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REALISM PORTRAYED IN RAY BRADBURY’S FAHRENHEIT 451

A THESIS

DIFA VANESSA LORIZ

REG. NO. 130705141

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2018

UNIVERSITAS SUMATERA UTARA REALISM PORTRAYED IN RAY BRADBURY’S FAHRENHEIT 451

A THESIS BY

DIFA VANESSA LORIZ REG. NO. 130705141

SUPERVISOR CO-SUPERVISOR

Dr. Siti Norma Nasution, M.Hum. Ely Hayati Nasution, S.S., M.Si. NIP. 195707201983032001 NIP. 198507032017062001

Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra From Department of English.

DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2018

UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara.

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on Wednesday, August 15, 2018

Dean of Faculty of Cultural Studies University of Sumatera Utara

Dr. Budi Agustono, M.S. NIP. 19600805 198703 1 001

Board of Examiners

Rahmadsyah Rangkuti, M.A., Ph.D. ______

Dr. Siti Norma Nasution, M.Hum. ______

Riko Andika Rahmat Pohan, S.S., M.Hum. ______

UNIVERSITAS SUMATERA UTARA Approved by the Department of English, Faculty of Cultural Studies, University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.

Head, Secretary,

Prof. T. Silvana Sinar, M.A., Ph.D. Rahmadsyah Rangkuti, M.A., Ph.D. NIP. 195409161980032003 NIP. 197502092008121002

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AUTHOR’S DECLARATION

I, DIFA VANESSA LORIZ, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed:

Date: August 15, 2018

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NAME : DIFA VANESSA LORIZ

TITLE OF THESIS : REALISM PORTRAYED IN RAY

BRADBURY’S FAHRENHEIT 451

QUALIFICATION : S-1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA.

Signed:

Date: August 15, 2018

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ACKNOWLEDGEMENTS

First of all, I would like to express my deepest gratitude to Allah SWT, the

Almighty God and Most Beneficial for His Blessing, Grace, Guidance, and Mercy that have made this thesis come to its completion. Shalawat and Salam to the Prophet

Muhammad SAW along with his family and his companions.

I would like to express my sincere gratitude to my advisor Dr. Siti Norma

Nasution, M.Hum and my co-supervisor Ely Hayati Nasution, S.S, M.Si for their guidance of how to write this thesis properly and also their patience, kindness and support for me to finish this thesis. I would also like to thank Riko Andika Rahmat

Pohan, S.S. M.Hum as my examiner, who has given suggestions and comments during my thesis seminar. May Allah always bless them in health and prosperity.

My gratitude also goes to the Dean of Faculty of Cultural Studies, Dr. Budi

Agustono, M.S., the Head and the Secretary of English Department, Prof. Dra.

Silvana Sinar, Dipl. TEFL, M.A., Ph.D and Rahmadsyah Rangkuti, M.A., Ph.D., and all of the lecturers and the staffs of English Department for the facilities and opportunities given to me during my study in this faculty. And much appreciation to

Bang Kirno as the staff of English Department for his contribution in accomplishing the administration matters, which is also very helpful for students in their final years.

Moreover, I want to thank all of my friends in English Literature 2013 class

A. Especially for Indah Simamora who always accompanying me in the completion process of this thesis and Alidah for being my partner in crime. I feel sorry for not being able to mention them one by one, but I feel grateful for spending these memorable four years with them. I also want to thank some of English Department

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students who warmly helps and giving information during my time as the student here. I sincerely hope for the success and happiness for all of us as soon as we graduate.

I would also like thank Kak Susan for her advices about everything just like a real older sister during my life as „anak kos‟ and Yani, my best friend since junior high school. Thank you for always listening to my stories and worries despite the distance between us.

Last but not least, I give my special thanks to my beloved family. Without their endless love and best wishes in their prayers, I would never be able to going through all of this. Thank you for my mother Nurma who always cheers me up and supports me in every situation. To my late father, Machdonald, thank you for giving me insight of how important education is, may Allah Give you the best place in heaven. And thank you for my siblings Inez and Arthur plus Bu Makak for making me laugh whenever I go home.

Finally, I am really grateful to have everyone supporting me in the process of writing this thesis. I do realize that this thesis requires correction in many sectors,

Therefore, advices and suggestions will be welcomed and appreciated. I hope this thesis be able to give some contribution for me and the readers.

Medan, August 15, 2018

Difa Vanessa Loriz

Reg. No. 130705141

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ABSTRACT This research entitled Realism Portrayed in Ray Bradbury’s Fahrenheit 451. This thesis focuses on satirical and realism aspects portrayed in the novel. The theory used in this thesis is mimetic because it is a reflection of reality. To obtain representative data in the discussion of this thesis, the writer uses data collection technique through reading, taking notes, selecting and analyzing quotation from the novel. The research method used in the writing of this thesis is descriptive-qualitative method that describes the analysis according to the description of the result related to the research in this thesis. The result of the research is that satires found in Fahrenheit 451 are in a line with realism. Keywords: Realism, Satire, Reflection of Realism in Satire

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ABSTRAK Penelitian ini berjudul Realism Portrayed in Ray Bradbury’s Fahrenheit 451. Skripsi ini fokus pada satire dan realisme sebagaimana digambarkan di novel. Teori yang digunakan dalam skripsi ini adalah mimetik sastra karena merupakan sebuah cerminan kondisi realita. Untuk mendapatkan data representatif dalam pembahasan skripsi ini, penulis menggunakan teknik pengumpulan data melalui membaca, mencatat, memilih dan menganalisis kutipan-kutipan dari novel. Metode penelitian yang digunakan dalam penulisan skripsi ini adalah deskriptif kualitatif yang menggambarkan analisis yang berkaitan dengan penelitian dalam skripsi ini. Hasil dari penelitian ini adalah bahwasanya satire yang ditemukan didalam novel bersandingan dengan realism. Kata Kunci: Realisme, Satire, Cerminan Realisme pada Satire

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TABLE OF CONTENTS

AUTHOR’S DECLARATION ...... i

ACKNOWLEDGEMENTS ...... iii

ABSTRACT ...... v

ABSTRAK ...... vi

TABLE OF CONTENTS ...... vii

LIST OF TABLES ...... xi

CHAPTER I: INTRODUCTION

1.1 Background of the Study ...... 1

1.2 Problems of the Study ...... 7

1.3 Objectives of the Study ...... 7

1.4 Scope of the Study ...... 7

1.5 Significance of the Study ...... 8

CHAPTER II: REVIEW OF LITERATURE

2.1 Satire ...... 9

2.2 Realism ...... 11

2.3 Prose ...... 12

2.4 Literature Approaches ...... 14

2.5 Novel ...... 16

2.6 Related Studies ...... 17

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CHAPTER III: RESEARCH METHODOLOGY

3.1 Research Design ...... 19

3.2 Data and Source of Data ...... 20

3.3 Data Collection Procedure ...... 20

3.4 Data Analysis Method ...... 20

CHAPTER IV: ANALYSIS AND FINDINGS

4.1 Analysis ...... 23

4.1.1 Satire Portrayed in Fahrenheit 451 ...... 23

4.1.2 Realism Portrayed through Satire Elements

in Fahrenheit 45 ...... 32

4.2 Findings ...... 40

CHAPTER V: CONCLUSIONS AND SUGGESTIONS

5.1 Conclusions ...... 43

5.2 Suggestions ...... 45

REFERENCES ...... 46

APPENDICES ......

i. Biography

ii. Summary

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CHAPTER I

INTRODUCTION

1.1 Background of the Study

The terms naturalist, materialist, and idealist, are terms used in philosophical circles as a concept or philosophy of life adapted to literature as a genre or movement that is embraced by someone in producing his work. The characteristic of genre in literary works usually differs for each period.

In the field of art, there are also two major genres with different characteristics, namely idealism and materialism. Idealism is a genre that values ideals highly and ideals as a result of emotions rather than the reality. This genre was originally proposed by Socrates (469-399 BC) followed by a disciple named Plato

(427-347 BC). The idealists tend to make things much better than they really are.

Idealism views that spiritual manifests a powerful control and explains that all objects in nature and experience are the incarnation of mind, the valid viewpoint.

The opposite of idealism is materialism. This genre suggests that the world is totally dependent on material and motion. The doctrine has been put forward by

Democrats in the 4th century of BC, which says that all mystic, magical events in nature are driven by the atom and the breadth of its motion. There is no supernatural force governing this life.

One of those genres which is considered as materialism is realism. Realism is a genre or movement that tries to truthfully describe reality through language. It may be regarded as the general attempt to depict subjects as they are considered to exist in third person (author) objective reality, without embellishment or interpretation and

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“in accordance with secular, empirical rules”. According to Cuddon (2013:590), fundamentally, in literature, realism is the portrayal of life with fidelity. It is thus not concerned with idealization, with rendering things as beautiful when they are not, or in any way presenting them in any guise as they are not; nor, as a rule, is realism concerned with presenting the supranormal or transcendental. Taghizadeh

(2014:1628) added that realism is often multi-faced. Literary scholars often find it related with the rise of the novel, and rightly claim that it is narrative. Another side of realism is the relation between literature and reality, between what the word says and what the life is. This dimension is usually dealt with under-representational which is psychological, cognitive, as well as anthropological.

