Why does montag visit faber

Burn all of his books. Burn Faber. Which two characters are eliminated with a flame thrower by Montag? Clarisse and Mildred. Faber and Beatty. Mechanical Hound and Mildred. Beatty and Mechanical Hound. The Mechanical Hound injects Montag in the After killing Beatty, who does Montag visit while on his way to Faber's house? He visits the home of a firefighter to plant books and call in an alarm. He visits Clarisse at her new house. He visits Mildred at her new house.

He visits Beatty's wife to apologize for killing her husband. Why does Montag stop by Faber's house while he is on the run from the new Mechanical Hound? To get a drink of water. To hide for the next 2 years. To give him money for the printer. To watch the big game.

Where does Faber suggest that Montag go to avoid being captured? Back to his house to hide. After only a short time with the audio transmitter in his ear, Montag feels that he has known Faber a lifetime and that Faber has actually become a part of him.

Here again, Bradbury illustrates the contradictory nature of technology—it is both positive and negative, simultaneously beneficial and manipulative. Bradbury further develops the opposition between Faber and Beatty in this section. When Montag returns to the fire station, Beatty spouts learned quotations like mad and uses literature to justify banning literature.

Here he lets Montag make his own decision and stops ordering him around. Ace your assignments with our guide to Fahrenheit ! SparkTeach Teacher's Handbook. Why did the government ban books? Why does Mildred overdose on sleeping pills? Why does Montag want to read books? How does Montag know about Faber? What happens to Clarisse? Why does Mrs. Books at least allow the reader to put them down, giving one time to think and reason about the information they contain.

Montag suggests planting books in the homes of firemen to discredit the profession and see the firehouses burn.

Faber says they just need to be patient, since the coming war will eventually mean the death of the TV families. Montag concludes that they could use that as a chance to bring books back. Montag bullies Faber out of his cowardice by tearing pages out of the precious Bible one by one, and Faber finally agrees to help, revealing that he knows someone with a printing press who used to print his college newspaper.

Montag decides to risk giving Beatty a substitute book, and Faber agrees to see his printer friend. This denial is related to the widespread ignorance of history and fear of books, because history and books connect readers to the dead. In contrast, Montag feels a kind of wonder that the books written by dead people somehow remind him of Clarisse.

He openly accepts and ponders death, telling Faber that his wife is dying and that a friend of his is already dead, along with someone who might have been a friend meaning the old woman.

Mildred still does not see any possible advantage in reading and is angered by the danger Montag puts her in, asking if she is not more important than a Bible. Montag hopes that reading will help him understand the mistakes that have led the world into two atomic wars since and that have made the rest of the world hate his country for its narcissistic hedonism.

Faber becomes a more important character in this section. This theme of deeper meanings being necessary for life is central to the book. And although Montag knew he had a book in his pocket, Faber gave him his address anyway, allowing Montag to choose whether to befriend him or turn him in. When Montag visits Faber, he tells the professor that he just wants someone to listen to him talk until he starts to make sense. He acknowledges his own ignorance, which demonstrates his increasing self-awareness, and hopes to learn from Faber.

Bradbury describes her as "sitting there like a wax doll melting in its own heat. 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.

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.

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. 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. 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.

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.