deranged psychopath against whom brave firefighters will have to contend.  That these thoughts are the product of the mind of a firefighter, and of his colleagues, and that these thoughts will be revealed as official government policy, lendsFahrenheit 451 an irony that places his novel among the most important in the history of the genre.  

Another bit of irony involves Montag's new friend, Clarisse McClellan, the seventeen-year-old teenager who befriends him and who will come to represent a window through which Montag can begin to view an alternate and infinitely more humane reality.  Early in Part I, when Clarisse introduces herself to Montag, and noting his profession, she states, "So many people are. Afraid of firemen, I mean. But you're just a man, after all..."  That people should be "afraid of firemen" is another example of irony, as people the world-over associate firemen in an extremely positive light.  It is the fire department to which we turn when our lives and possessions are threatened by fire.  In Bradbury's novel, as noted, the world has been turn upside down by an autocratic regime that fears the people over whom it rules, with books and the knowledge they contain the greatest threat to regime stability.

One example of irony at the end is the method Montag uses to escape. For his whole adult life, he has been a fireman, using kerosene to burn books and houses, using fire to destroy. Earlier, he wonders if firemen used to put out fires instead of setting them, and he discovers that the revised history of the world has erased this truth. Now, on the run from the Mechanical Hound, Montag can't use fire to save himself. Instead, he uses water:

He floated on his back... The river was very real; it held him comfortably and gave him the time at last, the leisure, to consider this month, this year, and a lifetime of years.
(Bradbury, Fahrenheit 451, Google Books)

As a fireman, he should have been using water to put out fires. Now, water saves him from the Mechanical Hound and all the technology of the New Fire Department. His thoughts on the river are the final nails in his understanding of fire as a destructive force, and he understands -- because the water gives him time to think -- that since time will not stop its slow destruction, humanity needs to stop destroying and start to educate and build.

One example of dramatic irony in this section of the text is when Montag returns home from his visit with Faber and Millie's friends burst into his house with their vapid conversation. Montag casually asks them about their missing husbands and whether they are fighting in the war, and one woman replies:

I'm not worried. I'll let Pete do all the worrying. I'll let old Pete do all the worrying. Not me. I'm not worried.

What Montag and the reader have come to understand is that most human relationships in this society are shallow and are missing any real form of human connection. These comments show the dramatic irony; Pete's wife likely considers herself concerned about him in some way but is too shallow to even realize that her superficial feelings about her husband are not borne in actual concern.

On the other hand, a further instance of dramatic irony occurs when Montag believes it possible to somehow connect with this group of superficial women through literature. The reader knows that the only possible outcome of choosing a poem to share with Millie and her friends will be disastrous. They have no depth, no desire for intellectual stimulation, and are more than content to engage in meaningless conversations about entertainment.

So when Montag begins the reading of "The Sea of Faith," the audience knows that this is a tipping point in Montag's life, yet he seems unaware of this, as evidenced by his final line in this section when Beatty confronts him about his choices: "Why, we've stopped in front of my house." The dramatic irony here is that Montag seems unaware that Millie would turn on him, although the reader realizes that Millie is incapable of depth or of leaving her "family" for something of greater substance.

In literature, dramatic irony is when the audience is aware of something that the characters in the story are not.The audience understands situations and resolutions before the characters do, which often creates a sense of excitement. There are several instances throughout Part 2: The Sieve and the Sand of the novel Fahrenheit 451 that apply dramatic irony to various situations. At the beginning of Part 2, Montag is searching for meaning in life and believes that books contain many answers. He needs help understanding texts and believes he has a very rare book. Montag remembers meeting Faber, the retired English professor, and believes that Faber can help him decipher the texts. Montag calls Faber and asks him how many copies of the Bible, Shakespeare, and Plato are in existence. Faber thinks that he is being recorded, and that Montag is trying to trap him by getting him to admit that he has knowledge of illegal books. The audience is aware that Montag is truly seeking answers and help, while Faber thinks that he is being set up.

Another example of dramatic irony from Part 2 happens when Montag returns home from Faber's house, and Mildred's friends are over. Montag is furious after hearing their ridiculous conversation and is contemplating reading to them and chastising their superficial existence. Mildred is unaware that Montag has the "green bullet" in his ear and is communicating with Faber. Faber asks Montag, "What good is this, what'll you prove?" Montag says, "Scare hell out of them, that's what, scare the living daylights out!" Mildred says, "Now, Guy, just who are you talking to?" (Bradbury 95). The audience knows that Montag is talking to Faber and is about to scare Mildred and her friends. Mildred and her friends have no idea that Montag is talking to Faber and do not expect him to scare them.

The irony is that Montag, the firefighter, must burn his own house. But there are other ironies as well. For one thing, it is ironic that Mildred has turned him in, part of a larger irony: Montag seems to think he understands those around him, when, in fact, he has been blind to the possibility of betrayal. The shock of this realization is palpable at the end of part 2, when he gazes at astonishment at being taken to burn his own house.