Taghizadeh (2014:1628) says that realistic novel was in sharp opposition to the romance. The romance novelist felt free from the value of reality so they would create a story that was quite subjective and had nothing to do with the real human society, the realist novelist would a responsibility to provide an objective interpretation of the meaning of humanity. From the start, realistic novel has objectively concerned itself with the daily life experiences of the ordinary people from the lower or middle classes of the early modern society. In addition, the fact that the novel was in prose as the language of the practical people, made it possible for its writer to free him or herself from the necessities of the elevated language of the romance. So, the simple flow of the prose language into the smallest nooks and corners of the human awareness allowed the novelists to represent the specific details of life experiences of the average people.

The researcher focuses on the realism and how it works in the novel. The main reason why the researcher is interested in choosing the Fahrenheit 451 novel

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because this novel is a satire novel which is recognized by many theorists as one of the most symbolic dystopias, as Donald Watt claimed in his journal Burning Bright:

Fahrenheit 451 as Symbolic Dystopia(Moore,2010:7). The novel is often compared with George Orwell‟s novel Nineteen Eighty-Four; even some parties claimed that the novel is better than Orwell‟s. It is mostly because accurateness of both novels in predicting social conditions in the future. More amazingly, Bradbury wrote his novel in 1950s yet he could sense what would happen in the far future.

The novel opens with Guy Montag, a “fireman” in a future society where he and his coworkers start fires rather than put them out. Books are banned and burned upon discovery, and Montag has no doubts about his responsibility. But then he meets Clarisse McClellan, a seventeen-year-old girl who happens to be his neighbor. Montag grows increasingly dissatisfied with his life the more he talks with

Clarisse. He starts to wonder if perhaps books are not so bad after all, and even steals one from a house he burns down. Then he starts to read the books in his house secretly despite the threatening policy. At the end, he joins the community of book lovers called “The Book People” and they try to rebuild the civilization.

It is not a problem to combine reality and art into a piece of work. Realism is broadly considered the beginning of modern art. Literally, this is due to its conviction that everyday life and the modern world are suitable subjects for art.A novel that deserves to be said as good or legendary is not simply a novel that can draw its readers into the story, but also has relevance to problems that occur from time to time, be it social, economic, or religious, so that the novel can last in longer time.

Since Bradbury felt he had a moral responsibility as a writer, and he loved books, he naturally wrote this book. He realized that he had to do something to

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change things and he felt the most possible thing to do was to writing works in satirical technique. As we know in the earlier periods expressing view, opinion, or messages in order to correcting errs in society without restraint was still a difficult thing to do. However, with satire those messages will finally convey. LeBeouf

(2007:4) argues that messages that would be ignored or punished if openly declared will reach many people when it‟s made into satire, and making a real difference. It may be the most powerful tool that critics have to get their opinions out into the world. Furthermore, satire does not just vanish. We can still find it in different kinds of media today. This is also in accordance with the opinion of LeBeouf in her journal:

“Whichever tools a particular satirist uses to create his or her work, satire is one of the most effective and useful ways of getting a message out into the world - more so every day. The genre shows no signs of stopping, or even slowing down”. (LeBeouf ,2007:24)

As stated previously satire will be a powerful tool for many people to express their concern about social problems. One of the most dominant social problems in our society today reflected in Fahrenheit 451is consumerism. Consumerism is a state where society or population does not have the creativity to produce, but only consuming. According to Norton (2009:1), consumerism is the belief that personal wellbeing and happiness depends to a very large extent on the level of personal consumption, particularly on the purchase of material goods. The idea is not simply that wellbeing depends upon a standard of living above some threshold, but that at the center of happiness is consumption and material possessions. Meanwhile, a consumerist society is one in which people devote a great deal of time, energy, resources and thought to “consuming”. The general view of life in a consumerist society is consumption is good, and more consumption is even better. With a

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consumptive lifestyle, then the teenagers will get carried away and have a hedonic thought. Hedonism is a worldview which assumes that people will be happy by seeking more happiness and avoiding painful feelings as much as possible.

Hedonism is a doctrine that views pleasure as the goal of human life and action.

This is the impact of television shows that endlessly display luxury and spree.

It seems that our electronic media is only fixated on impressions instead of educating their nation‟s children, and also blinding their hearts and minds with teenage love stories that are totally irrelevant to the reality of society. It happens because the producers of the television station run out of ideas or have a view in creating a masterpiece solely for profit (which is feared also as the result of consumerism).

Now, we can say we have arrived at that stage, where when we switch the television channel there is no more diversity in every show. It is like we are watching the same

TV show with different television station logos.

These events are already foretold by Bradbury in Fahrenheit 451. In this novel, Bradbury expressed his concern about the influence television has on the masses, not only in his fictional dystopia, but in society nowadays. Control is maintained by entertainment companies that exploit the masses‟ desire for entertainment and escapism. Rather than reading a book, people prefer to spend time sitting in front of the television to watch such programs. Bradbury seemed to show us a frightening picture if the book is no longer appreciated among the public. If reading a book becomes illegal, the world would be a mess.

“…Being with people is nice. But I don't think it's social to get a bunch of people together and then not let them talk, do you? An hour of TV class, an hour of basketball or baseball or running, another hour of transcription history or painting pictures, and more sports, but do you know, we never ask questions, or at least most

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don't; they just run the answers at you, bing, bing, bing, and us sitting there for four more hours of film teacher. That's not social to me at all. It's a lot of funnels and a lot of water poured down the spout and out the bottom, and them telling us it's wine when it's not. They run us so ragged by the end of the day we can't do anything but go to bed or head for a Fun Park to bully people around, break windowpanes in the Window Smasher place or wreck cars in the Car Wrecker place with the big steel ball. Or go out in the cars and race on the streets, trying to see how close you can get to lamp- posts, playing `chicken' and 'knock hub-caps.' I guess I'm everything they say I am, all right. I haven't any friends. That's supposed to prove I'm abnormal. But everyone I know is either shouting or dancing around like wild or beating up one another. Do you notice how people hurt each other nowadays?” (Bradbury, 1953:14)

Consumptive behavior in youngsters will impact on lifestyle shifts that can affect the sensitivity of their social nature, so they tend to ignore and not care about the social environment. People grow apart; even the closest one becomes a stranger.

They are start to not talking face to face, but by machines. This is one of social problem that happened in modern society. It is an example of realistic aspects told by

Bradbury in his novel.

In this research, the researcher will focus on how the realism portrayed within the novel, through the satires and conflicts in the novel. The researcher used the theory of mimetic approach in analyzing the novel. Mimetic approach is a method of interpreting texts in relation to their literary or cultural models.To analyze the data, the researcher used descriptive and qualitative method. By means of this method the researcher will try to collect and explain the facts to its subject matter, and also to identify and provide evidence to support the certain fact.

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1.2 Problems of the Study

It is important to make the specification of the problems analyzed. The problems of this research are:

1. How is satire portrayed in the novel?

2. How is realism portrayed through satire elements in the novel?

1.3 Objectives of the Study

The objectives of this research are:

1. To find out how satire is portrayed in the novel.

2. To find out how realism is portrayed through satire elements in the novel.

1.4 Scope of the Study

In order to avoid confusion and wider analysis, the researcher needs to restrict the subjects analyzed. In this case, the researcher only focuses on analyzing realism in intrinsic elements portrayed in the novel. The analysis is limited to the text of the novel since most of the quotations are derived from it. This research uses mimetic theory approach as the method of analysis.

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1.5 Significance of the Study

The significance of the study is divided into two functions:

1. Practical function

The research can be a useful reference for academic practices or researches

about realism in literary works, especially for students of English Department.

2. Theoretical function

The research can give information about realism in a literary work.

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CHAPTER II

REVIEW OF LITERATURE

2.1 Satire

The word “satire” derives from the Latin word “satura” from ancient Rome.

At first of its emergence, definition of the word “satire” was quite different from what we know today. The first work of satire, Horatian (which named after the

Roman satirist Horace) was more like mild lecture. They are not intended to provoke even though they do provide some extent of social critique. It later became a genre of satire, which characteristics of the work are tolerant, witty, wise and modest. The second genre, Juvenalian (which named after the Roman satirist Juvenal) is the opposite of Horatian. This genre aims to reform through mocking and ridicule, and its characteristics are angry, sharp, bitter, and personal. With merging these two genres, therefore satire defined as a beneficial art that seeks not merely to destroy but to rebuild and inspire people to reform.

According to LeBoeuf , satire is:

“A powerful art form which has the ability to point out the deficiencies in certain human behaviors and the social issues which result from them in such a way that they become absurd, even hilarious, which is therefore entertaining and reaches a wide audience. Satire also has the ability to protect its creator from culpability for criticism, because it is implied rather than overtly stated; in this way, it becomes a powerful tool for dissenters in difficult or oppressive political and social periods.” (2007:1)

Satirical work aims to straighten things which considered incorrect by the public concern. In creating it, satirists implied some moral messages that sometimes are incomprehensible. Most satirists cover these moral messages in clever humor to

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generate positive feelings and move their readers‟ hearts. Some of them usually tend to exaggerate in creating their work, even to the point of making it up and peculiar.

