Fahrenheit 451 and 1984
Before World War I, the literary term known as the Utopia emerged. Many people believed that society would be happier if the individual made sacrifices for the "common good". However, the war changed all of that. Society began to fear governments in which everyone was the same and was ruled by a dictator. Thus, the genre of the dystopian novel emerged. "Dystopian novels show that any attempt at establishing utopia will only make matters much worse." (Dietz, 1996) Fahrenheit 451 by Ray Bradbury and 1984 by George Orwell are considered classic examples of this genre by such critics as Frank Dietz, Beaird Glover, and Donald Watt. These distinct novels both warn against utopia through the portrayal of the protagonist begins as part of a society in which the individual is non-existent, come into contact with influences that cause their rebellions, and eventually come into contact with some upper hand of the government.Bradbury's dystopia is an unnamed futuristic city sometime in the 24th century. Although many things in today's world, like houses, cars, and plants, are in this world, there are also many scientific creations. These include fireproof houses, wallscreens, and the Mechanical Hound. Television is totally inter
Doors are programmed to announce visitors before they even arrive. Although these technological innoventions are very unique, the most significant detail about Bradbury's dystopia is that books are illegal. In essence, mankind is stripped of all information and believes whatever the government feeds them. Mankind has become lazy and stupid because of the excesses of technology and lack of "textured information" (Bradbury, 1953). In fact, the people no longer know how to do simple things because some machines have been designed to do everything. Although many of the larger tasks can be performed by machine, many everyday tasks, such as making breakfast and mowing the lawn, are still performed by humans. As soon as toast pops out of the toaster, it is "seized by a spidery metal hand that [drenches] it with melted butter." (Bradbury, 1953) Although Bradbury inserts various objects to make his world seem futuristic and exotic, he still gives it a touch of realism that allows the reader to identify with it. In doing so, Bradbury gives a warning that modern day society can easily turn into his world of banality. Whereas Montag requires teachers in order to generate his own ideas, all Winston needs is a spark to ignite all the fuel that he has already garnered. In a world where constantly patrolled by thought police and inhabited almost entirely of brainwashed zombies, the slightest mistake could mean death. Thus, Winston keeps all his thoughts to himself and his journal. It is only when Julia bluntly reveals herself to him and he finally opens up. He "discovers that Julia is smart and funny and loves sex, and she doesn't care at all about Big Brother" (Stanley, 1999). With an accomplice, Winston is able to let his thoughts and emotions roam free. He rents a room away from all the telescreens, gleans sweets on the black market, and makes loves with Julia as he wishes. Now that his thoughts are free to roam, he can finally act on his hatred of the Party. Winston finds the audacity to confide in more people, and to even begin reading Goldstein's handbook. Although Julia is by his side throughout this whole time, she does not invoke any actions from Winston. Unlike Montag, all of Winston's actions are rooted in his own thoughts, not the thoughts of others. Julia is that spark that Winston needs. Deep down, he knows that these risks will increase his chances of being caught by the Party; he even admits this to O'Brien while in prison. But because he believes that he will be caught no matter what he does, he convinces himself that he must continue to rebel. Winston lives in a world in which legitimate optimism is an impossibility; lacking any real hope, he gives himself false hope, fully aware that he is doing so. (p. 313) Ironically, although Montag's second teacher, Beatty, intends to "bring Montag back into conformity with the system, he drives Montag father away" (Eller, 1997). Beatty tells him that books present different views on the same subject, and thus will cause disagreement. Thus, if books are removed, then so would the conflicts that come along with them. Although this explanation would suffice for any other citizen in Bradbury's dystopia, it does not for Montag. What Beatty's "lesson" (Bradbury, 1953) cannot explain is why Montag's wife is so depressed and why Montag is so angry. Finally, Montag's third teacher, Faber, explains Montag's unhappiness. Faber argues that the television is the root of all problems. "[It] grows you any shape it wishes. It becomes and is the truth." (Bradbury, 1953) El
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Approximate Word count = 2398
Approximate Pages = 10 (250 words per page double spaced)
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