Phelps is unconcerned about her third husband, who has gone to fight, and the women quickly turn the conversation to a recent television program. Montag persists, questioning the women about their children. Mrs. Phelps has none, and Mrs. Bowles has two, for whom she obviously feels no affinity. The conversation turns to politics, and Montag is disgusted to hear the women talk of how they voted for the current president because he was the more handsome of the two candidates. Montag then retrieves a book of poetry, the presence of which a shocked Millie explains by saying that every fireman is allowed to bring home one book a year to see how silly they are. At Faber's prompting, Montag agrees that this is true, and proceeds to read a poem, Dover Beach, to the three uncomfortable women. When he is finished, Mrs. Phelps is crying, though she cannot explain why, and Mrs. Bowles is angry with Montag for bringing about trouble. Mildred tries to calm the group, but the women are quite shaken and leave. Montag criticizes them as they go, telling them to think about the quality of their lives. Mildred goes to the bathroom to take some sleeping pills and Montag removes the radio from his ear as Faber begs him to stop, sure that he has gotten himself in trouble.

Before Montag leaves for work, he retrieves his books from behind the refrigerator and notices some are missing. He realizes Millie must have begun putting them in the incinerator. He hides the remaining books in the backyard and goes on his way. He returns the radio to his ear and Faber advises him to act normally and stay relaxed when he gets to the firehouse. Montag is nervous when he arrives at work. The Mechanical Hound is gone; Montag wordlessly turns over a book to Beatty and sits down to play cards with him and the other men. Beatty begins to prod at Montag by disparaging books and quoting from literature. Faber continually advises Montag to keep quiet, which he does with some difficulty. An alarm comes in, and they go to answer it. When they arrive at the location, Montag looks up to discover they have been called to his own home.

In 'The Sieve and the Sand', we witness Montag's continued awareness of transition. The title of this section provides a metaphor for Montag's frustration at not being able to immediately grasp what is true in the world. Through Montag's own recollection on the train, the reader sees Montag as a young boy, desperately trying to fill a sieve with sand, an impossible task. Likewise, Montag is frustrated to find himself a sieve of sorts, unable to retain what he reads from the Bible, however feverishly he tries. On a larger scale, it becomes apparent that it is not only the words of the Bible, but truth in general that Montag finds difficult to attain. Thus, he is frustrated that he cannot fill himself or feel whole. In contrast, Millie and others like her are sieves as well, unable and unwilling to grasp information even when it is made readily available to them.

The introduction of Faber's character into the novel is quite significant. The old man represents knowledge. He is educated and realizes that book banning and book burning has made people less, rather than more, enlightened. Much of the imagery associated with Faber incorporates the color white - his walls, skin, hair, beard, eyes, are all described as white. Thus, his character is portrayed as pure and unspoiled amidst the technology that has sullied the minds and characters of so many others. Faber is likened to water, a cleansing, renewing entity, which, when combined with the fire associated with Montag, should, ideally, give rise to the "wine" of truth and knowledge.

It is ironic that Faber tells Montag the world necessitates leisure, in addition to information and the right to act on free thought, because leisure is one entity that no one lacks. Here, Bradbury makes a distinction between the free time afforded by technology and the will and knowledge to use it productively.

The theme of self-destruction runs through 'The Sieve and the Sand'. The reader sees Millie through the eyes of her husband as, "a wax doll melting in its own heat." By using the familiar images of heat and fire, Bradbury presents Millie as fostering her own self destruction by choosing to ignore and abandon reality rather than seek out truth, as her husband aspires to do. Despite his intentions, we see Montag display a self-destructive streak when he insists, despite Faber's admonishments, on engaging Millie and her friends and reading poetry to them. The theme of self-destruction is also visited during Montag and Faber's initial conversation in Faber's apartment, when Faber speaks of the proposed plot to undermine the authority of firemen by planting books in their homes by saying, "the salamander devours its tail." This image incorporates both the established symbol for firemen, and the idea of self-destruction present throughout the second part of the book.