Satire is often associated with sarcasm. This is because both things are equally used for insinuation. The difference is satire used to give advice while sarcasm is simply a humiliation to provoke. In addition, satire is a form of criticism directed against an authoritative organization or group, or a situation that has a particular effect on society, while sarcasm tends to be intended to satisfy individual interests. However this difference cannot be used as a reference because sometimes satirist also uses sarcasm in his work, so the two often overlap.

According to LeBeouf (2007:5) satire bears the following characteristics:

1. Critique. Satire is always a critique of some form of human behavior, vice,

or follies, with the intent of persuading the audience to view it

disapprovingly and thus encourage a degree of social change.

2. Irony. Satire uses irony, often in a humorous way, to point out the

problems with the behavior being critiqued. There are three kinds of

irony : verbal irony - where what you mean to say is different from the

words you use; situational irony - compares what is expected to happen

with what actually does happen; dramatic irony - uses a narrative to give

the audience more information about the story than the character knows

3. Implicitness. Satire is not an overt statement, and it does not come to an

explicit verdict, but rather the critiqued behavior deconstructs itself within

the satirical work by being obviously absurd, most often because it is

exaggerated or taken out of its normal context. The most remarkable

methods are exaggeration and metaphor.

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According to Johnson, Swift and Pope, the satirist is a kind of so-called guardian of standards. They have ideals, morals, and also aesthetic values. He is a man who volunteer himself to correct and ridicule the follies and vices of society and thus to bring disapproval and mockery upon peculiarities from a desirable and civilized norm.

2.2 Realism

Realism is often described as the movement that tries to truthfully describe

“reality” through language. Meanwhile in literature, realism is the portrayal of life with fidelity (Cuddon, 2013:590). The author has an objective role; to see the beauty of the object he is aiming for and produced it in the literary work. The author does not include ideas, thoughts, or responses when dealing with the object.

Realistic is the label applied to novels that seek to provide a convincing illusion of life as we normally think of it. The realistic novel can seem like a clear window on the world – and as readers we can become fully involved with the characters and events – while non-realistic novels seem to look at the world through a distorting mirror, with the result that we are forced to consider the relationship between the work of art itself and life.

A realistic approach allows the writer to create a very full impression of what is must be like for certain people to be caught in certain dilemmas: there is a searching presentation of the full range of psychological and social factors that are involved in every experience. Realistic novels are often moralists, concerned with how correct conduct can be achieved in the complex conditions of the real world

(Peck and Goyle, 1985:115).

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2.3 Prose

Prose as a fictitious story does not mean that prose is an author‟s empty daydream. Prose is a mixture or cooperation between thoughts and feelings. Prose in the literary sense is also called fiction. Abrams (in Rokhmansyah, 2014:30) mentions that fiction is a work of narrative whose content is not spreading to the truth.

Edgar V. Robert and Henry E. Jacob (1995:2) classify prose into two, fiction and non-fiction prose. Fiction originally means anything made up or shaped is prose stories based on the creation and imagination. And non-fiction is literary work which describes or interprets facts, present judgments, and opinion. It consists of essays, historical, and biographical works.

Fiction can be distinguished as real fiction and actual fiction. The real fiction states “if this is fact, then this is what will happen”. Therefore, real fiction tells about things that possibly occur, but are not necessarily happen. The authors made the imaginative figures in their work breathing. Meanwhile the actual fiction states

“because of all the facts then this is what will happen.” Actual means things that really happened.

Prose always comes from what author‟s have experienced, witnessed, heard or read in his environment. As for the characteristics of prose is the language decomposes, can broaden and increase knowledge, especially imaginative experience.

Prose depicts imaginative realities because imagination is always tied to reality, meanwhile reality cannot be separated from imagination. The language is more inclined to figurative language with emphasis on the use of connotative words.

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Furthermore, prose invites us to contemplate because literature imparts a personal interpretation related to the imagination.

Prose consists of two elements, intrinsic and extrinsic elements. The intrinsic elements are the elements that build the literary work itself. The intrinsic elements consist of themes, messages, characterization, plot, background, and point of view.

Plot is a storytelling structure in the prose that contains a series of events, organized under causality law and logical. Characterization is how the author displays the characters, the types of characters, the character relationships with others and how the author describes it. Point of view is the way the author tells the story or how the author displays the characters in the story he wrote. Background is a state consist place, time or natural state behind an event. Theme is the essence of the problem, the basis of the story and the benchmark in moving the story from beginning to end. The message is the moral message author wishes to convey through the series of stories presented in prose.

1. Themes and morals

According to Sudjiman (in Rokhmansyah, 2014:55) theme is the main

idea or choice that underlies a literary work. Theme is the idea of a story; the

author in writing his story is not just about telling stories but saying

something to his readers. Something the author wants to say may be a matter

of life, the author‟s view on life or the author‟s commentary about life of

events and the actions of storytellers are all based on the idea of the author.

The moral is the author‟s hidden message conveyed through his writings.

Readers or lovers of literary works should seek the message that conveyed by

the author. The moral usually provides practical benefits and ethics in life.

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2. Characters

Character is one of the important elements in a novel. Character is a

fictitious persona who experienced or contributed in various events of story.

Generally, characters are portrayed as human beings, but it could also be

animals or things.

3. Plot

The arrangement of events that shaped the story is called as plot. The

meaning of the plot is the interlacing of events in literary works to achieve

certain effects. The link can be manifested by temporal and causal

relationships (Sudjiman, in Rokhmansyah, 2014:37)

4. Background

The setting of the story in fiction not only shows the scene and when it

happened. Semi (in Rokhmansyah, 2014:38) describes the background is the

environment where the event occurred.

5. Point of View

The point of view is the position that becomes the center of

consciousness of the place to understand every event in the story. Point of

view is the author's way of telling his work.

2.4 Literature Approaches

Basically an approach consists of two types. These types were divided by

Wellek and Warren. They are the intrinsic approach and the extrinsic approach. A critic of intrinsic approach tries to find meaning in a text, which according to

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Eaglestone (2002), textual meaning is often vague. In contrast to the critic of intrinsic approach, the critic of extrinsic approach draws meaning from the context.

In intrinsic approach, style, plot and character are given utmost importance while in extrinsic, the themes and setting of text are considered. Therefore, intrinsic approach to literature is concerned to the inner meaning of a text and gives no importance to an author. For intrinsic critics, the author is dead. They only see the text in terms of its own self. According to intrinsic critics, a text is complete in itself.

In contrast to intrinsic approach, all the emphasis in extrinsic approach is given to context. The history, background, autobiography and social circumstances of the author are important. (Iqbal, 2016)

Meanwhile Abrams (1976:8-32) divided approach in more specific types, namely: (1) expressive approach, (2) objective approach, (3) mimetic approach and

(4) pragmatic approach. Expressive approach tends to see a work of art as a result from a creative process operating under the impulse of feeling, and embodying the combined product of the author‟s perceptions, thoughts, and feelings. Objective approach tends to analyze work of art as a self-sufficient entity constituted by its parts in their internal relations, and sets out to judge it solely by intrinsic criteria to its own mode of being. Mimetic approach tends to see a work of art as essentially an imitation of aspects of the universe. Pragmatic approach tends to see a work of art as something made in order to affect requisite responses to its reader. From the explanation of Abram‟s types of approach, we can consider them similar with Wellek and Warren‟s types. Intrinsic approach resembles with objective, and extrinsic approach resembles with mimetic, pragmatic, and expressive.

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The mimetic approach is the most basic way of judging any work of art in relation to reality whether the representation is accurate or not. For this purpose, all these theories treat a work of art as photographic imitation i.e. art‟s truth to life, poetic truth and so forth. Therefore, the researcher uses this approach to analyze the realism in the novel.

2.5 Novel

The novel reflects a move away from an essentially religious view of life towards a new interest in the complexities of everyday experience. Most novels are concerned with ordinary people and their problems in the societies in which they find themselves. Novelists frequently focus on the tensions between individuals and the society in which they live, presenting characters that are at odds with that society.

(Peck and Goyle, 1985:102)

Hence in thinking about a novel, see this informing structure: a society, and characters that are in some ways at odds with this society. Some novelists are moralists – they examine the relations between individuals and society and put forward their ideas about how people should behave – but it would be too simple to say that the important thing about their novels is the message they preach, just as it is too simple to say that a writer such as Dickens is a novelist with a social purpose who writes to reform society.

Novels, however, are long works with a great amount of detail on every page.

They thus present all the complicating facts that need to be taken into account before we can reach any sort of judgments. The effect of this detail is that we come to recognize the complex reality of a character or event in the story.

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The story in a novel is almost a parable, a tale that makes a point, but in producing a novel the writer complicates the basic story by the addition of a great deal of detail. As readers, our real interests lies in the complications the novelist creates within the familiar pattern of characters at odds with their society that enable us to gain a vivid sense of what is like for particular individuals to be caught in certain events. A productive critical method for achieving a sense of a novel‟s complexity is to look closely at scenes which you found interesting or memorable, seeing how the details create a vivid distinctive impression of an individual and society conflict. The novelist can tell a more adventurous story which clearly beyond everyday experience (Peck and Goyle, 1985:103-104).

