What are two examples of alliteration in Fahrenheit 451 with page numbers?
Ray Bradbury uses alliteration throughout the book. Sometimes he uses it to convey high emotion and tense situations, and other times, he uses it as a poetical device to help the flow of the writing.
You can find the first examples as early as the first page when the author uses alliteration to convey the excitement Montag feels while he burns books:
Blazing and burning to bring down the tatters and charcoal ruins of history. (3)
Bradbury further conveys this good feeling as Montag is leaving work:
At the last moment, when disaster seemed positive, he pulled his hands from his pockets and broke his fall by grasping the golden pole. (4)
He emphasizes this feeling of joy even further as Montag starts his walk home:
He walked out the of the fire station and along the midnight street toward the subway where the silent air-propelled train slid soundlessly....
As well as showing joy, one can also use alliteration to heighten tension. Notice how in this example, the words beginning with s really jump out at you:
Before he reached the corner, however, he slowed as if a wind had sprung up from nowhere, as if someone has called his name. (4)
In this context, Bradbury can drop the use of alliteration altogether to show a change in mood:
He had felt that a moment prior to his making the turn, someone has been there. (4)
The lack of alliteration in this sentence gives the impression that he's no longer sure of what's happening. Although in the following few pages he doesn't drop alliteration altogether, Bradbury uses it less as Montag begins to talk to the girl. This expresses how cautious and unsure he is of her.
On page 24, the author uses alliteration to emphasize the danger of the Mechanical Hound:
The Mechanical Hound slept but did not sleep, lived but did not live in its gently humming, gently vibrating, softly illuminated kennel back in a dark corner of the firehouse. (24)
Sometimes alliteration can be as simple as repeating words. In these following two examples, the author repeats the words "talked," "inch," and "face" to express how Montag feels about his wife being killed:
He saw her leaning toward the great shimmering walls of color and motion where the family talked and talked and talked to her... said nothing of the bomb that was an inch, now a half-inch, now a quarter inch from the top of the hotel. (159)
Montag, falling flat, going down, saw or felt, or imagined he saw or felt the walls go dark in Millie's face, heard her screaming, because in the millionth part of time, she saw her own face, heard her screaming, because in the millionth part of time left, she saw her own face reflected there. (159)