Another aspect of the irony is the plan Montag expresses to Faber. Montag proposes that he and Faber plant books in the houses of firemen, then anonymously report them to the authorities so that their houses will be burned. Montag hopes to undermine the integrity of the firefighters as an institution. But of course, he is the very thing his plan would create; in a way, his own home will be the first to burn under this new plan to discredit the book burners.

This circularity is a recurring theme in this part, in which the line between learning and ignorance, or action and inaction, is often blurred. Montag hopes for Faber to "teach" him, but Faber is afraid to act in any real way; instead, he gives Montag a seashell so he can remain safe at home while eavesdropping on the world of the firemen. The conclusion of part 2, and Montag's burning of his own house, can be read as an ironic comment on Faber's inaction.

The irony is that the firemen, including Montag, arrive at Montag's house. He has been turned in for possessing books. Of course, it is his own wife, Mildred, who turns him in. Now Beatty makes Montag burn not only his house but all of the books and places him under arrest.

Please note: page numbers vary widely among editions so context is provided to aid your search.

The eNotes Guide to Literary Terms includes a definition of allusion along with several examples. One important feature to keep in mind is that allusion operates through the implicit associations it calls up. This distinguishes allusion from a direct, explicit reference. Allusions may include brief quotations, but are usually words or phrases that bring to mind an an event, person, place, thing, or idea—but without explicit mention of the source.

Around the middle of Section I, “The Hearth and the Salamander,” the firemen prepare to burn an elderly woman’s home, but she refuses to leave. In speaking of her books as containing totally contradictory ideas, Captain Beatty suggests they are multiple languages that are not mutually intelligible: “‘You’ve been locked up in here with a regular damned Tower of Babel.’” The tower is mentioned in the Bible, Genesis 11:1–9.

An allusion that is frequently used in everyday speech may become an idiom. An example spoken by Beatty occurs a few pages before the end of Section I, when he is railing against the excessive simplification of culture for popular consumption. He uses a water metaphor to compare the firemen’s efforts to stemming a “tide,” saying: “‘We have our fingers in the dike.’” This is an allusion to the story “Hans Brinker and the Silver Skates,” in which a Dutch boy saves his community by holding his finger in a hole in the dike so it will not break and flood them. It has entered general English-language usage as a metaphor for any valiant, but probably futile effort.

An allusion is a casual reference to something that should be well-known by the reader.  It is generally meant to support an explanation, to give an example. An allusion can be about the Bible, history, mythology, or literature.  Bradbury uses all of these in his book. 

Some historical allusions are:

1. When the woman comes out of her house and says,

"Play the man, Master Ridley: we shall this day light such a candle by God's grace, in England, as I trust shall never be put out." (pg 36)

Later, on page 40, Beatty explains to Montag that those words  were spoken by a man named Latimer to Nicholas Ridley as they were being burnt alive at Oxford for heresy on October 16, 1555. The woman said it just before she ignited and killed herself in the flames.

2. Another historical allusion is 

"....when Mildred ran from the parlor like a native fleeing an eruption of Vesuvius" (pg 93)

Vesuvius was a famous volcano that erupted in AD79 destroying the city of Pompeii and all of its residents. 

Another kind of allusion in the book is the literary allusion.  Many of these are done when Beatty is speaking. 

1. One such allusion is

"Colored people don't like Little Black Sambo.  Burn it.  White people don't feel good about Uncle Tom's Cabin. Burn it." (pg 59)

These are allusions to two famous books.  Little Black Sambo was criticized for racism toward black children. Uncle Tom's Cabin is an antislavery book written by Harriet Beecher Stowe that would upset white people.

2. Another literary allusion is,

"Montag stopped eating.  ..., he saw their Cheshire cat smiles burning through the walls of the house...." (pg 93)

This is an allusion to the Cheshire cat character in Alice in Wonderland.

3. On pages 105-106 in my copy of the book, Beatty recites quotes from Sir Philip Sydney and Alexander Pope, both famous poets.  He uses their quotes to make a point to Montag that a person can find support for both sides of an argument in literature.

Another kind of allusion or casual reference in the book is concerning the Bible.

1.  When Montag is on the train on his way to visit Faber, he tries to memorize portions of the Bible but is interrupted by the advertisement blaring in the train. Montag thinks,

"Shut up, thought Montag.  Consider the lilies of the field." (pg 78)

This is an allusion to the Sermon on the Mount when Jesus told the people not to worry about their worldly goods.

2. Another Biblical allusion is at the end of the book when Montag recites Revelation 22:2

"And on either side of the river was there a tree of life, which bare twelve manner of fruites and yielded her fruit every month; And the leaves of the tree were for the healing of the nations." (pg 165)

He decides he will share this with the men when they reach the city.