2.6 Related Studies

To complete this research, the researcher read the novel and inspired by some related reviews on realism analysis as described in the followings:

1. „Pandangan Realisme Sosialis dalam Cerita Drama Televisi Hana Yori Dango‟

by Ruth Novida Sihite (2012), which focused on analyzing the social

background of the characters in the story with socialist realism approach.

2. „Elements of Realism in Japanese Animation‟ by George Andrew Stey (2009),

which focused on analyzing the various elements of realism in Japanese

animation.

3. „An Analysis of Realism Found in Daniel Defoe‟s Novel Robinson Crusoe‟ by

Satria Agesta Nova (2010) which focused on analyzing the concept of realism

found in the intrinsic elements such as character, plot and setting in the novel.

4. „Fahrenheit 451: Temperature Rising‟ by Douglas C. Moore (2010) which

focused onthe hyperreal factors of television in Bradbury‟s world and an

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analysis of how television has influenced the social and political factors in

American societies.

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CHAPTER III

RESEARCH METHODOLOGY

3.1 Research Design

In a research, a researcher must follow a systematic scientific of thinking, using methods, theories, logical, analytical and creative. On the other hand, literary research is a research which not only relies on rational thought, but also involves deep appreciation. If there was oppression of research methods, then the results were less optimal (Endraswara, 2008:12). Therefore, a suitable method is essential for such aesthetic research. Following that opinion, we can conclude that the most suitable method for literary research is qualitative method. It needs to be understood because the literary work is a world full of words and meaningful symbols, not an easy-to-calculate phenomenon (Endraswara, 2008:5).

The application of this qualitative method is descriptive, which means the data produced in the form of words of quotations. According to Moleong (in

Arikunto, 2002:6), descriptive qualitative method is intended that the data collected in the form of words, images, and not in numbers. Moreover, qualitative research is descriptive in favor of processes rather than results, data analysis tends to be inductive, and meaning is essential (Semi, 1993:59). The process in qualitative research is preferred because the relationship between the parts under investigation is much clearer when it is observed in the process. In its implementation, descriptive qualitative method requires researcher to capture aspects of research accurately and carefully to what the focus of research with the result interpretation can be more in- depth. Qualitative research is conducted through a/or prolonged contact with a

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“field” or life situation. These situations are typically normal, reflective of the everyday life of individuals, groups, societies, and organizations (Miles and

Huberman, 1994:6). Therefore, the researcher will use descriptive qualitative method in this research.

3.2 Data and Source of Data

The source of data is the subject from which data can be obtained (Arikunto,

2002:107). The source of data is divided into two, primary and secondary data. The primary source of data in this research is taken from the Fahrenheit 451 novel and the data is coverage of written text (words, phrases, and sentences) which contained realism in the novel. The secondary source of data is taken from articles, thesis, or other sources that supported to the topic.

3.3 Data Collection Procedure

Data collection procedure is the way to collect the necessary data in research.

The data collection is mainly done by reading the Fahrenheit 451novel by Ray

Bradbury. For the primary data, the researcher read the novel carefully, purposefully and thoroughly. At the time of reading, the researcher marked the most appropriate data to be analyzed. The researcher also looked into secondary data such as collecting related data from books, articles, journals, and other supporting resources which are relevant to the topic of the research.

3.3 Data Analysis Method

Data analysis method is the most important thing to do in a research. For the technique of data analysis, the researcher adopted the framework developed by Miles

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and Huberman (2014) to describe the major phases of data analysis: data condensation, data display and drawing conclusion.

1. Data Condensation

Data condensation is the preceding step of analysis work in interactive model of data analysis. This step of analyzing included the process of selecting the words, phrases or sentences which are appropriate with the realism theory in the novel, marking the data, and quoting the data into the paper.

2. Data Display

The next step is data display. Data display refers to the process of organizing, compressing and assembling the data by showing the visual data in form of text, table, chart, graphic, diagram or matrix that allows conclusion drawing. In data display, the data are organized to answer the problems. The researcher displayed the appropriate data in quotation text.

3. Drawing Conclusion

Drawing conclusion is the end of the process of data analysis conclusion drawing was done through deciding the meaning of data after reading the data display in the research. The researcher went to explain the realism included in the data and the influence for the story.

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DATA COLLECTION DATA DISPLAY

DATA CONDENSATION CONCLUSSION:

DRAWING/VERIFYING

The diagram explains the process of data and the relationship among the components in interactive data analysis model. After collecting all data taken from observation, field noting, and transcription about the verbal interaction the researcher need to condensate all the data to simplify them but enable the researcher to get the conclusion although the data has not been displayed yet. By applying this analysis, there is also possibility for the researcher to do data display as soon as data had been collected, but it is not as easy as when the data condensation step was done.

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CHAPTER IV

ANALYSIS AND FINDINGS

4.1 Analysis

4.1.1 Satire Portrayed in Fahrenheit 451

The improvement of technology is not necessarily leading to an improved generation or people. That‟s what Ray Bradbury tried to convey in his novel,

Fahrenheit 451. The novel sets somewhere in the future we not only fear, but also we hate. It was natural for Bradbury to write this kind of story, if we look back to the era in which the novel was made, the 1950s. America was in process toward the new era of technology. Many people were competing to create discoveries. Not only technological discoveries, but these scholars also penetrated into the world of entertainment, medicine, and science. They created breakthroughs which originally aimed at helping and facilitating human work.

One of those is the rapid development of television. Television was created with the purpose of entertaining, for people who are tired of working and want to rest.

Although television can already be enjoyed since the 1930s, the new form of television began to enter citizens‟ houses in the 1950s. That means television can be enjoyed by everyone. This breakthrough is also one of the factors of rapid economic growth in America, and it later became the evidence that they are one of the most prosperous and powerful nation in the world.

On another side, not everyone sees this achievement in optimistic way. One of them is Bradbury. As a person who was very fond of reading Bradbury was completely aware about this. Departing from that awareness, Bradbury began writing novels that filled with the nuances of modernity. He tried to see it critically and did

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not accept entirely. What would happen if this progress happens continuously? Will this help society or vice versa?

Indeed, Bradbury‟s thought is not wrong, because he felt he had a moral responsibility as a writer. As if he were watching a show on television, he was not just a casual spectator, but while he watched the show he thought and asked whether it was a scenario or not. He realized that he had to do something to change things and what he felt the most worthy thing to do was to write his story in the satirical way. In the past, we know the freedom of expressing opinion was still a difficult thing.

However, with satire opinions or messages aimed at correcting such errors will have its place. LeBeouf (2007:4) argues that messages that would be ignored or punished if overtly declared are reaching millions of people in satirical form, and making a real difference. It may be the most powerful tool that critics have to get their opinions out into the world. Satire does not just disappear. We can still find it in various media. In line with the opinion of LeBeouf (2007: 24):

Whichever tools a particular satirist uses to create his or her work, satire is one of the most effective and useful ways of getting a message out into the world - more so every day. The genre shows no signs of stopping, or even slowing down.

Satirist usually tends to exaggerate even to the point of making it up and weird in writing his work. Yet it is the characteristics of satire, made with the purpose of leading the reader to think. The same goes to the novel that will be discussed by researcher, Fahrenheit 451.This novel is a dystopian novel. Dystopia is a genre of novel that portrays the future that everyone fears of. The future where social problems become common, such as criminality, poverty, disunity and so on. It was natural for Bradbury to write this novel. At the age of 15, Bradbury heard about the book-burning initiated by Adolf Hitler. Since childhood Bradbury was fond of

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reading, when he heard about it he thus alarmed that writing and reading will be something illegal in the future. This is what encouraged Bradbury in writing

Fahrenheit 451. He combines the Hitler‟s books-burning incident and reality in the advancement of American technology in 1950s.

In 1953, the time Fahrenheit 451 was published; America has entered the era of post-modernity. The post-modernity is different from the post-modern. Post- modernity is a condition where society is no longer governed by the principle of production of commodities but is controlled by the production and reproduction of information that causes everything become unstable in which led to difficulty to differentiate real and unreal things, while post-modernism is the discourse of new thinking as confrontation from the thought of modernism which offers promises of a organized, rational, efficient, certain, and equal society. In this post-modernist era, the dependence to consume increases which encourage the emergence of new perspectives such as individualism, liberalism, and other views that „worship‟ human obsessions. In Fahrenheit 451, a lot of satire elements found that specifically address social problems felt by the writer in post modern society. The researcher will try to analyze the satire examples found in the novel.

Fahrenheit 451 tells the story about Guy Montag, a man works as a fireman who burn books. He used to have a pride for his job, until he meets the seventeen- year-old Clarisse, who happens to be his neighbor.

Clarisse is described as having quite different traits from other people. She as well as her family has different habit which distinguish them from other families in their society. They are free-spirited and traditional.

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"What's going on?" Montag had rarely seen that many house lights. "Oh, just my mother and father and uncle sitting around, talking. It's like being a pedestrian, only rarer. My uncle was arrested another time-did I tell you?-for being a pedestrian. Oh, we're most peculiar." "But what do you talk about?" (Bradbury, 1953:4)

The situation where family is harmonious and often sitting together has turned into something rare in Montag‟s neighborhood. He hardly ever saw a house with lights brightly on. The author sees this as a problem and he directly satirizes family which each member is too busy with their individual matters so they unwilling to gather together, as if they are just a bunch of foreigners who live under one roof.