Montag's disdain for Millie's friends is a microcosm of his disdain for all of society. The women's selfishness, revealed through their nonchalance about the upcoming war in which their husbands will fight, and through their disregard for children, is in keeping with the prevalent attitudes of a society where maintaining one's own illusion of happiness is the only priority. This 'happiness' is advertised through the 'Cheshire Cat' smiles the women wear. The reader is cognizant that personal happiness in this society is only an illusion, reminded of Montag's realization that his own "burnt-in" smile no longer contorts his face. Montag discovers that he is not truly happy, but his wife and her friends are unable to see the truth.

The poem that Montag chooses to read to his guests, "Dover Beach", presents themes found throughout the book, including loss of faith, the need to care and be cared for, the destruction of war, and the desire for happy illusions to be true. In addition, a "beach" conveys images of sand and water, two symbols also alluded to throughout the novel.

At work, Montag deals with a barrage of quotes spewed from Beatty, disparaging books and their value. Meanwhile, Faber chirps in Montag's ear via radio, urging him to bite his tongue and not to accept Beatty's arguments. This scene, in which the reader can almost picture the angel Faber and the devil Beatty competing for Montag's sympathy and attention, encompasses the ongoing struggle between good and evil that has, until now, been raging in Montag's mind.

In keeping with its frantic tone, 'The Sieve and the Sand' ends with the story's climax - the arrival of the firemen at Montag's house. At this point, Montag is stripped of his former life. Because he deviated from the norm, choosing books and truth over the illusion of happiness he once embraced, Montag will lose his home and livelihood.

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Fahrenheit 451 Questions and Answers

The Question and Answer section for Fahrenheit 451 is a great resource to ask questions, find answers, and discuss the novel.

Compare and contrast Clarisse and Mildred with respect to how they chose to spend their time and how they relate to Montag in the book Fahrenheit 451?

Millie forgoes real happiness to immerse herself in the technological gadgets of the age, such as her television walls and seashell radios, which allow her a constant escape from reality. Millie's need for escape also leads her to a suicide...

Reread the dialogue between Montag and Clarisse in paragraphs 21-31. How does this exchange between the two characters connect with Bradbury’s description of Montag in paragraph 7?

What chapter are you referring to?

why was an MD not sent?

From the text:

"Neither of you is an M.D. Why didn't they send an M.D. from Emergency?"

"Hell! " the operator's cigarette moved on his lips. "We get these cases nine or ten a night. Got so many, starting a few years...

Study Guide for Fahrenheit 451

Fahrenheit 451 is based on a short story called "The Fireman" written by Bradbury in 1951 and later expanded into a full novel in 1953. The Fahrenheit 451 study guide contains a biography of Ray Bradbury, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

  • About Fahrenheit 451
  • Fahrenheit 451 Summary
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  • Character List

Essays for Fahrenheit 451

Fahrenheit 451 literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Fahrenheit 451 by Ray Bradbury.

  • Influences Behind Brave New World and Fahrenheit 451
  • Character Analysis: Fahrenheit 451
  • The Theme of Self-Destruction in Ray Bradbury's 'Fahrenheit 451'
  • American Paradigms in Ray Bradbury's Fahrenheit 451
  • Fahrenheit 451 Through the Lens of "We Wear the Mask" and "Barn Burning"

Lesson Plan for Fahrenheit 451

  • About the Author
  • Study Objectives
  • Common Core Standards
  • Introduction to Fahrenheit 451
  • Relationship to Other Books
  • Bringing in Technology
  • Notes to the Teacher
  • Related Links
  • Fahrenheit 451 Bibliography

Wikipedia Entries for Fahrenheit 451

  • Introduction
  • Historical and biographical context
  • Plot summary

summary of fahrenheit 451 part 2

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Fahrenheit 451

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Part 2 Summary: “The Sieve and the Sand”

Montag and Mildred read the stolen books but struggle to decipher what the words mean. Montag laments the loss of his friend Clarisse, whose questioning attitude is reflected within the literature Montag wants to understand. Mildred resents the books: “Books aren’t people” (46). She would rather spend the time with her relatives on the video walls. Montag wonders whether books can help solve society’s problems, while Mildred takes a phone call from her friend Ann Bowles, who reminds her that a tv show, The White Clowns, is on. Montag wonders whether there’s someone who can help him interpret the books.

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summary of fahrenheit 451 part 2

Fahrenheit 451

Ray bradbury, everything you need for every book you read..

