Fahrenheit 451°:

The qualita+ve-quan+ta+ve analysis of Fahrenheit 451°:

mapping the linguis+c make-up of a literary text

MarinaGorlach,MetropolitanStateUniversityofDenver

The text •  Fahrenheit451°isalyricalan7-utopia,ordystopiathatreflectsthemassivea=ackofthe‘consumerciviliza7on’onthetradi7onalvaluesofsociety.

•  Thesciencefic7ongenreisusedtodepictatotalitarianregimesacrificingindividualexpressionandembracingtoabolishindependentthinking.

•  Plotinanutshellrevolvesaroundasingleideathatfirefighterssetfires.Themaincharacter,GuyMontag,afirefighter,goesalongwayfromburningbookstoanac7veprotestandfinallyjoinsagroupofHarvardgraduateswhomemorizedhundredsofbooks.HiswifeMildredandhergirlfriendsrepresentthesocietyMontagrebelsagainst.HisbosscaptainBea:y,awell-educatedman,isthemainproponentoftherulingideology.Thesocietycravingjustfunandfireisconsumedbytheatomicwarandfacesannihila7on.Montagand‘people-books’survivetorebuildtheworldandsavetheciviliza7on.

The message

Themainideaisinterpreted

differentlyevenbyBradburyhimselfatdifferent7mepoints.

Late1950s:aliena;onofpeoplebymedia.

1979’sedi7on:cri;cismofstate-

sponsoredcensorship

2007’sinterview:cri;cismofthe

effectsoftelevisionandmassmediaonthereadingofliterature.

Thequan7ta7ve-qualita7veanalysisofthetextpointsinaslightlydifferentdirec7on,though.

Word systems •  Thewordsystemisamatrixofwordswithinaspokenorwri=entextwithacommondenominatorwhichmaybeseman7c,phonological,etymological,conceptualorassocia7ve(Aphek,Tobin1988:3).

WordSystemsinBradbury’sFahrenheit451°

1. Seman7cConceptualAssocia7veSystems2.  dark–cold–empty

3.  show–stage–circus-carnival4.  fun–happiness

1. Syntac7cSystems2.  telegraphiclanguage

3.  tag-ques;ons

Stylis7cSysteminteriormonologue

PhonologicalAssocia7veSystem

soundsymbolism-[s]

MetaphoricSystemhandsandbodyparts

The seman+c conceptual associa+ve system ‘dark – cold - empty’

•  Heopenedthebedroomdoor.Itwaslikecomingintothecoldmarbledroomofamausoleuma^erthemoonhadset.Completedarkness,notahintofasilverworldoutside,thewindows7ghtlyshut,thechamberatomb-worldwherenosoundfromthegreatcitycouldpenetrate.Theroomwasnotempty.(35)•  Darkness.Withoutturningonthelightheimaginedhowthisroomwouldlook.Hiswifestretchedonthebed,uncoveredandcold,likeabodydisplayedonthelidofatomb,immovable...Theroomwasindeedempty.…Theroomwascoldbutnonethelesshefelthecouldnotbreathe.…So,withthefeelingofamanwhowoulddieinthenexthourforlackofair,hefelthiswaytowardhisopen,separate,andthereforecoldbed.Hestoodverystraightandlistenedtothepersononthedarkbedinthecompletelyfeaturelessnight.(36)

The seman+c conceptual associa+ve system ‘dark – cold - empty’

•  Thewomanonthebedwasnomorethanahardstratumofmarbletheyhadreached.Goon,anyway,shovetheboredown,slushuptheemp7ness,ifsuchathingcouldbebroughtoutinthethrobofthesuc7onsnake.Diditdrinkdarkness?(38)•  A^erthat,Clarissewasgone.…Thelawnwasempty,thetreesempty,thestreetempty…(51)•  Thevoiceclockmournedoutthecoldhourofacoldmorningofas7llcolderyear.(52)•  “Whoisit?”“Whowoulditbe?”saidMontag,leaningbackagainstthecloseddoorinthedark.Heheldhispantsoutintoanabyssandletthemfallintodarkness.…Hebalancedinspacewiththebookinhisswea7ngcoldfingers.…Hestumbledtowardsthebedandshovedthebookclumsilyunderthecoldpillow.(60)

The seman+c conceptual associa+ve system ‘dark – cold - empty’

•  Helayfaracrosstheroomfromher,onawinterislandseparatedbyanemptysea.(60)•  Andherememberedthinkingthenthatifshedied,hewascertainhewouldn’tcry…asillyemptymannearasillyemptywoman,whilethehungrysnakemadehers7llmoreempty.…Howdoyougetsoempty?hewondered.Whotakesitoutofyou?(62)•  Thethreewomenfidgetedandlookednervouslyattheemptymud-coloredwalls.…Thethreeemptywallsoftheroomwerelikethepalebrowsofsleepinggiantsnow,emptyofdreams.(103-4)•  Theroomwasblazinghot,hewasallfire,hewasallcoldness;theysatinthemiddleofanemptydesertwiththreechairsandhimstanding…Thenhebegantoreadinalow,stumblingvoice…andhisvoicewentacrossthedesert,intothewhiteness,andaroundthethreesigngwomenthereinthegreathotemp7ness.(107)