"I rarely watch the 'parlour walls' or go to races or Fun Parks. So I've lots of time for crazy thoughts, I guess. Have you seen the two- hundred-foot-long billboards in the country beyond town? Did you know that once billboards were only twenty feet long? But cars started rushing by so quickly they had to stretch the advertising out so it would last." "I didn't know that!" Montag laughed abruptly. "Bet I know something else you don't. There's dew on the grass in the morning." (Bradbury, 1953:4)

One of Clarisse‟s habits that distinguish her from others is that she rarely watches the thing called „parlour walls‟. „Parlour walls‟ is the metaphor for television.

It is called as „parlour walls‟ because television is planted into the living room wall in every home at the time. For certain, almost everyone likes to watch television except her. Clarisse who rarely watch television becomes a caring personality about her surroundings. She is very considerate to the things that are considered unimportant for the others. She was like „mocking‟ Montag with the little things he was not aware of, like a billboard‟s height.

The authors insinuate the lack of public awareness of their surroundings due to frequently spending time in front of the television. Besides, the main essence of

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the creation of television is to reduce fatigue after doing tiring activities. From time to time, the need of television changes from tertiary to primary. People interact more with television than interacting with other people. Human are social beings who need another human to survive. So how could we survive if out of all things we can do is choosing to spending time for „interacting‟ with the machine? This is one of the degradation of humanity values portrayed in the novel.

"I sometimes think drivers don't know what grass is, or flowers, because they never see them slowly," she said. "If you showed a driver a green blur, Oh yes! he'd say, that's grass! A pink blur? That's a rose-garden! White blurs are houses. Brown blurs are cows. My uncle drove slowly on a highway once. He drove forty miles an hour and they jailed him for two days. Isn't that funny, and sad, too?" "You think too many things," said Montag, uneasily. (Bradbury, 1953:3)

The existence of television and book banishment makes people slowly ignore their surroundings. Ironically, Bradbury, through Clarisse‟s words describes when people can no longer even recognize what grasses, flowers, leaves look like because they often drive too fast. To make it even worse, Clarisse‟s uncle was jailed once because of driving slowly. Why would anyone jailed because driving carefully? This is one of satire technique known as exaggeration. Exaggeration is enlarging, increase, or represents something beyond normal bounds so that it becomes ridiculous and its faults can be seen. Therefore, the statement can be taken as example.

"Well, after all, this is the age of the disposable tissue. Blow your nose on a person, wad them, flush them away, reach for another, blow, wad, flush." (Bradbury, 1953:7)

In the quotation above, the author uses the metaphor „disposable tissue‟ to symbolize their era. We can see it as satire for the meaningless life of post-modernity

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society. People tend to forget everything easily, just as disposable tissue. They throw if they thought it isn‟t worth to remember.

Mildred watched the toast delivered to her plate. She had both ears plugged with electronic bees that were humming the hour away. She looked up suddenly, saw him, and nodded. "You all right?" he asked. She was an expert at lip-reading from ten years of apprenticeship at Seashell ear-thimbles. She nodded again. She set the toaster clicking away at another piece of bread. (Bradbury, 1953:8)

This quotation is absolutely a satire toward the invention of headset or earphone. „Seashell ear-thimble‟ and „electronic bees‟ are the metaphors for earphone. Mildred had been „plugged‟ both of her ears for ten years, in which makes her does not even bother speaking to people without even listening to them. She has already expert in lip-reading. The word „expert‟ is actually a mockery for her negligence. When talking to someone else, especially to our partner we ought to pay attention to them so they will feel appreciated. It is actually a very basic manner when we talk to someone, but because of the „seashell‟ we begin to ignoring each other.

"I've got to go to see my psychiatrist now. They make me go. I made up things to say. I don't know what he thinks of me. He says I'm a regular onion! I keep him busy peeling away the layers." "I'm inclined to believe you need the psychiatrist," said Montag. (Bradbury, 1953:10)

As mentioned earlier, Clarisse is a quite different girl because of her behavior.

She is considered as dangerous and crazy by the authorities so they send her to psychiatrist. It is because of her bravery in stating opinions and it is obviously disliked by the higher-ups. On another hand, she is also very mature for a girl in her age. In this quotation, the author implied the absurdity of government rules, which

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having tendency to instantly getting rid of people just because they are not favorable by their system.

He felt he was one of the creatures electronically inserted between the slots of the phonocolour walls, speaking, but the speech not piercing the crystal barrier. He could only pantomime, hoping she would turn his way and see him. They could not touch through the glass. (Bradbury, 1953:22)

The quotation above describes how much Montag‟s existence for Mildred.

Mildred keeps on ignoring him. It seems like now Montag is the „parlour walls‟ and the „parlour walls‟ is one of her family. The crack between him and his wife is just getting bigger and bigger. She doesn‟t even want to turn it off even though her husband is sick.

"Will you turn the parlour off?" he asked. "That's my family." "Will you turn it off for a sick man?" (Bradbury, 1953:23)

After that, Montag wonders about the use of living room in his house. As we know, living room is a place used for family‟s gathering and interaction.

The living-room; what a good job of labeling that was now. No matter when he came in, the walls were always talking to Mildred. (Bradbury, 1953:21)

However the living room is now a place for the „interaction‟ between Mildred and her „parlour‟. Meanwhile the „parlour‟ itself can‟t speak or express feelings.

Thus how is it possible for them to exchange feelings? This is the portrayal of how the use of living room has been shifted into what it does not meant to be because of television.

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"Let me alone," said Mildred. "I didn't do anything." "Let you alone! That's all very well, but how can I leave myself alone? We need not to be let alone. We need to be really bothered once in a while. How long is it since you were really bothered? About something important, about something real?" (Bradbury, 1953:25)

Mildred has already deeply immersed in her own definition of „reality‟ to the point she doesn‟t want to be bothered by the true reality. Her „reality‟ now is the actors in her „parlour‟ and her surrounding is merely an „imagination‟. When his husband talks to her about the current condition of their country, she doesn‟t even want to dig in because she thinks that she has nothing to do with it. This is the portrayal of society that have already under the effect of technology for years which is resulting into ignorance. They slowly ignored the closest people in their life and started to simply prioritize their own happiness.

“Is it because we're so rich and the rest of the world's so poor and we just don't care if they are? I've heard rumours; the world is starving, but we're well-fed. Is it true, the world works hard and we play? Is that why we're hated so much? I've heard the rumours about hate, too, once in a long while, over the years. Do you know why? I don't, that's sure! Maybe the books can get us half out of the cave. They just might stop us from making the same damn insane mistakes! I don't hear those idiot bastards in your parlour talking about it. God, Millie, don't you see? An hour a day, two hours, with these books, and maybe...” (Bradbury, 1953:34)

Mildred and society ignorance toward more serious issues have enraged

Montag. They keep on watching those „parlours‟ and immersed in fake happiness.

This is the characteristic of individualist. By 1950s America was already in a progress from conformity to individualism. Individualism is the condition where people are not trying to settle themselves with another people‟s view. They strive to do anything by their own way instead. Through this quotation we can see that the author „beg‟ us some empathy for those who need help and quit on being reliant to

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technology. He condemned the fact of how people do not even bother to talk about people starving in another part of world while they have so much food in their home.

Since we are human who need other human to survive in this though life. Even though we are unable to help them physically, we should at least consider discussing and give a thought about it.

"Millie? Does the White Clown love you?" No answer. "Millie, does--" He licked his lips. "Does your `family' love you, love you very much, love you with all their heart and soul, Millie?" He felt her blinking slowly at the back of his neck. "Why'd you ask a silly question like that?" He felt he wanted to cry, but nothing would happen to his eyes or his mouth. (Bradbury, 1953:36)

Mildred‟s addiction of „parlor‟ has finally led Montag to question her about what she gains from it. As she considers it as her family, yet they barely move and ask about her wellbeing. They only talking and living inside the monitor. Moreover, they may don‟t even know that Mildred exist in this world. The word „family‟ can‟t be easily given to bunch of people just because they made us laugh. Family should be given for the people we can share mutual feelings with. In this case, the author was also criticizing the suffering of post-modernist society in make a distinction between the real and unreal. He describes television as „washing machine‟ and

„gigantic vacuum‟ since it sucking up people and making them drawn into it.

Even though the people in the walls of the room had barely moved, and nothing had really been settled, you had the impression that someone had turned on a washing-machine or sucked you up in a gigantic vacuum. You drowned in music and pure cacophony. (Bradbury, 1953:21)

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That was some remarkable examples of satire found in the novel. As we know, satire is made to critique or to pointing out deficiencies whether in the society, organization, some types of people, or the whole mankind for the purpose of improvement. Satire is usually implicit, but it could be explicit as long as it contains criticism in it.

In this research, the researcher finds out that satires found in Fahrenheit 451 are mostly explicit. It means that it can be easily understood by the readers. This genre of satire is also named as Juvenalian satire. This genre is close to realism because of explicit criticism and sometimes detailed portrayal about the topic criticized. It will be analyzed on the next chapter.

4.1.2 Realism Portrayed through Satire Elements in Fahrenheit 451

Novel is a work of art containing a fictional story made by the author.