Welcome to the LitCharts study guide on Ray Bradbury's Fahrenheit 451 . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Fahrenheit 451: Introduction

Fahrenheit 451: plot summary, fahrenheit 451: detailed summary & analysis, fahrenheit 451: themes, fahrenheit 451: quotes, fahrenheit 451: characters, fahrenheit 451: symbols, fahrenheit 451: theme wheel, brief biography of ray bradbury.

Fahrenheit 451 PDF

Historical Context of Fahrenheit 451

Other books related to fahrenheit 451.

  • Full Title: Fahrenheit 451
  • When Written: 1947–1953
  • Where Written: The United States
  • When Published: 1953
  • Literary Period: Modern American
  • Genre: Dystopian novel
  • Setting: An unnamed city in America in the future
  • Climax: Montag's escape from the Mechanical Hound; the bombing of the city
  • Antagonist: Captain Beatty; the Mechanical Hound
  • Point of View: Third person

Extra Credit for Fahrenheit 451

Fahrenheit on film: Fahrenheit 451 was made into a movie by acclaimed French director Francois Truffaut in 1966. A new filmed version has been in the works for over a decade. Ray Bradbury reportedly took offense at the title of Michael Moore's controversial documentary, Fahrenheit 9/11 , though apparently not for political reasons.

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Fahrenheit 451 Part Two: The Sieve and the Sand Summary

  • The Montags read all afternoon. Montag is caught by one passage in particular, from an 18th century British writer named Samuel Johnson: "We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so in a series of kindnesses there is at last one which makes the heart run over."
  • He listens to the rain outside and wonders if that applies to Clarisse. All these books point to her, he thinks.
  • Mildred has found a line she identifies with, from British biographer James Boswell: “That favourite subject, Myself.”
  • There is scratching at the front door; it’s the Mechanical Hound.
  • Mildred rails against books because they aren’t people. Her TV shows, now those have people, she says.
  • Suddenly, Mildred gets nervous and upset at the prospect of Beatty coming back, finding the books, and burning them. WHY should they do this, she asks?
  • Montag flips out in return. He starts talking about the machines that pumped her stomach after her suicide attempt, and Clarisse’s disappearance. They hear the sound of jet bombers going by overhead and he rants a bit about the two atomic wars their country has started since 1990. Maybe the books can help with our ignorance, he says.
  • The phone rings and Mildred blabs on the phone with one of her friends about the TV shows for the day. Meanwhile, Montag wonders where he can find someone to teach him what he knows about books. His thoughts run to an old man in a black coat whom he once saw in a park, hiding something in his coat.
  • The man’s name was Faber and he was a retired English professor. He spoke in cadence, and Montag suspected he had a book of poetry hidden in his coat. When Montag revealed he was a fireman, Faber handed him a slip of paper with his address on it, in case Montag decided to turn him in.
  • Montag opens up his file of “Future Investigations” and indeed finds Faber’s name in there. With it is Faber’s phone number, which he dials.
  • Over the phone, Montag asks how many copies of the Bible are left. Faber is wary of a trap and refuses to say much on the phone; he only repeats that there aren’t any and hangs up.
  • Back in the hallway with Mildred, Montag shows her a copy of the Bible and explains that it may be the last copy in the world. She doesn’t care.
  • He imagines what Beatty would say, that burning a book is beautiful, that all the false promises were being destroyed when they did their jobs.
  • Montag leaves, explaining to his wife that he has to have a copy of the Bible made before the books are burned. She wants to know if he’ll be back in time for a TV show that night.
  • He stops and asks Mildred if her “family” on the TV loves her. It’s a silly question, she says, and doesn’t answer. Montag leaves.
  • On the subway, Montag feels numb. He feels as though someone has stolen his smiling veneer. He remembers trying to fill a sieve with sand on the beach as a child, and feels as though the same thing is happening now as he reads the Bible and tries to memorize its passages.
  • While he reads, an advertisement for toothpaste distracts him, making it impossible to remember any of the Bible.
  • He gets off the subway and knocks on Faber’s door. Faber is paranoid but, after a brief bout of protest, opens the door to Montag.
  • Faber is amazed at the Bible and calls Montag brave, but Montag refuses the label, insisting that Faber is the only one who can help him.
  • Faber handles the Bible and remarks that these days, Christ has been made into another figure on the TV. He also misses the smell of old books. He condemns himself for being a coward, for not stopping the book-burning when it all started.
  • Montag declares that he can’t talk to anyone and needs Faber to teach him to understand what he’s reading.
  • Faber insists that what Montag is looking for isn’t books; books are just a receptacle for knowledge. Montag is missing three important pieces of information, he says. One, books are so feared because they record life. Two, people need to have leisure time—not time for sports or recreation, but time to think. Three, we need the right to use what we learn from the first two to change the way we act.