Another kind of allusion Bradbury uses is mythological allusions.  These reference famous stories of the Greek and Roman myths.

1. When Faber is talking with Montag he says,

"Do you know the legend of Hercules and Aneaeus, the giant wrestler, whose strength was incredible so long as he stood firmly on the earth?  But when he was held, rootless, in midair by Hercules, he perished easily." (pg 83)

2. There is the famous reference to the phoenix, the bird that burned himself every few hundred years but

"....every time he burnt himself up he sprang out of the ashes, he got himself born all over again." (pg 163)

The phoenix was a symbol on his fireman's shirt.

The mythical creature is the phoenix, which is the firemen’s logo.

A phoenix is a creature that supposedly burned and was reborn, or rose from the ashes.  Firemen have the logo on a disc on their chest and a salamander on their arms.  A salamander supposedly can live in ashes, according to myth.  The bird makes sense as the mascot and logo of the firemen because they burn the books and the items in the houses, but not the houses themselves.  The houses are fireproof, so they are like phoenixes rising from the flame. 

The phoenix comes into the conversation after the city is burned. 

"It's flat," he said, a long time later. "City looks like a heap of baking-powder. It's gone." And a long time after that. "I wonder how many knew it was coming? I wonder how many were surprised?"  (Part III) 

People were not really paying attention to the war.  It was not real.  Beatty says, “Let him forget there is such a thing as war” (Part I).   All that mattered was their entertainment.  They lived every day on a high, focusing on pleasure and making no deep connections.  They were alive, but not really living.  

Granger brings up the phoenix, a bird he says lived “back before Christ.” 

But every time he burnt himself up he sprang out of the ashes, he got himself born all over again. And it looks like we're doing the same thing, over and over, but we've got one damn thing the Phoenix never had. We know the damn silly thing we just did. (Part III) 

Granger says that mankind is foolish, because we keep making the same mistakes in our society. He says that “even when we had the books on hand, a long time ago, we didn't use what we got out of them.”  Montag’s society burns itself up, and it will re-emerge.  Will the new society be better than the former one?

One of the most prominent allusions in Fahrenheit 451 is present in the form of the Mechanical Hounds.

It's a fairly common literary device, especially in science fiction, to use machines and mechanization to represent oppression; consider a film like The Terminator. Considering their role in the society of Fahrenheit 451, it seems clear that the Hounds fall into this interpretation as well:

• The Mechanical Hounds are not only mechanical, but unnaturally so; their eight legs, needle-nose and compound eyes make them abominations, "hounds" in name only, since they only superficially resemble a dog. This could represent man's corrupted interpretation of nature, our "inability to play God", as demonstrated in stories like Frankenstein: the Mechanical Hounds are like Victor's Monster, built in the image of a good thing, but having turned out horribly wrong.
• The Hounds have also been perverted in terms of their purpose and their analogy to a real firehouse dog; whereas real dogs were meant to find trapped people by scent, the Hounds track people by scent and kill them, or otherwise impose a violent force of will. The Hounds represent a complete dystopian image, where the familiar has become its own ideological opposite.
• The Hounds are employed as tools of the Government; for example, when a Hound fails to catch Montag, the government selects a random victim to demonstrate that the Hound never fails, and the government always gets its way.

Thus, the Hounds are allusions to totalitarian control, "perverted" science and technology, and the corruption of society.

Other allusions might include the television, an allusion to the individual choosing ignorance, and the railroad tracks, an allusion to "old times" and "safe" technology.

I see the author's use of allusions throughout the text as a sort of secret code to keep literature alive not only in the fictional society but ours as well.  Consider, as the previous post states, the sheer number of literary allusions.  Most readers of this book are not going to recognize every single one of the sources nor meanings of these allusions.  Those who wish to, are going to do some digging and researching.  It is almost as if the author wanted this.  Perhaps Bradbury himself was hoping his book would lead readers to discovering many more.

Your question picks up on what is an interesting aspect of this novel - the sheer number of allusions that there are to other texts. Obviously, quotes play a major part of this novel, a world where books are banned and therefore illicit material. What is interesting is who uses these quotes and why. It is important to analyse the characters of Beatty and Faber in particular as they use quotes to try to manipulate/bully Montag but also the quotes reveal their character, which is very interesting in the case of Beatty, as his obsessive quote-using reveals his own deep-seated ambivalence about books and the world he is in.

The first quote we are introduced to comes from Latimer and is said by the first victim of the book burning, who willingly burns herself alive "with contempt to them all":

"We shall this day light such a candle, by God's grace, in England, as I trust shall never be put out."

The quote is used to ironically emphasise the "heresy" that this woman is committing by hoarding books whilst at the same time stating her own protest against this society - the fact that she is willing to die with her books rather than live life without them, pardon the pun, speaks volumes.