Although the story is fictional, the stories often inspired from the real events he had seen or read somewhere. The story which has a truth even a little is a story that able to move the heart of readers. Therefore, an author has the task of making works which not only become a reading material, but also entertaining and reliable.

That is also the task of a satirist. Satirist, in writing a work is not only paying attention to his personal opinion or judgment, but also observing the social phenomena that occur in his surroundings. Something he feels incorrect or wrong is not necessarily wrong to the public, and vice versa, something that is considered true for him could be wrong for the others. In other words, he has to share the same concern with the public in order to reform the society. Satirist must ultimately rely on audiences to share a common ground of reason and, as far as literary satire is

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concerned, of belief (Quintero, 2007:5). Therefore, satirist can either be called as a realist, because he describes what he sees in life, not something he wishes to see.

In this chapter, the researcher is trying to find out satirical elements which contained realism in Fahrenheit 451. The novel tells the story about Guy Montag, a fireman who burn books. He used to have a pride for his job, until he meets the seventeen-year-old Clarisse. The firemen in the future portrayed in this novel are not firemen as we know today. They start fire instead of putting them out. We can see from the quotation below:

“Is it true that long ago firemen put fires out instead of going to start them?” “No. Houses. have always been fireproof, take my word for it.” “Strange. I heard once that a long time ago houses used to burn by accident and they needed firemen to stop the flames.” (Bradbury, 1953:3)

The quotation is from the dialogue between Montag and Clarisse soon after they got to knew each other. Clarisse is certain that in the past firemen worked to putting out fire instead of starting them, even though she only heard about it once.

Montag‟s encounter with Clarisse then opened his mind. He began to doubt himself and the job he had been proud of. He did not know his life had been filled with emptiness until he met her and heard about her deep feelings toward society. He then compares Clarisse behavior with Mildred, his 30-year-old wife.

“…You're peculiar, you're aggravating, yet you're easy to forgive. You say you're seventeen?" "Well-next month." "How odd. How strange. And my wife thirty and yet you seem so much older at times. I can't get over it." (Bradbury, 1953:10-11)

Montag does not compare his wife to a girl who is not yet 17 years old without reason. For already a married woman, Mildred‟s trait is not much different

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from a little girl who is busy with her own world. He finds it strange that a teen girl like Clarisse feels older than her grown-up wife.

He clarified it. "The first time we ever met, where was it, and when?" "Why, it was at --" She stopped. "I don't know," she said. He was cold. "Can't you remember?" "It's been so long." "Only ten years, that's all, only ten!" "Don't get excited, I'm trying to think." She laughed an odd little laugh that went up and up. "Funny, how funny, not to remember where or when you met your husband or wife." (Bradbury, 1953:20)

Mildred who is busy spending time with her „parlour‟ has forgotten an important episode in her life. She forgot when she first met his husband. Mildred‟s behavior makes Montag feels empty with his life even when entering the house, he feels like entering a cold mausoleum, a dead-like soundless city.

“It was like coming into the cold marbled room of a mausoleum after the moon had set. Complete darkness, not a hint of the silver world outside, the windows tightly shut, the chamber a tomb world where no sound from the great city could penetrate. The room was not empty.” (Bradbury, 1953:5)

Such circumstances may have felt by Bradbury although there was a little chance for incident like this happens in the past, because technology was not really advanced at the moment. He imagined that this may happen in the future, and what he wrote is becoming true. It is true now that most of housewives turn on their television in home every single day despite of their tasks as household controller.

Some of them possibly managed to do their task, but with the emergence of many shows which try to steal their time, who can guarantee it will last longer?

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"It's really fun. It'll be even more fun when we can afford to have the fourth wall installed. How long you figure before we save up and get the fourth wall torn out and a fourth wall-TV put in? It's only two thousand dollars." "That's one-third of my yearly pay." "It's only two thousand dollars," she replied. "And I should think you'd consider me sometimes. If we had a fourth wall, why it'd be just like this room wasn't ours at all, but all kinds of exotic people's rooms. We could do without a few things." "We're already doing without a few things to pay for the third wall. It was put in only two months ago, remember?" "Is that all it was?" She sat looking at him for a long moment. "Well, good-bye, dear..." (Bradbury, 1953:9)

The quotation above depicts the reality of mindless passion for unnecessary things. In this era, desire came first before necessity. Desire has became a necessity that must be obtained. The example of Mildred desire to add her „parlour‟ collection is similar with our desire of having trendy smart phone than buying the functional one. It is also the characteristics of materialism.

Next is realism in advancement of the medical field is discussed as described in the following quotation.

"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 ago, we had the special machines built. With the optical lens, of course, that was new; the rest is ancient. You don't need an M.D., case like this; all you need is two handymen, clean up the problem in half an hour. Look" -he started for the door- "We gotta go. Just had another call on the old ear-thimble. Ten blocks from here. Someone else just jumped off the cap of a pillbox. Call if you need us again. Keep her quiet. We got a contra-sedative in her.” She'll wake up hungry. So long." (Bradbury, 1953:6-7)

The rapid advancement in the medical field has made doctors and other medical staff comes directly in a call to their patients. Montag called the ER to wake

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up his unconscious wife after taking some drugs. This could be a convenient thing and helpful, but what if they use unqualified staffs and send the handyman with machines instead? The mechanism of the machine itself is described in detail by the author as follows:

“They had this machine. They had two machines, really. One of them slid down into your stomach like a black cobra down an echoing well looking for all the old water and the old time gathered there. It drank up the green matter that flowed to the top in a slow boil. Did it drink of the darkness?” (Bradbury, 1953:6)

The author criticizes rapid medical advancement but not balanced with the proper human resources. One of the post-modernist society behaviors is to do something instantly rather than go through the procedure. They assumed that it is efficient and time-saving, but actually they are controlled by time. As the result, malpractices and errors are often found in hospitals nowadays. In a sense, post- modernist society is a society that is deceived with all the fake pleasures and seeks gratification as much as possible. In addition, medical advancement also makes people less bothered with each other.

"No, not anything. They name a lot of cars or clothes or swimming- pools mostly and say how swell! But they all say the same things and nobody says anything different from anyone else. And most of the time in the cafes they have the jokeboxes on and the same jokes most of the time, or the musical wall lit and all the coloured patterns running up and down, but it's only colour and all abstract. And at the museums, have you ever been? All abstract. That's all there is now. My uncle says it was different once. A long time back sometimes pictures said things or even showed people." (Bradbury, 1953:14)

The quotation above is Clarisse‟s observation of what possibly people talk about when they gathered. When we meet our colleagues we are supposed to talk about many different things. However she finds the opposite, people are not really talking or conversing. All of them naming the brand of cars or clothes and no one

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says anything different. As if they are robots which „programmed‟ to talk in the same way. Apparently, it is because of „parlour‟ which permits the citizens to not have to think. This is also the characteristic of post-modernist society.

"School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts?" (Bradbury, 1953:27)

Now the situation where the technology has taken over the traditions is explained. In the past, people travelled for obtaining education and information.

However due to the advancement of technology, the education is more accessible. It can be obtained through machines everywhere in one click. Although it has positive aspects, it also has the negative outcomes. This affected people‟s desire to learn and work. As example, people nowadays work only to seek pleasure. If the pleasure they seek has obtained, they avoid doing such serious activities such as schools, disciplines, studying, or even working. Therefore they think those are not much needed anymore. People have lost interest in learning directly from teacher and authentic books, and studying from gadgets instead. Now, this is happen in our society.

“Give the people contests they win by remembering the words to more popular songs or the names of state capitals or how much corn Iowa grew last year. Cram them full of non-combustible data, chock them so damned full of 'facts' they feel stuffed, but absolutely „brilliant‟ with information. Then they'll feel they're thinking, they'll get a sense of motion without moving. And they'll be happy, because facts of that sort don't change. Don't give them any slippery stuff like philosophy or sociology to tie things up with. That way lies melancholy. Any man who can take a TV wall apart and put it back together again, and most men can nowadays, is happier than any man who tries to slide-rule, measure, and equate

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the universe, which just won't be measured or equated without making man feel bestial and lonely.” (Bradbury, 1953:29)

The advancement of technologies, especially television, has brought the rise of information. The variety ranges of information are given but most of them are made to entertain. Bradbury‟s citizens are overwhelmed with trivial information, just as our society suffers not from the lack of information but from information itself and even from an excess of information. They can‟t measure the information they achieved so when they watch educational quiz programs, they will feel informed and well-learned. This is the reality which happens around us. Some of the programs in our television come with educational premise yet it is still not educating. Surely they give the correct answers for every question, but they don‟t explain the process behind it.

“Sometimes I'm ancient. I'm afraid of children my own age. They kill each other. Did it always used to be that way? My uncle says no. Six of my friends have been shot in the last year alone. Ten of them died in car wrecks. I'm afraid of them and they don't like me because I'm afraid. My uncle says his grandfather remembered when children didn't kill each other. But that was a long time ago when they had things different. They believed in responsibility, my uncle says.” (Bradbury, 1953:14)

The quotation of Clarisse statement above depicts the reality of increased criminality America is known as the country without strict regulations about gun ownership. It has been quite an issue for a long time because many have killed from it. Anybody can never expect young people are able to use gun freely. Moreover, back then in 1950s teens began to see themselves as a distinct group. They practiced the disobedient and rebellious acts which they imitated from the slightly older group.