The seman+c conceptual associa+ve system ‘dark – cold - empty’

•  Andheshotaboltateachofthethreeblankwallsandthevacuumhissedoutathim.Theemp7nessmadeanevenemp7erwhistle,asenselessscream.Hetriedtothinkaboutthevacuumuponwhichthenothingnesshadperformed,buthecouldnot.Hecutoffitsterribleemp7ness,drewbackandgavetheen7reroomagi^ofonehugebrightyellowflowerofburning.(120)•  Hewascrushedbydarkness…Hefeltbackunderthebreakingcurveofdarknessandsoundandsmell,hisearsroaring.Thisdarklandrisingwaslikethatdayinhischildhood,swimming,whenfromnowherethelargestwaveinthehistoryofrememberingslammedhimdowninsaltmudandgreendarkness…(142)•  Hestoodbreathing,andthemorehebreathedthelandin,themorehewasfilledupwithallthedetailsoftheland.Hewasnotempty.Therewasmorethanenoughtofillhim.Therewouldalwaysbemorethanenough.(144)

Quan+ta+ve data on the ‘dark-cold-empty’ system • Darkanditsderiva7ves(darkness,darker)-62tokens• Coldanditsderiva7ves(coldness,colder)-33tokens•  Emptyanditsderiva7ves(emptying,emp<ness)-43tokens

The phonological associa+ve system:

sound symbolism [s] •  Itwasa[s]pecialpleasureto[s]eethingseaten,to[s]eethings

blackenedandchanged.Withthebra[ss]nozzleinhisfi[s]t[s],withthi[s]greatpython[s]pigngit[s]venomous[s]kero[s]eneupontheworld…(29)•  Later,goingto[s]leep,hewouldfeelthefiery[s]mile[s]7llgrippedbyhisfa[s]cemu[s]cles,inthedark.(29)• He[s]lidtoa[s]queakinghalt…Hewalkedoutofthefire-[s]ta7onandalongthemidnight[s]treettowardthe[s]ubwaywherethe[s]ilent,air-propelledtrain[s]lid[s]oundle[ss]lydownit[s]lubricatedflueintheearthandlethimoutwithagreatpuffofwarmairontothecream-7lede[s]calatorrisingtothe[s]uburb.(30)

The phonological associa+ve system:

sound symbolism [s] •  On[s]ceasachildhehad[s]atuponayellowdunebythe[s]eainthe

middleoftheblueandhot[s]ummerday,tryingtofilla[s]ievewith[s]and,because[s]omecruelcousinhad[s]aid,“Fillthi[s][s]ieveandyou’llgetadime!”Andthefa[s]terhepoured,thefa[s]terit[s]i^edthroughwithahotwhi[s]pering.Hishandswere7red,the[s[]andwasboiling,the[s]ievewasempty.[S]eatedthereinthemid[s]tofJuly,withouta[s]ound,hefeltthetearsmovedownhischeek[s].(89-90)•  TheMechanicalHoundwasgone.It[s]kennelwasemptyandthefirehou[s]estoodallaboutinpla[s]ter[s]ilen[s]ceandtheorange[S]alamander[s]leptwithit[s]kero[s]eneinit[s]bellyandthefire-throwerscro[ss]eduponit[s]flank[s]andMontagcameinthroughthe[s]ilen[s]ceandtouchedthebra[ss]poleand[s]lidupinthedarkair.(111)

The syntac+c system: telegraphic language

•  Hiswifesaid,“Idon’tknowwhyIshouldbesohungry.”“You–““I’mhungry.”“Lastnight,”hebegan.“Didn’tsleepwell.Feelterrible,”shesaid.“God,I’mhungry.Ican’tfigureit.”“Lastnight–“hesaidagain.Shewatchedhislipscarefully.“Whataboutlastnight?”(41)•  “Ihadaniceevening,”shesaid,inthebathroom.“Whatdoing?”“Theparlour.”“Whatwason?”“Programmes.”“Whatprogrammes?”“Someofthebestever.”“Who?”“Oh,youknow,thebunch.”(68)