"Dover Beach" is used in a fascinating way to expose the emptiness of this dystopian world and also reflect on the changes that have happened in this society:

"....for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain..."

It is highly significant that Montag reads this poem to Mildred and her two friends, interrupting their watching of the "family" on the screens. This poem in this context therefore cuts right through the superficial nature of their lives and their dependence on simulated relationships, exposing their inner emptiness, which is why Mrs. Phelps begins to cry immediately after the end of this poem.

Hopefully these examples will help you as you re-read the novel and detect more allusions and consider why the author used them and what he is trying to signify through them.

In the novel's opening scene, Guy Montag, the protagonist, walks out of the fire station. What commences is a run of alliteration with "s" sounds:

"He walked out of the fire station and along the midnight street toward the subway where the silent air-propelled train slid soundlessly...rising to the suburb."

It could be said that the "s" sounds evoke the sibilant sound of the ignition of a fire.  This is fitting because Montag is a fireman who revels in burning books and the houses of people that own them.  The alliteration's placement here becomes a sort of soundtrack to develop his characterization.  In fact, in the paragraph prior to the alliteration describing his journey home, Montag is described as having a "fiery smile" that never leaves his face, even when he is alone in the dark.  Guy Montag seems, in this opening vignette, to be the embodiment of the hiss of fire.

Alliteration is the repetition of like consonant sounds in poetry or literature.  Writers use alliteration to emphasize text and to create rhythm and mood in their writing.  When a writer uses alliteration, words that sound alike are usually put close together, and the repeating consonant sound usually starts each word.

I downloaded the text of Fahrenheit 451 book and scrolled to random pages to found some of the following examples of alliteration.  Ray Bradbury was a master at using figurative language and literary devices in his writing.  Note how the sentence sounds when you read it and what mood is being created by the repetition of the sound.

Here are some examples:

“It’s fine work.  Monday burn Millay, Wednesday Whitman, Friday Faulkner, burn ‘em to ashes.  That’s our official slogan. 

“It was like coming into the cold marbled room of a mausoleum after the moon had set.”

“The little mosquito-delicate dancing hum in the air, the electrical murmur of a hidden wasp snug in its special pink warm nest.”

“The rain was thinning away and the girl was walking in the centre of the sidewalk with her head up and the few drops falling on her face. 

Verbal Irony: At the end of Part Two, Captain Beatty sarcastically inquires about Montag's physical condition and enthusiastically implies that Montag will enjoy going on the next call, which happens to be Montag's home. This is a clear example of verbal irony because Captain Beatty is not concerned about Montag's well-being, nor does he think Montag will enjoy destroying his own home. Captain Beatty says,

"Montag, you don't look well? I'd hate to think you were coming down with another fever...You'll be fine. This is a special case. Come on, jump for it!" (Bradbury, 52)

Dramatic Irony: A good example of dramatic irony takes place in Part One when Mildred overdoses on sleeping pills. Montag watches as an operator pumps his wife's stomach using a suctioning machine that resembles a snake. When Mildred wakes up in the morning, she wonders why she feels hungry and does not know that she had her stomach pumped. However, the audience is aware that Mildred had overdosed and had her stomach pumped the previous night, which makes this scene an example of dramatic irony.
Situational Irony: The entire novel is filled with examples of situational irony, which is when something happens that the audience does not expect, and the final outcome of an event or certain aspects of the novel do not meet the audience's expectations. From the beginning of the novel, Bradbury uses situational irony by depicting how firemen actually set books on fire instead of putting them out. Also, brutality is encouraged and intellectual thought is forbidden throughout the dystopian society's school system. In order to become a valued member of society, Montag must flee the city and join a traveling group of hobo intellectuals. Instead of being revered scholars, the intellectuals dress like homeless individuals in order to avoid the authorities, which is another example of situational irony.

The pages quoted are from my edition of the book which is ancient.  If you cannot find the exact quote in the book, you may need to look at the page ahead or behind it.

When Montag tries to communicate his distress over the burning of the old woman, Mildred replies “She’s nothing to me: she shouldn’t have had books.  It was her responsibility, she should’ve thought of that.  I hate her.  She’s got you going  and the next thing you know we’ll be out, no house, no job, nothing.”(pg  51.   Mildred is worrying about a dead old woman having this affect on Montag, and the fact of the matter is, she turns in the alarm on him.  She causes her life to have no house, no job, nothing by doing what the government says, not by breaking the law.

Another example of irony is Captain Beatty’s speech to Montag . He tells Montag

“Who knows who might be the target of a well-read man? Me? I won’t stomach them for a minute.”  Pg 58.  