Juvenile delinquency existed since then. Fights among gang members, sabotage, car theft, and random violence were reported in the newspapers every day. A rapidly

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growing population of young people and wide coverage by the mass media made the problem seem worse than it was.

The advancement in automotive industry has made Americans overjoyed with the ability to drive from place to place at high speed. Cars were designed with latest technology following the time change. As the result, citizens were more encouraged to buy new car. According to shmoop.com, during the 1950s, the number of cars in the U.S. nearly doubled from 39 million to 74 million. On average, 4.5 million cars were junked every year during the 1950s. By 1960, Americans owned more cars than all the rest of the world put together.

“But time to think- If you're not driving a hundred miles an hour, at a clip where you can't think of anything else but the danger, then you're playing some game or sitting in some room where you can't argue with the fourwalltelevisor. Why? The televisor is 'real.' It is immediate, it has dimension. It tells you what to think and blasts it in. It must be, right. It seems so right. It rushes you on so quickly to its own conclusions your mind hasn't time to protest..” (Bradbury, 1953:39)

Technology advancement has made society to live in a simulated world instead of true reality. According to Baudrillard‟s theory of hyperreality, post- modern society lives for nothing and we lived in simulated world instead of true reality. It is because we have based our perceptions of reality on simulacra (copies without originals) that are presented through the signs, models and images that circulate throughout our world, which then threatens the difference between the true and false (Moore, 2007:11).

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When a society bases its reality on models that do not represent real objects or events, that society becomes hyperreal, and television is largely responsible for this distortion: “it is TV that is true, it is TV that renders true” (Moore, 2007:5-

6).Sociability in Fahrenheit 451 is nothing more than an exchange with a machine.

With the exception of Clarisse and her family, the masses experience life mainly through television. The problem not lies in the television or technology itself; it is only a tool. The problem lies in its capabilities and the ones who control them.

Some events in Fahrenheit may be considered as weird as it was rarely seen in the past but now they become true. They are right before us. The year 1950s is considered as the birth of post-modernism thinking, and Bradbury was living in the era too. He also heard the Hitler‟s book burning incident. The incident was bugging him so he decided to write this novel.

Even though Fahrenheit is considered as speculative novel as it portrays the condition in the far future from Bradbury‟s era, we can found the resemblances with the world we live in today. The world that full of fuzzy, meaningless life from the community that live under the negative influences of technology advancement. They live, but not living. Fahrenheit is Bradbury‟s first and last science-fiction novel though. That‟s why we can find realistic counterparts within the story.

4.2 Findings

Based on the analysis explained in the previous chapter, satire in Bradbury‟s work is mainly portrayed within the development of technology and post-modernity in the future society. Fahrenheit 451 was made in 1950s. At that time America, where the novel was made and also the nationality of the author was in process toward the new era of technology. This development has made some shifts in their

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society. The first one is the situation where family is harmonious and often sitting together has turned into something rare in the Bradbury‟s society. It is explained when Montag, the protagonist of the novel feels amazed of the appearance of his neighbor‟s house, Clarice. The house is described as lively and harmonious, because many lights are brightly on. Bradbury directly satirizes family which each member is too busy with their individual activities so they unwilling to gather together. The second one is the lack of public awareness of their surrounding due to frequently spending time in front of the television. The main essence of the creation of television is to reduce fatigue after doing some tiring activities thus it was considered as tertiary need. However now the essence has changed and it makes people reliant on it. People interact more with television than interacting with other people. Clarise despite of all, becomes a caring personality about her surroundings. It is because she rarely watches television when everyone else already addicted of it. The author, in this case also noticeably uses the metaphor „parlour walls‟ in order to disguise television. „Parlour walls‟ is television planted into the living room wall in every houses. The author also insinuates the use of living room which has changed from a place for family gathering to a place for someone‟s „interaction‟ with „parlour walls‟.

In the process of analyzing the satirical elements, the researcher found that they are somehow realistic, thus they resemble to our society today. The first one is the appearance of housewives busily spending their time in front of television. Mildred,

Montag‟s wife explained as a little girl who is busy with her own world. Despite of her tasks as a wife and household controller, she is still diligently sitting in front of her „parlour‟ everyday. She does not want to be bothered by anything else with her television and earphone as exception. Her ignorance then reaches the climax when she forgets the important episode in her life, the first meeting with her husband. In

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reality we can see now that most of housewives are doing the similar thing as

Mildred. The second realism in the novel is the mindless passion for unnecessary things and materialism. It can be found when Mildred asks her husband to buy new

„parlour‟ when she already has one, which is similar with our desire of having trendy smart phone than buying the functional one. The third one is the decreasing desire of learning due to technology advancement. People are not looking for information mainly through the books or schools anymore. They teach themselves with gadget in which many kinds of information are available in simply one click. Therefore the learning process is now can be done leisurely without going through difficulties.

However, they rather suffer from excess information than being informed. Now, this is also happen in our society.

Therefore, it can‟t be denied that despite being satirical and fictional, Fahrenheit is also considered as realistic.

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CHAPTER V

CONCLUSIONS AND SUGGESTIONS

5.1 Conclusions

Based on the analysis from the previous chapter, the researcher concludes

that:

1. Fahrenheit 451 is a novel dominated by satirical elements thus it also labelled

as a satire work. The novel tells the protagonist named Guy Montag who

works as a fireman who burn books. He finds himself had been living a

meaningless life after he meets Clarisse, her young neighbor. Soon, he also

realizes that the meaningless life of him is caused by the technology

advancements which led to banishment of books. After that, he quits his job

as a fireman and starts to reading book again.

2. The satire in Bradbury‟s work is mainly portrayed within the development of

technology and post-modernity in the future society. Fahrenheit 451 was

made in 1950s. At that time America, where the novel was made and also the

nationality of the author was in process toward the new era of technology.

This development has made some shifts in their society. The first one is the

situation where family is harmonious and often sitting together has turned

into something rare in the Bradbury‟s society. It is explained when Montag,

the protagonist of the novel feels amazed of the appearance of his neighbor‟s

house, Clarice. The house is described as lively and harmonious, because

many lights are brightly on. Bradbury directly satirizes family which each

member is too busy with their individual activities so they unwilling to gather

together. The second one is the lack of public awareness of their surrounding

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due to frequently spending time in front of the television. The main essence

of the creation of television is to reduce fatigue after doing some tiring

activities thus it was considered as tertiary need. However now the essence

has changed and it makes people reliant on it. People interact more with

television than interacting with other people. Clarise despite of all, becomes a

caring personality about her surroundings. It is because she rarely watches

television when everyone else already addicted of it. The author, in this case

also noticeably uses the metaphor „parlour walls‟ in order to disguise

television. „Parlour walls‟ is television planted into the living room wall in

every houses. The author also insinuates the use of living room which has

changed from a place for family gathering to a place for someone‟s

„interaction‟ with „parlour walls‟.

3. In the process of analyzing the satirical elements, the researcher found that

they are somehow realistic, thus they resemble to our society today. The first

one is the appearance of housewives busily spending their time in front of

television. Mildred, Montag‟s wife explained as a little girl who is busy with

her own world. Despite of her tasks as a wife and household controller, she is

still diligently sitting in front of her „parlour‟ everyday. She does not want to

be bothered by anything else with her television and earphone as exception.

Her ignorance then reaches the climax when she forgets the important

episode in her life, the first meeting with her husband. In reality we can see

now that most of housewives are doing the similar thing as Mildred. The

second realism in the novel is the mindless passion for unnecessary things

and materialism. It can be found when Mildred asks her husband to buy new

„parlour‟ when she already has one, which is similar with our desire of having

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trendy smart phone than buying the functional one. The third one is the

decreasing desire of learning due to technology advancement. People are not

looking for information mainly through the books or schools anymore. They

teach themselves with gadget in which many kinds of information are

available in simply one click. Therefore the learning process is now can be

done leisurely without going through difficulties. However, they rather suffer

from excess information than being informed. Now, this is also happen in our

society.

5.2 Suggestions

Based on conclusions from the previous chapter, the researcher wants to point out that realism and satire in literature is an interesting topic to be discussed. Thus, the researcher hopes that there will be more researches regarding realism in novels.

The writer also suggests the reader and other students to:

1. To develop this topic by analyzing other aspects that closely related to

realism and satire in order to get further understanding and information about

it.

2. To inform other students that they can use the mimetic theory to help them in

analyzing realism found in any kinds of literary work.

3. To be a reference for the readers to understand more about satire and realism

portrayed in the novel.

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REFERENCES

Abrams, M.H. 1976. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. London: Oxford University Press.

Arikunto, S. 2002. Prosedur Penelitian: Suatu Pendekatan Praktek. Jakarta: Rineka Cipta.