summary of fahrenheit 451 part 2

  • Montag is all fired up and wants to steal books and print copies of them in cahoots with Faber. But Faber is more skeptical and realistic. The only way he’d participate in any such rebellious behavior is if the fireman structure itself were destroyed.
  • Books are there, says Faber, to remind us that we are fools. Everything he needs to know is in the world around them, but it is books that illuminate that wisdom.
  • He jokingly suggests that they plant books in all the fireman’s houses, so that they will burn themselves up. Montag takes him seriously and thinks this is a swell plan.
  • He asks if there are others that are like Faber. Yes, Faber answers, lots of professors and actors who are no longer allowed to think or read.
  • But he reminds Montag that it won’t be easy; firemen aren’t that necessary since no one wants to read anymore anyway. They’re having fun without books.
  • Before he is sent away, Montag offers Faber the Bible, which he would gladly accept. But then Montag starts tearing up the pages. He stops only when Faber agrees to teach him.
  • Faber asks Montag if he has money; he does, a few hundred dollars. Faber reports that he knows an unemployed ex-printer…
  • Then Montag’s thoughts turn to Beatty who, despite being the Fire Captain, seems to know a good amount of literature by heart. He asks if Faber can offer any help in dealing with him.
  • Faber then leads Montag to a back room of his house and hands him a small object that looks like the Seashell transmitter Mildred wears to bed. When Montag puts it in his ear, he can hear Faber’s voice through it. It’s referred to as a “green bullet.”
  • Faber considers himself a coward for speaking only through the two-way radio instead of taking action himself. He says good night and commits to speaking to his ex-printer friend.
  • Montag walks back home and feels the impending war in the sky above him. He hears reports of the war over the radio, but through his ear, Faber reports that the news is wrong: they say a million men have been mobilized, but it’s actually ten million.
  • Montag is concerned that, with Faber literally inside his head and all, he won’t be able to think for himself anymore. Faber comments that this is a wise observation on his part. He also offers to read Montag to sleep every night.
  • That night at home, Mildred is entertaining friends—Mrs. Phelps and Mrs. Bowles. The women are, of course, engaged in some sort of TV-related activity in the parlour room. Montag is irritated, but Faber’s voice whispers for him to have patience.
  • Mrs. Phelps discusses the quick, forty-eight hour war in progress—that’s where her husband is at the moment. She’s not worried, though, since it’s always somebody else’s husband that dies. Plus, she and her husband have an agreement to not cry and get married again right away should one of them kick the bucket.
  • Looking at these women, Montag is reminded of having entered a church as a child and encountered statues of saints which he couldn’t understand.
  • He feels the need to make conversation and asks Mrs. Phelps about her children. She doesn’t have any, she says—no one in his right mind would.
  • Mrs. Bowles disagrees. She has children, but they’re away at school nine days out of ten, so fortunately she doesn’t have to see them too often.
  • As they discuss the most recent election, it becomes clear that it was fixed. One of the candidates was called Mr. Noble and was incredibly attractive. The other was small and ugly and belonged to a political party called “the Outs.”
  • Distraught, Montag runs out of the room and comes back with a book of poetry. He also starts ranting to Faber about how monstrous these women are, which makes him look just a wee bit out of it.
  • Faber pleads with him to stop, but Mrs. Phelps says sure, why not hear some poetry?
  • Mildred, desperate to cover up the situation, explains that every fireman is allowed to bring home one book, simply to prove that books should be burned.
  • Whatever. Montag clears his throat and begins reading Dover Beach .
  • Several lines later, Mrs. Phelps starts crying. They ask her what’s wrong, but she doesn’t know. Mrs. Bowles takes the opportunity to yell at Montag. This, she says, proves that books are bad. She calls Montag “nasty” and asks why he wants to hurt other people this way.
  • Again, Mildred tries to patch things up by suggesting that they watch TV, but Mrs. Bowles is already on her way out the door. Montag yells at her to go, adding insult to, well, insult by mentioning all the abortions she’s had and the children who hate her.
  • Faber, meanwhile, is still calling Montag a fool through the earpiece, which Montag rips out and stuffs in his pocket.
  • Montag finds the rest of his book stash, which has diminished: Mildred has begun scattering them throughout the house. In the meantime, he hides what’s left in the bushes behind his house.
  • As Montag walks back through his house, Mildred is nowhere to be seen. He takes solace in the fact of Faber’s new place in his life—he feels he will learn from this man, leave behind the old Montag, and become someone newer, wiser.
  • Indeed, Faber comforts him over the earpiece. He tells Montag to be patient, that he can’t expect to change the opinions of women like Mrs. Phelps. He warns Montag not to do anything rash around Beatty, but to let Faber feel out the situation over the earpiece.
  • On his way to the firehouse, though, Montag panics. He can’t move his feet, he says. But with Faber’s coaxing he is able to continue into the firehouse.
  • When Montag enters, the hound is not in its kennel and the men are, as usual, playing cards with Beatty.
  • Montag takes a seat and joins the game, but feels as though his hands are guilty of crimes. He tries to leave them under the table, but Beatty commands that he show his hand (they’re playing cards after all).
  • Then Beatty starts quoting literary passages at Montag. His quotations are contradictory, and often from the same author. He continues, trying to confuse Montag and prove that literature is complicated and destructively confusing.
  • Faber warns Montag not to rise to the challenge, to stay quiet. Montag seems to be having a silent panic attack—Beatty even grabs his wrist and is awed by his racing pulse.
  • Beatty continues, claiming that books are traitors. For every time they help you build your case, make your argument, they simultaneously cut you down, prove you wrong.
  • When he’s done, Faber whispers that Montag must later listen to his side of things, and decide for himself with whom he agrees—the Captain or Faber.
  • The alarm bell rings. Beatty says that it is a “special case” as they head out down the pole.