 The fact of the matter is, Montag is the target of a well-read man, Beatty.   When Montag returns to the firehouse, Beatty quotes John Donne, Sir Philip Sydney ,and  Alexander Pope.  He tells Montag of a dream he had where Montag quoted Dr. Johnson. He continues to taunt Montag with quotes from many different areas.  Pg 107.  When Montag is about to set him on fire, he spouts Shakespeare.  The man was well-read.

A euphemism can be defined as a polite word or expression that's used to refer to something inherently unpleasant. For example, instead of saying that someone's died, we often say that they've passed away. Euphemisms are a way of protecting people from the harsh nature of reality. This is precisely what the repressive government in the dystopian society of Fahrenheit 451 aims to do by burning books.

On one such book-burning expedition, the firemen—another euphemism—incinerate an old lady along with her books. Before she dies, she quotes the dying words of Hugh Latimer, a 16th century English Protestant bishop, burned to death by the Catholic Queen Mary as a heretic:

Play the man, Master Ridley; we shall this day light such a candle, by God’s grace, in England, as I trust shall never be put out.

"Lighting a candle" is a euphemism, a much nicer way of describing someone being burned to death. Latimer was expressing his firm belief that the deaths of himself and his co-religionist, Bishop Nicholas Ridley, would act as a spark for change, lighting a permanent flame in the souls of their fellow Englishmen, who would embrace what they regarded as the true religion of Protestantism. The old lady uses this euphemism to refer, not to religion, but to the flame of knowledge, a flame that will never be extinguished despite the best efforts of this repressive, totalitarian government.

The most obvious example of euphemism in Fahrenheit 451 is the use of the word "fireman" to refer to a person who actively sets fires, instead of a person who tries to put them out. In today's society, such a person would be called an "arsonist," not a fireman, but the government in the novel has revised both history and language to use the word in a different manner. A firetruck now is a truck filled with kerosene, with flamethrowers, and the fireman's traditional rescue dog is now a Mechanical Hound, with eight legs and a poison needle in its nose to kill people who try to escape or fight the system. By changing the meanings of these long-standing words, the implication of "I called the fireman" takes on a very different meaning.

Let us remind ourselves of the definition of dramatic irony. Dramatic irony is a form of irony when one character and/or the audience knows something that other characters do not. The classic example is of course in Shakespeare's Romeo and Juliet, where at the end, the audience knows that Juliet is just about to come to life again, but Romeo does not, and he kills himself just before it happens.

Thinking about this concept, it is clear that one example of dramatic irony could concern Mildred's attempt to kill herself and then her subsequent unawareness of this fact and what was done to save her the next morning. When Montag asks Mildred about last night, she responds:

"What? Did we have a wild party or something? Feel like I've a hangover. God, I'm hungry. Who was here?"

Her inability to remember what happened is an excellent example of dramatic irony, as is her assumption that they had a party and she is suffering from a hangover rather than the after-effects of having her life saved from her suicide attempt.

Situational irony occurs when a situation is the opposite of what characters in a work of literature think it is.

One example of situational irony in Fahrenheit 451 is that of Clarisse McClellan and her family. They are people who spend time outside in nature, don't watch the giant television view screens, take walks, and enjoy having conversations with each other. They are not overly reliant on technology and like to ask questions. When Clarisse interacts with Montag in a genuine way and shows an interest in him, it actually awakens in him a dissatisfaction with the shallowness of his life. To Bradbury's mind the McClellans represent people who are much more well adjusted than most of the people in their society.

However, as Beatty explains, within the context of their culture, the McClellans are considered deviant and maladjusted. Beatty says of them:

We had some false alarms on the McClellans, when they lived in Chicago. Never found a book. Uncle had a mixed record; anti-social. The girl? She was a time bomb. The family had been feeding her subconscious, I'm sure, from what I saw of her school record. She didn't want to know how a thing was done, but why. That can be embarrassing. You ask Why to a lot of things and you wind up very unhappy indeed, if you keep at it. The poor girl's better off dead.

It is an example of situational irony that Beatty, a mouthpiece for orthodox thought in his culture, thinks the McClellans are a problem when they represent exactly the kind of thoughtful energy and inquiry the society needs. It is ironic that Beatty thinks Clarisse is better off dead when she was the most alive person Montag had met in years.

There is an example of situational irony on the very first page of Fahrenheit 451, when the reader meets the main character, Montag. In this opening paragraph, Montag's duties as a fireman and his enjoyment of the job are described to the reader:

With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicked the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black.

This situation is ironic because we would expect a fireman to put out fires, not to start them. In the world of Fahrenheit 451, however, firemen are the defenders of censorship and the burners of books. Though ironic to the reader, it is this description which foreshadows the conflict that Montag will experience as he comes to realise that this is a repressive system which does not make him truly happy. 

To escape this repression, however, there will be a second example of situational irony: Montag will have to burn his boss, Captain Beatty, as he fights against the book-burning which exists in his world.

For more examples of irony, please see the reference link provided. 

