Faber becomes a more of import character in this subdivision. Faber may hold planted the seed of Montag ‘s interior revolution the twelvemonth before in the park, when he told the fireman that he does non speak about things but instead the significances of things, and hence he knows he is alive. This subject of deeper significances being necessary for life is cardinal to the book. And although Montag knew he had a book in his pocket, Faber gave him his reference anyhow, leting Montag to take whether to befriend him or turn him in. When Montag visits Faber, he tells the professor that he merely wants person to listen to him speak until he starts to do sense. He acknowledges his ain ignorance, which demonstrates his increasing self-awareness, and hopes to larn from Faber.
Although Faber is a strong moral voice in the novel, his self-professed defect of cowardliness is besides introduced in this subdivision. He is loath to put on the line assisting Montag and eventually agrees to make so merely by agencies of his sound sender, concealing behind this device while Montag risks his life.
Montag ‘s newfound resoluteness is besides delicate at this point in the novel. He expresses concern that Beatty will be able to carry him to return to his former life. Montag imagines Beatty depicting the combustion pages of a book as black butterflies, an image that recalls Montag ‘s ain joy at the metabolism enacted by fire in the gap paragraph of the book.
An of import symbol is expressed in the rubric of this subdivision, “ The Sieve and the Sand, ” which comes from Montag ‘s childhood memory of seeking to make full a screen with sand on the beach to acquire a dime from a arch cousin and weeping at the futility of the undertaking. He compares this memory to his effort to read the whole Bible every bit rapidly as possible on the metro in the hope that, if he reads fast adequate, some of the stuff will remain in his memory. The sand is symbolic of the touchable truth Montag seeks and the screen of the human head seeking truth. Truth is elusive and, the metaphor suggests, impossible to hold on in any lasting manner.
Bradbury uses several important spiritual mentions in this subdivision to light Montag ‘s procedure of self-fulfillment. First, Faber reads from the Book of Job, a portion of the Bible in which God and Satan make a bet about whether Job will stay faithful to God when subjected to awful afflictions. Clearly, Faber encourages Montag to digest despite the trouble of his project. Montag, nevertheless, is going so tired of mindlessly making what other people say that he becomes leery of Faber ‘s orders, and Faber in bend congratulationss him for his development of independent idea.
Following, Montag compares Mildred ‘s friends to spiritual objects, based on the fact that he ca n’t understand such objects any more than he can Mildred ‘s friends. The two adult females seem unreal, superficial, and empty to Montag. The conversation that Montag forces them to hold reveals their deficiency of concern about the coming war, the pervasiveness and insouciant intervention of self-destruction in their society, and the distressing province of household moralss. They remind him of icons he one time saw in a church and did non understand ; they seem unusual and meaningless to him.
In a 3rd case of spiritual imagination, Faber describes himself as H2O and Montag as fire, claiming that the meeting of the two will bring forth vino. Jesus Christ ‘s transmutation of H2O into vino was one of the miracles that proved his individuality and instilled religion in people. Montag longs to corroborate his ain individuality through a similar self-transformation. He hopes that when he becomes this new ego, he will be able to look back and understand the adult male he used to be.
Montag opens his book of poesy to “ Dover Beach, ” which is rather appropriate to his fortunes, as it deals with the subject of lost religion, and of the capacity for personal relationships to replace religion. The verse form besides deals with the emptiness of life ‘s promises and the unreflective force of war. Shortly subsequently, Montag has a Shakespearian minute, when he returns to the fire station and obsessively rinse his custodies in an effort to unclutter his guilt, experiencing they are “ gloved in blood ” -a clear mention to Lady Macbeth.
Montag ‘s impressionability is clear in this subdivision, and Faber ‘s voice in his ear begins to spur him to bold actions. When Montag gives in to Faber ‘s bid to hold with Mildred, the storyteller describes his oral cavity as holding “ moved like Faber ‘s ” ; he has become Faber ‘s mouthpiece. After merely a short clip with the audio sender in his ear, Montag feels that he has known Faber a life-time and that Faber has really become a portion of him. Faber tries to move as a wise, cautious encephalon within Montag ‘s immature, foolhardy organic structure. Here once more, Bradbury illustrates the contradictory nature of technology-it is both positive and negative, at the same time good and manipulative.
Bradbury farther develops the resistance between Faber and Beatty in this subdivision. Beatty seems mistily demonic, as if he and Faber are contending over Montag ‘s very psyche. When Montag returns to the fire station, Beatty spouts erudite citations like mad and uses literature to warrant banning literature. He hints once more at similarities between himself and Montag, stating that he has been through Montag ‘s stage and warning that a small cognition can be unsafe without farther cognition to anneal the radical spirit it produces. Faber tells Montag to see Beatty ‘s statement and so hear his, and to make up one’s mind for himself which side to follow. Here he lets Montag do his ain determination and Michigans telling him about. Beatty ‘s usage of literature against Montag is superb ; this is evidently the most powerful arm he has against Montag ‘s uncertainties.