summary of fahrenheit 451 part 2

  • On the way, Montag reflects on his trying to convert Mildred’s friends. It seems so silly to him now, like trying to put out a fire with water pistols, he thinks.
  • Beatty drives tonight, which he has never done before. (Uh-oh.)
  • He declares they’re going to keep the world happy, and Montag wonders if he can ever burn anything again, given all that he’s learned in the last day.
  • Then they arrive at Montag’s house.

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summary of fahrenheit 451 part 2

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Fahrenheit 451 - Part 2, Summary & Analysis

Fahrenheit 451 by Ray Bradbury

Part 2, Summary

p. 63 - 82. Mildred's attention keeps turning to the silent, empty parlor as Montag struggles to make sense of the things he's reading. He's interrupted by the sound of a faint scratching at the front door, an electronic sniffing that makes Montag nervous. As bombers again fly overhead, Montag angrily wonders how the country got to be in such a permanent state of war, adding that maybe a few hours with books might help them understand. The telephone rings and Mildred answers it. As she laughs and talks with friends, Montag wonders where he could get help understanding the books, and recalls again his meeting with the old man in the park, now identified as Professor Faber and who gave Montag a means to contact him.

Montag contacts Faber, asking the increasingly nervous Professor how many copies of the Bible are left. Faber shouts...

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Fahrenheit 451 Part 2 Summary: The Sieve and the Sand [2024]

Review Team

  • December 30, 2023
  • Book Summaries

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In a world where books are banned and intellectualism is suppressed, Ray Bradbury’s “Fahrenheit 451” paints a dystopian picture of a society consumed by mindless entertainment. In Part 2 of the novel, titled “The Sieve and the Sand,” the protagonist, Guy Montag, continues his journey of self-discovery and rebellion against the oppressive regime. In this article, we will provide a comprehensive summary of Part 2, delve into the symbolism, explore Montag’s guilt, and examine the world depicted in Fahrenheit 451. So, grab your fireproof suit and let’s dive into the burning world of Fahrenheit 451!

Table of Contents

Quick answer, quick tips and facts, background: the world of fahrenheit 451, summary of part 2: the sieve and the sand, symbolism in part 2, montag’s guilt in part 2, recommended links, reference links.