Situational irony refers specifically to events where the setup causes an outcome opposite to expectations; it hinges on reversal of expectation rather. In the book, a good example of situational irony is the use of the term "firemen." In present-day society, firemen are public service workers who respond to sudden fires, either environmental or residential, and work with water and chemicals to put the fires out and save lives. However, in the book, it is made clear from the beginning that the firemen are "men of fire," charged with burning books and allowed to kill people who break the law without consequence.

"Established, 1790, to burn English-influenced books in the Colonies. First Fireman: Benjamin Franklin."

RULE 1. Answer the alarm swiftly.
2. Start the fire swiftly.
3. Burn everything.
4. Report back to firehouse immediately.
5. Stand alert for other alarms.
(Bradbury, Fahrenheit 451, Google Books)

This is, of course, ridiculous; there is no reason why fires would be considered a good course of action, especially in regards to books. Also, Ben Franklin was the first firefighter, not an arsonist. However, since the future society is based on collective ignorance, it is imperative that the people be both afraid to read, and distrustful of anyone who thinks differently; the violence of the fire and the public consequences of burning are enough to continue this mindset. In this way, the term "firemen" is reversed and made ironic because it refers to the direct opposite of its initial meaning.

Let us remind ourselves of the definition of situational irony. Situational irony is when there is a sudden, unexpected reversal of what we expect to happen in a story. The classic example of this is "The Gift of the Magi," when there is a sudden, shocking ending as Jim and Della that they have both traded the possessions that were dearest to them to purchase gifts that now cannot be used by the other.

If we think about this concept in terms of this novel, I would argue that the ending of the story is an example of situational irony. Having finally escaped the mechanical hound and found a group of Book People who he can join, Montag is looking forward to a life of hidden opposition and remembering texts. Instead, both he and the reader are shocked by the sudden destruction of the city from which he has just fled:

The bombardment was to all intents and purposes finished once the jets had sighted their target, alerted their bombardier at five thousand miles an hour; as quick as the whisper of a scythe the war was finished. Once the bomb release was yanked, it was over.

The shock with which this rapid and sudden destruction of the city occurs is as much of a surprise for Montag as it is for us. Now the group will not have to operate in secret, and can be part of the phoenix rising from the ashes that Granger remembers. It is a sudden twist in the plot that takes us by surprise.

Fahrenheit 451 has many sarcastic elements that poke fun at Guy's society (and western modern society by extension). For example, in "The Sieve and the Sand," Mildred, Guy Montag's wife, has gathered her banal female friends at their home, and Guy taunts them with the poetry he is illegally reading. 

Mildred urges Guy to read by saying, "Here's that real funny one you read out loud today. Ladies, you won't understand a word. It goes umpty-tumpty- ump" (page numbers vary by edition). Mildred finds poetry riotously funny because it means as little to her as nonsense syllables. After Guy finishes reading "Dover Beach" by Matthew Arnold, a serious and contemplative poem that reaffirms the poet's belief in the power of love above all, the ladies at the party, who Mildred thought she would entertain with silly poetry, instead break into sobbing. In fact, Mrs. Bowles, a party-goer, says to Montag, "You're nasty!" She conceives of his poetry reading as threatening and evil, which is ironic because the society is evil for making literature and poetry illegal. Guy is not evil for simply reading poetry. Hence, this scene employs sarcasm because Guy finds beauty in poetry, while the women, brainwashed by their society, find his reading poetry evil and harmful. 

Dramatic irony is when the spectator or reader is given information that one or more characters are not aware of. Therefore, a subsequent event is usually a surprise to the character, but the audience is ready for it. 

At the very beginning of Part 3, Beatty is lecturing Montag on the perils of literature. Meanwhile, Faber continues talking to Montag via the radio device in his ear. The reader, Montag, and Faber are aware of this, but Beatty is not. Faber continually asks Montag if he can escape. Montag replies that he can't, "Because of the Hound!" Beatty assumes he is talking to him and agrees that the Hound is near. Finally, Montag tries to escape and Beatty hits him, sending the radio earpiece (the "green bullet") flying to the ground. Beatty discovers what we, Montag, and Faber had already known. This is called the resolution of dramatic irony. This is when the ignorant character discovers what the spectator was already aware of. Beatty says: 

"Well--so there's more here than I thought. I saw you tilt your head, listening. First I thought you had a Seashell. But when you turned clever later, I wondered. We'll trace this and drop it on your friend."

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. (4)

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)

When looking at Ray Bradbury's overall body of work, as a writer he tends to favor a very poetic kind of prose: richly descriptive, metaphorical, and imagery-intensive. With that in mind, when looking towards Farenheit 451, you should not be surprised to find there's a lot of alliteration within the book. Far more than two examples.