Ashley, R.P. 1971. “What Makes a Good Novel” in The English Journal. 60 (5): 595-598.JSTOR. Bradbury, R. 1953. Fahrenheit 451. New York: Ballantine Books Chandler, D. 1997. An Introduction to Genre Theory. Retrieved from http://www.aber.ac.uk/media/Documents/intgenre/intgenre.html (February 2018) Cuddon, J.A. 2013. A Dictionary of Literary Terms and Literary Theory. United Kingdom: Blackwell Publishing. Eagleton, T. 2009. Literary Theory: An Introduction. United Kingdom: Blackwell Publishing. Iqbal, S.M. 2016. An Understanding to Intrinsic and Extrinsic Approaches to Literature. Retrieved from https://writcrit.com/2016/07/13/an understanding-to-intrinsic-and-extrinsic-approaches-to-literature/(February 2018)

Klarer, M. 2004. An Introduction to Literary Studies: Second Edition. London: Routledge. LeBoeuf, M. 2007. “The Power of Ridicule: An Analysis of Satire” inSenior Honors Projects. Paper 63. Retrieved from http://digitalcommons.uri.edu/srhonorsprog/63/(May2018) Matz, A. 2010. Satire in Age of Realism. New York: Cambridge University Press Muchtar, M et.al. 2012. Pedoman Penulisan Skripsi. Medan: FIB USU. Miles, M.B.et.al. 2014. Qualitative Data Analysis. London: Sage Publications. Miles, M.B. and A. M. Huberman. 1994. Qualitative Data Analysis: Second Book. United States: Sage Publications. Moore, D. C. 2010. “Fahrenheit 451: Temperature Rising” in ETD Archive. Paper 497. Peck, J and Martin, G. 1985. Literary Terms and Criticism. London: Macmillan Education Ltd. Quintero, R (editor) . 2007. A Companion to Satire: Ancient and Modern. United Kingdom: Blackwell Publishing.

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Rokhmansyah, A. 2014. Studi dan Pengkajian Sastra; Perkenalan Awal terhadap Ilmu Sastra. Yogyakarta: Graha Ilmu. Selden, R et.al. 1997. A Reader’s Guide to Contemporary Literary Theory – Fourth Edition. London: Prentice Hall. Semi, A. 1993. Metode Penelitian Sastra. Bandung: Angkasa. Siswanto, W. 2008. Pengantar Teori Sastra. Jakarta: Grasindo. Sparshott, F. E. 1967. “Truth in Fiction” in Journal of Aesthetics and Art Criticism. 26 (1):37.JSTOR. Stam, R. and Toby, M. 2000. Film and Theory: An Anthology. United Kingdom: Blackwell Publishing. Tagizadheh, A. 2014. “A Theory of Literary Realism” in Theory and Practice in Language Studies, Vol. 4, No. 8.

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APPENDICES i. Author Biography and Works

Ray Bradbury was born on August 22, 1920, in Waukegan, Illinois, to

Leonard Spaulding Bradbury and Esther Marie (Moberg) Bradbury. His father was a lineman for the electric company. He was greatly influenced by his Aunt Neva, a costume designer and dressmaker, who took him to plays and encouraged him to use his imagination. At the age of twelve, after seeing the performance of a magician named Mr. Electrico at a carnival, Bradbury began to spend hours every day writing stories. Bradbury‟s family moved to Arizona briefly before settling in Los Angeles,

California, in 1934. Bradbury continued to write and also spent a great deal of time reading in libraries and going to the movies.

In 1937, at the age of 17, Bradbury became a member of the Los Angeles

Science Fiction League, through which he published his first work, a short-lived science fiction fan magazine. Bradbury‟s first short story was published in Weird

Tales when he was 20. This was the first of many professional publications of

Bradbury‟s work, which includes Dark Carnival (1947), Martian

Chronicles (1950), The Illustrated Man (1951), The Golden Apples of the

Sun (1953), Dandelion Wine (1957), Something Wicked This Way

Comes (1962), Death is a Lonely Business (1985), The April Witch (1987), Death

Has Lost Its Charm (1987), The Toynbee Convector (1988), Graveyard for Lunatics

(1990), Folon’s Folon’s (1990), Zen in the Art of Writing: Essays on

Creativity (1991), A Chrestomathy of Ray Bradbury: A Dramatic Selection (1991), and his most enduring work, Fahrenheit 451 (1953).

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Bradbury was the recipient of countless literary awards, including: the O.

Henry Memorial Award; the Benjamin Franklin Award; the Aviation-Space Writer‟s

Association Award for best space article in an American Magazine; the World

Fantasy Lifetime Achievement Award; and the Science Fiction Writers of America

Grand Master Award. In 2000, the National Book Foundation recognized him for his

Distinguished Contribution to American Letters. And in his most unique and fitting recognition, the moon‟s Dandelion Crater was named after Bradbury‟s novel Dandelion Wine. ii. Summary of the Novel

Guy Montag is a fireman who burns books in a futuristic city. In Montag‟s world, firemen start fires rather than putting them out. The people in this society do not read books, enjoy nature, spend time by themselves, think independently, or have meaningful conversations. Instead, they drive very fast, watch excessive amounts of television on wall-size sets, and listen to the radio on “Seashell Radio” sets attached to their ears.

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. First, his wife, Mildred, attempts suicide by swallowing a bottle of sleeping pills. Then, when he responds to an alarm that an old woman has a stash of hidden literature, the woman shocks him by choosing to be burned alive along with her books. A few days later, he hears that

Clarisse has been killed by a speeding car. Montag‟s dissatisfaction with his life

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increases, and he begins to search for a solution in a stash of books that he has stolen from his own fires and hidden inside an air-conditioning vent.

When Montag fails to show up for work, his fire chief, Beatty, pays a visit to his house. Beatty explains that it‟s normal for a fireman to go through a phase of wondering what books have to offer, and he delivers a dizzying monologue explaining how books came to be banned in the first place. According to Beatty, special-interest groups and other “minorities” objected to books that offended them.

Soon, books all began to look the same, as writers tried to avoid offending anybody.

This was not enough, however, and society as a whole decided to simply burn books rather than permit conflicting opinions. Beatty tells Montag to take twenty-four hours or so to see if his stolen books contain anything worthwhile and then turn them in for incineration. Montag begins a long and frenzied night of reading.

Overwhelmed by the task of reading, Montag looks to his wife for help and support, but she prefers television to her husband‟s company and cannot understand why he would want to take the terrible risk of reading books. He remembers that he once met a retired English professor named Faber sitting in a park, and he decides that this man might be able to help him understand what he reads. He visits Faber, who tells him that the value of books lies in the detailed awareness of life that they contain. Faber says that Montag needs not only books but also the leisure to read them and the freedom to act upon their ideas.

Faber agrees to help Montag with his reading, and they concoct a risky scheme to overthrow the status quo. Faber will contact a printer and begin reproducing books, and Montag will plant books in the homes of firemen to discredit the profession and to destroy the machinery of censorship. Faber gives him a two-

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way radio earpiece (the “green bullet”) so that he can hear what Montag hears and talk to him secretly.

Montag goes home, and soon two of his wife‟s friends arrive to watch television. The women discuss their families and the war that is about to be declared in an extremely frivolous manner. Their superficiality angers him, and he takes out a book of poetry and reads “Dover Beach” by Matthew Arnold. Faber buzzes in his ear for him to be quiet, and Mildred tries to explain that the poetry reading is a standard way for firemen to demonstrate the uselessness of literature. The women are extremely disturbed by the poem and leave to file a complaint against Montag.

Montag goes to the fire station and hands over one of his books to Beatty.

Beatty confuses Montag by barraging him with contradictory quotations from great books. Beatty exploits these contradictions to show that literature is morbid and dangerously complex, and that it deserves incineration. Suddenly, the alarm sounds, and they rush off to answer the call, only to find that the alarm is at Montag‟s own house. Mildred gets into a cab with her suitcase, and Montag realizes that his own wife has betrayed him.

Beatty forces Montag to burn the house himself; when he is done, Beatty places him under arrest. When Beatty continues to berate Montag, Montag turns the flamethrower on his superior and proceeds to burn him to ashes. Montag knocks the other firemen unconscious and runs. The Mechanical Hound, a monstrous machine that Beatty has set to attack Montag, pounces and injects Montag‟s leg with a large dose of anesthetic. Montag manages to destroy it with his flamethrower; then he walks off the numbness in his leg and escapes with some books that were hidden in

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his backyard. He hides these in another fireman‟s house and calls in an alarm from a pay phone.

Montag goes to Faber‟s house, where he learns that a new Hound has been put on his trail, along with several helicopters and a television crew. Faber tells

Montag that he is leaving for St. Louis to see a retired printer who may be able to help them. Montag gives Faber some money and tells him how to remove Montag‟s scent from his house so the Hound will not enter it. Montag then takes some of

Faber‟s old clothes and runs off toward the river. The whole city watches as the chase unfolds on TV, but Montag manages to escape in the river and change into

Faber‟s clothes to disguise his scent. He drifts downstream into the country and follows a set of abandoned railroad tracks until he finds a group of renegade intellectuals (“the Book People”), led by a man named Granger, who welcome him.

They are a part of a nationwide network of book lovers who have memorized many great works of literature and philosophy. They hope that they may be of some help to mankind in the aftermath of the war that has just been declared. Montag‟s role is to memorize the Book of Ecclesiastes. Enemy jets appear in the sky and completely obliterate the city with bombs. Montag and his new friends move on to search for survivors and rebuild civilization.

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