In Part 2 of “Fahrenheit 451,” Montag withdraws money to give to Faber, listens to reports of war on the radio, engages in a conversation with Mildred’s friends, reads poetry to them, and faces the consequences of his actions at the fire station.

  • Part 2 of “Fahrenheit 451” is titled “The Sieve and the Sand.”
  • Montag’s journey of self-discovery and rebellion against the oppressive regime continues in this section.
  • Symbolism plays a significant role in Part 2, highlighting the themes of knowledge and resistance.
  • Montag’s guilt becomes more pronounced as he challenges the status quo.
  • The world depicted in “Fahrenheit 451” is a dystopian society where books are banned, and intellectualism is suppressed.

shallow focus photography of books

Before diving into the summary of Part 2, let’s set the stage by exploring the world of “Fahrenheit 451.” In this dystopian society, books are considered dangerous and are burned by the firemen, who are responsible for enforcing the ban on literature. Intellectualism is suppressed, and people are constantly bombarded with mindless entertainment through giant TV screens, known as “parlor walls.” The government controls the flow of information, and critical thinking is discouraged. Against this backdrop, Guy Montag, a fireman, begins to question his role and the society he lives in.

In Part 2 of “Fahrenheit 451,” Montag withdraws money from his account to give to Faber, a former English professor he met earlier in the story. Meanwhile, reports of war mobilization flood the radio, indicating a potential conflict on the horizon. Montag seeks solace in Faber’s wisdom and listens to him reading from the Book of Job over a two-way radio.

Returning home, Montag finds Mildred’s friends, Mrs. Phelps and Mrs. Bowles, engrossed in the mindless entertainment of the TV parlor. Determined to engage them in meaningful conversation, Montag turns off the TV walls and attempts to discuss literature and philosophy. However, the women dismiss his attempts, unable to comprehend or appreciate the value of books.

Undeterred, Montag reads the women a poem called “Dover Beach” by Matthew Arnold. The poem’s melancholic tone and themes of uncertainty resonate with Montag, who hopes to awaken the women to the emptiness of their lives. Unfortunately, his efforts fall on deaf ears, and the women leave without any real understanding or appreciation for literature.

Feeling frustrated and disillusioned, Montag heads to the fire station, where he confronts his superior, Captain Beatty. Montag hands over a book he had secretly kept, hoping to challenge the oppressive regime. Beatty, however, dismisses Montag’s rebellion and throws the book into the trashcan without even looking at its title. Beatty welcomes Montag back after his period of rebellion, leaving Montag torn between his desire for knowledge and his fear of the consequences.

Part 2 of “Fahrenheit 451” is rich in symbolism, highlighting the themes of knowledge and resistance. The title, “The Sieve and the Sand,” refers to Montag’s struggle to retain knowledge in a society that constantly erodes it. The sieve represents Montag’s mind, unable to hold onto the knowledge he seeks, while the sand represents the distractions and mindless entertainment that prevent him from fully understanding and retaining what he reads.

Additionally, Montag’s act of reading poetry to Mildred’s friends symbolizes his attempt to awaken them to the power of literature and critical thinking. The women’s inability to comprehend or appreciate the poetry reflects the intellectual apathy prevalent in the society of Fahrenheit 451.

In Part 2, Montag’s guilt becomes more pronounced as he challenges the status quo and seeks knowledge. He feels guilty for his role as a fireman, burning books and suppressing intellectualism. Montag’s guilt intensifies as he witnesses the emptiness and ignorance of the people around him, including Mildred and her friends. His desire to rebel against the oppressive regime and his fear of the consequences create a constant internal struggle within him.

fire on black fire pit during daytime

What is the summary of Part 2 of Fahrenheit 451?

Read more about “Why Was Fahrenheit 451 Banned? …”

What does Part 2 symbolize in Fahrenheit 451?

Part 2 of “Fahrenheit 451,” titled “The Sieve and the Sand,” symbolizes Montag’s struggle to retain knowledge in a society that constantly erodes it. The title refers to Montag’s mind as a sieve, unable to hold onto the knowledge he seeks, while the sand represents the distractions and mindless entertainment that prevent him from fully understanding and retaining what he reads.