Actually, I'd start by noting the titles of the chapters. Of those three sections, two of them are alliterative. The second chapter is entitled: "The Sieve and the Sand" (note the repetition of the S sound) and the final chapter is titled "Burning Bright." In addition, you can see alliteration in the name of some of his characters. We see in chapter 1, Montag meet a teenager named Clarisse McClellan, and later, in chapter 2, we find hear mention of a presidential candidate named Hubert Hoag.

For two final examples, taken from the book's prose, I'd point first towards the book's opening page, where we read: "his hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history." (Farenheit 451 1). Notice the specific sequence of blazing, burning, and bring-down, all in close proximity.

Just a few pages later, when Montag first encounters Clarisse, the narration tells us "her head was half bent to watch her shoes stir the circling leaves" (3)—here again we see the use of alliteration, first of the "h" sound, and then of the "s." Keep in mind, both of these examples are drawn from the book's first few pages. Alliteration is a frequent tool Bradbury employs.

As a final note, be aware that there are different editions of Farenheit 451, so the page numbers will vary depending on which one is employed. For this answer, I've consulted the Sixtieth Anniversary Paperback Edition, published by Simon & Schuster, 2013.

For the page numbers to be meaningful, we need to be using the same edition. Mine is the Del Ray Book published by The Random House Publishing Group, 1991. If you use another edition, the pages may or may not align, so I will provide additional detail to help orient you.

In the section entitled "The Hearth and the Salamander," on page 4, Montag walks out of the fire station and heads for the subway.  Here we find a run of alliteration with sibilant "s" sounds that serve to suggest the sound of a hissing fire and associate it with the protagonist:

"He walked out of the fire station and along the midnight street toward the subway where the silent air-propelled train slid soundlessly..."

In the same section, on page 8, Montag, a burner of books, recites to Clarisse his "official slogan," a burning schedule of poets and novelists presented as alliterative couplets:

"Monday burn Millay, Wednesday Whitman, Friday Faulkner..."

To be clear, verbal irony can present itself in several ways. It often occurs when someone intentionally makes a statement that is the opposite of the truth or what they feel, which usually has a sarcastic tone. Sometimes, however, the person doesn’t realize the untruth of their statement, which adds a layer of dramatic irony, since the listeners get it. Bradbury uses both types of verbal irony in Fahrenheit 451.

In part one, “The Hearth and the Salamander,” Montag becomes physically ill in response to the woman choosing to be burned alive with her books rather than live without them. Beatty gives Montag a pep talk about how important it is to keep people happy by preventing them from thinking. This, of course, is ironic. Yet Montag is unconvinced, so when the captain leaves, he turns to his wife for support, trying to explain to her how unhappy he is. He doesn’t yet understand why, but he feels that their lives are missing something, and he is angry about it. Mildred tells him to take the beetle because “you feel wonderful” when you run over rabbits and dogs with it. This is also ironic, that one must kill another creature in order to feel better. On top of this, she’s really not listening to her husband or what he needs; she’s talking about herself, which is a large part of Montag’s misery—their disconnectedness.

Montag insists that he doesn’t want to get over this feeling; he wants to figure out what’s wrong, even if it means reading books for answers. He tells Mildred that Beatty is right, happiness is important, “And yet...I’m not happy, I’m not happy.” At this point a loving wife would say something supportive to her husband. Mildred’s response is, “I’m tired of listening to this junk,” and she turns back to listen to the announcer on her T.V. walls. The irony of this is lost on her. She doesn’t have a clue what the real junk is that she chooses to listen to all day long. But of course we do, and Montag has begun to realize the meaninglessness of their way of life.

We see this several pages later when he tells Faber sarcastically, “Christ is one of the 'family' now. I wonder if God recognizes His own son the way we’ve dressed him up, or is it dressed him down?” They use Christ to sell “commercial products that every worshiper absolutely needs.” At this point, Bradbury has moved beyond simple verbal irony to present satire on how disconnected this future society has become, a prophesy that we certainly see unfolding in our world today.

There are quite a few examples of verbal irony in this book. Fahrenheit 451 is a wonderful book about just how out of control some people really are. The symbolism and ironies in the book are scary to think about.

At the very beginning of the book, we meet Guy Montag, and he is a fireman. What is such a verbal irony here, is that in the past fireman were always there to put out fires and keep us safe, now in this future, they are the ones starting the fires and destroying everything. They are not there to keep us safe anymore. They are there to make sure the people don't have any books and think for themselves. 

The next verbal irony is after Montag starts a fire and he sees Clarise on the street and she asks him if he is happy. He thinks to himself, as he walks off, that of course he is happy. Why wouldn't he be happy?

"He felt his smile slide away, melt, fold over and down on itself like a tallow skin, lie the stuff of a fantastic candle burning too long and now collapsing and now blown out. Darkness. He was not happy. He was not happy. He said the words to himself. He recognized this as the true state of affairs. He wore his happiness like a mask."