The syntac+c system: telegraphic language

•  “Youknow,thehigh-schoolgirl.Clarisse,hernameis.”“Oh,yes,”saidhiswife.“Ihaven’tseenherforafewdays–fourdaystobeexact.Haveyouseenher?”“No.”“I’vemeanttotalktoyouabouther.Strange.”“Oh,Iknowtheoneyoumean.”“Ithoughtyouwould.”“Her,”saidMildredinthedarkroom.“Whatabouther?”askedMontag.“Imeanttotellyou.Forgot.Forgot.”“Tellmenow.Whatisit?”“Ithinkshe’sgone.”“Gone?”“Wholefamilymovedoutsomewhere.Butshe’sgoneforgood.Ithinkshe’sdead.”(66)

The syntac+c system: telegraphic language

•  "Doesn'teveryonelooknice!""Nice.“"Youlookfine,Millie!""Fine.“"Everyonelooksswell.""Swell!“"Isn'tthisshowwonderful?"criedMildred."Wonderful!"(102)

The syntac+c system: tag-ques+ons

•  [Bea=y[:"Youlikebaseball,don'tyou,Montag?""Baseball'safinegame."Bea=ywentonasifnothinghadhappened."Youlikebowling,don'tyou,Montag?"(73)•  [Bea=y]:"Askyourself,Whatdowewantinthiscountry,aboveall?Peoplewanttobehappy,isn'tthatright?Iwanttobehappy,peoplesay.Well,aren'tthey?Don'twekeepthemmoving,don'twegivethemfun?That'sallwelivefor,isn'tit?Forpleasure,for77lla7on?Andyoumustadmitourcultureprovidesplentyofthese."(75-76)

The syntac+c system: tag-ques+ons

•  [Millie]:"Youaregoingtoworktonight,though,aren'tyou?"(79)•  [Millie]:"They'dputyouinjail,wouldn'tthey?"(80)•  [Millie]:"You'vegottohanditbacktonight,don'tyouknow?CaptainBea=yknowsyou'vegotit,doesn'the?"(88)

The metaphoric system ‘hands and body parts’

• Hefelthischestchoppeddownandsplitapart.Hefelthishandplungetowardthetelephone.Hefelthislipsmove,brushingthemouthpieceofthephone....Hestoodshiveringinthedark,andlethislipsgoonmovingandmoving.(37)• Montag’shandclosedlikeamouth,crushedthebookwithwilddevo7on,withaninsanityofmindlessnesstohischest.Montaghaddonenothing.Hishandhaddoneitall,hishand,withabrainofitsown,withaconscienceandacuriosityineachtremblingfinger,hadturnedthief.Hegazed,shaken,atthatwhitehand.Hehelditwayout,asifhewerefar-sighted.Hehelditclose,asifhewereblind.(57)

The metaphoric system ‘hands and body parts’

•  Soitwasthehandthatstarteditall.Hishandshadbeeninfected,andsoonitwouldbehisarms.Hecouldfeelthepoisonworkinguphiswristsandintohiselbowsandhisshoulders.Hishandswereravenous.Andhiseyeswerebeginningtofeelhunger,asiftheymustlookatsomething,anything,everything.(60)• Montag'shandspickeduptheBible.Hesawwhathishandshaddoneandhelookedsurprised.…Hishands,bythemselves,liketwomenworkingtogether,begantoripthepagesfromthebook.Thehandstoretheflyleafandthenthefirstandthenthesecondpage.Montaglethishandscon7nue.(98)

The metaphoric system ‘hands and body parts’

•  InBea=y'ssight,Montagfelttheguiltofhishands.…IfBea=ysomuchasbreathedonthem,Montagfeltthathishandsmightwither,turnoverontheirsides,andneverbeshockedtolifeagain;theywouldbeburiedfortherestofhislifeinhiscoat-sleeves,forgo=en.Forthesewerethehandsthathadactedontheirown,nopartofhim,herewaswheretheconsciencefirstmanifesteditselftosnatchbooks,andnow,inthefirehouse,thesehandsseemedglovedwithblood.(112)• Handsorhand–141token• Arms–17tokens

The stylis+c system: interior monologue

•  Therearetoomanyofus,hethought.Therearebillionsofusandthat'stoomany.Nobodyknowsanyone.Strangerscomeandviolateyou.Strangerscomeandcutyourheartout.Strangerscomeandtakeyourblood.GoodGod,whowerethosemen?Ineversawthembeforeinmylife!(39)•  ...andhewantedtocallouttoher,howmanyhaveyoutakentonight!thecapsules!howmanywillyoutakelaterandnotknow?andsoon,everyhour!ormaybenottonight,tomorrownight!(62)• Well,hethought,let'sseehowbadlyoffyouare.Onyourfeetnow.Easy,easy...there.(65)