Why does Montag feel guilty in Part 2?

Montag feels guilty in Part 2 of “Fahrenheit 451” for his role as a fireman, burning books and suppressing intellectualism. As he witnesses the emptiness and ignorance of the people around him, including Mildred and her friends, Montag’s guilt intensifies. His desire to rebel against the oppressive regime and his fear of the consequences create a constant internal struggle within him.

What is going on in the world in Fahrenheit 451 Part 2?

In Part 2 of “Fahrenheit 451,” the world is on the brink of war. Reports of war mobilization flood the radio, indicating a potential conflict. This backdrop of impending war adds to the tension and uncertainty in the society depicted in the novel.

burning open book

In Part 2 of “Fahrenheit 451,” Montag’s journey of self-discovery and rebellion against the oppressive regime continues. Through his interactions with Faber, Mildred’s friends, and Captain Beatty, Montag grapples with guilt, seeks knowledge, and challenges the status quo. Symbolism plays a significant role in highlighting the themes of knowledge and resistance. As Montag’s internal struggle intensifies, readers are left wondering what choices he will make and how his actions will shape the future of this dystopian society.

If you’re intrigued by the world of “Fahrenheit 451” and want to explore more book summaries and reviews, check out our Book Summaries and Book Reviews categories for a wide range of literary adventures.

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Curious about whether “Fahrenheit 451” is hard to read? Check out our article on Is Fahrenheit 451 Hard to Read? 2024 .

  • SparkNotes: Fahrenheit 451 Part II: The Sieve and the Sand, Section 2
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COMMENTS

  1. Fahrenheit 451 Part 2 Summary & Analysis

    Themes and Colors Key Summary Analysis Montag and Mildred spend the afternoon flipping through books, reading passages, and trying to make sense of what they read. Mildred doesn't see the point of it. She would rather be in the parlor with her TV "family" and is also nervous about what Captain Beatty would do if he found the books.

  2. Fahrenheit 451 Part II: The Sieve and the Sand, Section 2 Summary

    Knowledge Dissatisfaction By Section Part I: The Hearth and the Salamander Part II: The Sieve and the Sand Part III: Burning Bright By Character Guy Montag Mildred Montag Captain Beatty Professor Faber Clarisse McClellan By Symbol

  3. Fahrenheit 451: Summary & Analysis Part 2

    Ray Bradbury's Fiction Study Help Full Glossary for Fahrenheit 451 Essay Questions Practice Projects Quiz Cite this Literature Note Summary and Analysis Part 2 Summary Millie and Montag spend the rest of the cold, rainy, November afternoon reading through the books that Montag has acquired.

  4. Fahrenheit 451 Part II Summary and Analysis

    Fahrenheit 451 Summary and Analysis of Part II Part II: The Sieve and the Sand Summary: Montag spends the rest of the rainy afternoon uneasily reading through books while Millie sits idly. As he reads, Montag is often reminded of Clarisse. Meanwhile, the already edgy couple is alarmed by a scratching at the door.

  5. Fahrenheit 451 Part 2 Summary & Analysis

    Ray Bradbury 78 pages • 2 hours read Ray Bradbury Fahrenheit 451 Fiction | Novel | YA | Published in 1953 A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

  6. Farenheit 451 by Ray Bradbury: Part 2 Summary, Quotes & Analysis

    Instructor Valerie Bugni View bio Explore "Fahrenheit 451" Part 2: The Sieve and the Sand. Read a summary, study the analysis, examine the 'sieve and the sand' meaning, and find the...

  7. Fahrenheit 451: Full Book Summary

    Montag encounters a gentle seventeen-year-old girl named Clarisse McClellan, who opens his eyes to the emptiness of his life with her innocently penetrating questions and her unusual love of people and nature. Over the next few days, Montag experiences a series of disturbing events.

  8. Fahrenheit 451 Part 2: The Sieve and the Sand Summary

    Part 2: The Sieve and the Sand Summary PDF Cite Montag and Mildred read his books all afternoon, and Montag keeps finding things in the text that remind him of Clarisse and her strange...

  9. Part 2 The Sieve and the Sand

    Fahrenheit 451 Literature Guide Author: Ray Bradbury Genre: Dystopian fiction Publication Date: 1953 expand_more Lit Guide Menu chevron_left Characters Themes chevron_right Part 2: The Sieve and the Sand (Summary and Analysis) Montag shows Faber his discovery before he meets Beatty.

