Why does montag flip out in the subway

By being so intrigued by the contents of the book, the reader is taken to a whole different state that is so euphoric. The authors present another theory of the cause of Deane 's death, stating that prehaps his friend Bancroft had poisened him. He had a clear motive being that Bancroft had grown relient of his pension from his years as a spy, as well as the hope of him recived a monopoly for creating color dyes, and with his old friend, Silas Deane, going back to America to clear up his past, one that Bancroft was a large part of, he was at the very least uncomfortable with the situation.

Bancroft was not sure of how Deane was going to clear his reputation, but he could not risk his secrets being revealed, as they included the sneaky business that they both participated in in France, Bancroft being a double agent and Bancroft 's role in the affair of John.

Walking hall to hall thinking of my first trading partner, who should it be? Finally I make a decision, Mr. I walk in beginning with logos.

Explaining to him not only can you hold papers together with this multi purpose clip but you could hold together your life, maybe his daughters necklaces. He was not having it, he then told me another student already used my method, he already knew what this multi purpose clip could do, so I had to get creative. Handke uses this technic because it makes the reader think. For the answer can not be found. No matter how many times he relives her life. No matter how many times he tries to write down the exact details, the exact turning points of her life he will never be able to find the answer of why.

Oskar finds out who the key belongs to because he did the stuff he did not like for example talking to strangers. I can connect to when I needed to find who took my brothers Pokemon cards with the guidance of people I ask them if they saw anyone near the cards. Another way Oskar shows change by going onto a subway train with the help of his grandpa. His grandpa helps him face his fears by giving him directions, leaving him behind and giving him the option to come or.

When Montag realizes there's no one left that he can talk to about real issues, no one who understands him, he starts acting impulsively: disabling the door, going to see Faber, and even reading to Millie's friends. Ultimately, those actions lead to his downfall but also to his enlightenment. Meeting Faber was a pivotal point for Montag, allowing him to finally understand the importance of books. When he first read the books, Montag knew there was something special in them, but he had no idea how to interpret it.

However, with Faber's help, he finally understood that the books showed the truth about life; he understood why he had to save the books, even if it meant following someone else's orders which he had been doing throughout his life. In the story Fahrenheit , Guy Montag goes through a long road of trials while experiencing unconditional love. Montag has become curious about the books that no one was able to read and decides to take one home with him. Montag is visited by Captain Beatty while he is sick at home.

This is where he experiences the unconditional love. Through the use of characteristics and events, Ray Bradbury shows a transformation in Guy Montag throughout Fahrenheit Her curiosity and questioning are so unique that Montag is struck by her. Clarisse causes Montag to question the stark reality of the morally bankrupt world in which he lives.

Near the end of the novel, he was willing to kill an old coworker in order to protect himself and the stories his mind retained. Upon escaping the city he was a wanted man in, Montag sought refuge with other rejected members of the broken society, all holding passages of stories safely in their brains.

These former professors held on to these stories because they believed that someday they would be wanted again. Guy Montag is a fireman in a distant-future society that does exactly as he is supposed to and cherishes his work, which entails burning books, all of which are illegal. After returning home he starts to question how happy he truly is, that is, until he was interrupted by finding his wife, Mildred, in bed unconscious from overdosing on sleeping pills.

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. After Faber decides to join Montag in his plight, Bradbury later describes this coalition of two as "Montag-plus-Faber, fire plus water.

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. A few bombs and the 'families' in the walls of all the homes, like harlequin rats, will shut up! 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. 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.

Ah, love, let us be true To one another! 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. 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 The quotation helps Montag understand his relationship with the mysterious Clarisse, who brings joy into his life for no obvious reason. That favorite subject.

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. The analogy describes how people rely on flickering shadows as their source of reality.

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

The line, which is taken from Chapter 6, verses , concludes, "And yet I say unto you, that even Solomon in all his glory was not arrayed like one of these. 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 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. 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.

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. We're all sheep who have strayed at times Beatty alludes to the prophecy in Isaiah "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. 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 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! 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 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 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. Previous Part 1.

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