The stylis+c system: interior monologue

•  I'mnumb,hethought.Whendidthenumbnessreallybegininmyface?Inmybody?ThenightIkickedthepillboxinthedark.It'lltake7me,butI'lldoit,orFaberwilldoitforme.Someonesomewherewillgivemebacktheoldfaceandtheoldhandsthewaytheywere.I'mlostwithoutit.(89)•  ...andhethought,inafewhours,therewillbeBea=y,andherewillbemehandingthisover,sonophrasewillescapeme,eachlinemustbememorized.Iwillmyselftodoit.(90)•  Bea=y,hethought,you'renotaproblemnow.Youalwayssaiddon'tfaceaproblem,burnit.Well,nowI'vedoneboth.Good-bye,Captain.(123)•  ....hethought,youareafool,adamnedfool,anawfulfool,anidiot,anawfulidiot;lookatthemess,andwhatdoyoudo?Afool,adamnfool,gogiveyourselfup!(123)•  Hethought–26tokens

The seman+c conceptual associa+ve system

‘show – stage – circus - carnival’ • Alwaysatnightthealarmcomes.Neverbyday!Isitbecausefireis

pregerbynight?Morespectacle,abe=ershow?(58)•  Lightsflickedonandhousedoorsopenedalldownthestreet,towatchthecarnivalsetup.(117)•  ...thegreattentsofthecircushadslumpedintocharcoalandrubbleandtheshowwaswellover.(120)•  ...thehouseburntlikeanancientbitofstage-scenery.(123)•  Itwasavaststagewithoutscenery,invi7nghimtorunacross,easilyseenintheblazingillumina7on...(125)

The seman+c conceptual associa+ve system

‘show – stage – circus - carnival’ •  Theboulevardwasascleanasthesurfaceofanarenatwominutes

beforetheappearanceofcertainunnamedvic7msandcertainunknownkillers.(127)•  Thecircusmustgoon,evenwithwarbeginninginanhour.(134)•  ...thebiggame,thehunt,theone-mancarnival.(135)•  Theshow'sgottohaveasnapending,quick!(146)

The seman+c conceptual associa+ve system

‘fun – happiness’ •  “Areyouhappy?”shesaid.…

“Happy!Ofallthenonsense.”Hestoppedlaughing.OfcourseI’mhappy.Whatdoesshethink?I’mnot?”heaskedthequietrooms.(34)• Darkness.Hewasnothappy.Hewasnothappy.Hesaidthewordstohimself.Herecognizedthatasatruestateofaffairs.Heworehishappinesslikeamask…(36)

The seman+c conceptual associa+ve system

‘fun – happiness’ •  Shepausedandranherfingerunderalineinthescript.“’Ithinkthat’s

fine!’Andthentheygoonwiththeplayun7lhesays,‘Doyouagreetothat,Helen?’andIsay,‘Isuredo!’Isn’tthatfun,Guy?”Hestoodinthehalllookingather.“It’ssurefun,”shesaid.“It’sreallyfun.It’llbeevenmorefunwhenwecanaffordtogetthefourthwallinstalled...”(42)•  [Bea=y]:“Whatdowewantinthiscountry,aboveall?Peoplewanttobehappy,isn’tthatright?Haven’tyouhearditallyourlife?Iwanttobehappy,peoplesay.Well,aren’tthey?Don’twekeepthemmoving,don’twegivethemfun?That’sallwelivefor,isn’tit?Forpleasure,for77lla7on?Andyoumustadmitourcultureprovidesplentyofthese.”(75)

The seman+c conceptual associa+ve system

‘fun – happiness’ •  [Montag]:“…DidyouhearBea=y?Didyoulistentohim?Heknowsalltheanswers.He’s

right.Happinessisimportant.Funiseverything.AndyetIkeptsigngtheresayingtomyself,I’mnothappy,I’mnothappy.”“Iam.”Mildred’smouthbeamed.“Andproudofit.”(80)

•  FaberexaminedMontag’sthin,blue-jowledface.“Howdidyougetshakenup?Whatknockedthetorchoutofyourhands?”“Idon’tknow.Wehaveeverythingweneedtobehappy,butwearen’thappy.Something’smissing.Ilookedaround.TheonlythingIposi7velyknewwasgonewasthebooksI’dburnedintenortwelveyears.SoIthoughtbooksmighthelp.”(93)

•  “Clara,nowClara,”beggedMildred,pullingherarm.“Comeon,let’sbecheery,youturnthe‘family’on,now.Goahead.Let’slaughandbehappy,now,stopcrying,we’llhaveaparty!”(108-9)

•  Funanditsderiva7ves(funny)–35tokens•  Happyanditsderiva7ves(happiness,unhappy)–29tokens

Conclusion

Wepresentedtheanalysisofthephonological,seman7c,conceptual,syntac7c,andmetaphoricalsystemsusedtocreateatextualmessageinFahrenheit451°byRayBradbury.

Themessageofthetext–thesignificanceofintellectualandspiritualvaluesforthesurvivalofhumankind–isconveyedbythecommondenominatorsofvariouswordsystems.

Thetextisviewedisaninseparablejunc7onofthelanguagewiththemessageitnurturesandcreates,wheremeansisthemessage.