  10. Fahrenheit 451 Study Guide

    The best study guide to Fahrenheit 451 on the planet, from the creators of SparkNotes. Get the summaries, analysis, and quotes you need. ... Summary & Analysis Part 1; Part 2; Part 3; Themes. All Themes; Mass Media Censorship ... A quick-reference summary: Fahrenheit 451 on a single page. Fahrenheit 451: Detailed Summary & Analysis ...

  11. Fahrenheit 451 Part Two: The Sieve and the Sand Summary

    Fahrenheit 451 Part Two: The Sieve and the Sand Summary. The Montags read all afternoon. Montag is caught by one passage in particular, from an 18th century British writer named Samuel Johnson: "We cannot tell the precise moment when friendship is formed. As in filling a vessel drop by drop, there is at last a drop which makes it run over; so ...

  12. Fahrenheit 451 Summary

    đź“ş This Fahrenheit 451 Summary goes through part 2 - The Sieve and the Sand - of Ray Bradbury's famous novel. Watch other lessons like this on our website! L...

  13. Fahrenheit 451 Part Summaries

    Ray Bradbury's Fahrenheit 451 Chapter Summary. Find summaries for every chapter, including a Fahrenheit 451 Chapter Summary Chart to help you understand the book. AI Homework Help. Expert Help. Study Resources. Log ... Part 2 (Montag and Mildred Read and Talk) As Part 2 begins, Montag and his wife read through the afternoon. Mildred prefers her ...

  14. Fahrenheit 451

    Fahrenheit 451 - Part 2, Summary & Analysis Ray Bradbury This Study Guide consists of approximately 41 pages of chapter summaries, quotes, character analysis, themes, and more - everything you need to sharpen your knowledge of Fahrenheit 451.

  15. Fahrenheit 451

    Summarize videos instantly with our Course Assistant plugin, and enjoy AI-generated quizzes: https://bit.ly/ch-ai-asst Fahrenheit 451 summary in under five m...

  16. Fahrenheit 451: Study Guide

    Overview Published in 1953, Fahrenheit 451 is a dystopian novel by Ray Bradbury that paints a bleak picture of a society where books are banned and "firemen" burn any that are found. The story is set in a city in future American where intellectualism is suppressed, and critical thinking is discouraged.

  17. Fahrenheit 451: Part 2 "The Sieve & the Sand" Summary

    Fahrenheit 451: Part 2 "The Sieve & the Sand" Summary This article is a summary of a YouTube video "Fahrenheit 451 (Bradbury): Part 2 "The Sieve & the Sand" (1/3)" by Ms. C's Classroom TLDR The protagonist seeks answers and meaning in books in a world oblivious to its problems, while grappling with the importance of reading and the power of ...

  18. Fahrenheit 451 part 2 summary and analysis (all info from ...

    Fahrenheit 451 part 2 summary and analysis (all info from LitCharts) 5.0 (1 review) Montag and Mildred spend the afternoon flipping through books, reading passages, and trying to make sense of what they read. Mildred doesn't see the point of it. She would rather be in the parlor with her TV "family" and is also nervous about what Captain Beatty ...

  19. Fahrenheit 451

    ...more Fahrenheit 451 summary in under five minutes! Fahrenheit 451 by Ray Bradbury is a classic of dystopian science fiction literature. A book about burning boo...

  20. Fahrenheit 451 Summary

    This week, Professor Pipes burns the midnight oil to bring another spicy take on Ray Bradbury's incendiary classic, Fahrenheit 451. This time she tackles Par...

  21. Fahrenheit 451 Part 2 Summary: The Sieve and the Sand [2024]

    Quick Tips and Facts Part 2 of "Fahrenheit 451" is titled "The Sieve and the Sand." Montag's journey of self-discovery and rebellion against the oppressive regime continues in this section. Symbolism plays a significant role in Part 2, highlighting the themes of knowledge and resistance.

  22. Fahrenheit 451

    Summarize videos instantly with our Course Assistant plugin, and enjoy AI-generated quizzes: https://bit.ly/ch-ai-asst Fahrenheit 451 summary in under five m...