This is where we see the change begin to happen. Montag is now ready to think for himself and find out what true happiness really is.

One example of verbal irony is Mildred's continual reference to the actors performing on the TV walls as her "Family". In reality, Mildred neglects her true family (Montag), and even attempts to commit suicide. However, when Montag confronts her about these intentions, she denies it, unable to consider in what way she might be unhappy. But during the day, she constantly harps on Montag about buying a 4th TV wall, claiming that 3 isn't enough. She sits in her house all day (there's no reference to her ever working, but she's perfectly happy to spend Montag's money), watching the actors play out a meaningless, inane soap opera. At one point, Montag asks her to explain why everyone is so angry, but she can't even follow the storyline. Instead, she purchases an upgrade, which allows her name to be inserted into the conversation: like "her family" is actually speaking to her.

So she finds superficial, meaningless happiness in her material possessions, while drifting further and further away from Montag and the possibility of actual contentment.

The bird is a symbol throughout the book. In some cases, books are described as birds. Describing pages as spreading like the wings of a bird indicates that books have the potential to fly. In other words, books have the potential to escape the kind of oppression and destruction that the firemen have subjected them to. When Montag is at a house where a woman has been hoarding books, he has this experience:

A book alighted, almost obediently, like a white pigeon, in his hands, wings fluttering. In the dim, wavering light, a page hung open and it was like a snowy feather, the words delicately painted thereon. 

In addition, the knowledge and inspiration that comes from books is not relegated to the book itself. Montag can read a book and remember what he's read. Even if the book is burned, the knowledge from the book lives on through him. Compare this to a bird's song. Also, consider the Phoenix. This is a mythical bird which is reborn of its own ashes. It is ironic that this symbol is on Montag's fireman's uniform. In the end, Montag is reborn, having transformed from an illiterate automaton to a curious academic-in-training. 

Clarisse's comment that she is "crazy" is an example of hyperbole. Her uncle has told her that being seventeen goes hand in hand with being insane. This is her uncle's way of being facetious and making it seem natural to be "crazy." Clarisse is actually one of the most sane characters in this book. In this society, it is crazy to have original ideas and to question things. Clarisse tells Montag, "I rarely watch the 'parlour walls' or go to races or Fun Parks. So I've lots of time for crazy thoughts, I guess."

Early in the book, Montag considers whether or not he is happy. After having another conversation with Clarisse, he finally becomes introspective and realizes, "He was not happy. He was not happy." Bradbury repeats this sentence to stress its significance. It is a bit of an understatement to say Montag is not happy. He realizes his entire personality has been contrived and forced upon him. He has yet to discover himself.

An example of a symbol is fire, at first used for destructive purposes by the dystopian society described.  The job of "firemen" has been twisted to embody the opposite of what it once was - instead of putting out fires to save lives, firemen now use fire to burn books, stamping out the freedom of thought books represent.  Later, the symbol of fire takes on a positive connotation - to warm the fugitive "book people", who, like the mythical Phoenix, will rise from the ashes of destruction by fire to renew their spoiled society.

The author uses hyperbole in an especially effective manner in Beatty's explanation of the history of firefighting.  He describes the decline of appreciation of the classics with delightful exaggeration, expounding,

"Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten-or-twelve-line dictionary resume" (Part I).

Mildred's conversation is peppered with understatement, reflecting her perpetually vague, anesthetized state which is the result of being so sucked in by mass media entertainment and easy access to drugs.  After spending the night having her stomach pumped because she had overdosed on pills, Mildred, who has no recollection of what had happened, comments in the morning with a mildly puzzled manner,

"Didn't sleep well.  Feel terrible...did we have a wild party or something?" (Part I).

Though the dystopia shown in Ray Bradbury’s Fahrenheit 451 (1953) wants to destroy all written words, paradoxically, the firemen assigned to this job often use metaphors and allusions in their speech. This itself is a sly metaphor about the power of books; even as the firemen burn texts, words and ideas from them are burnt into their brains. Thus, metaphors and allusions operate at several levels in Bradbury’s novel. An example of the complex way Bradbury uses metaphor is the following lines, in which the protagonist, Montag, recalls his captain, Beatty, describing the pleasures of book burning:

“Sit down, Montag. Watch. Delicately, like the petals of a flower. Light the first page, light the second page. Each becomes a black butterfly. Beautiful, eh?” ... There sat Beatty, perspiring gently, the floor littered with swarms of black moths that had died in a single storm.

For Beatty, the intact pages are as delicate as flowers, yet the killed pages are even more beautiful, fluttering like butterflies. Beatty's metaphor mocks the notion that freedom and beauty are inherent in words. He suggests that unlike what people in previous generations thought, words are truly free when destroyed and turned into crisp, flying flakes. Yet, for Montag, the burnt words represent not dancing black butterflies but dead, charred moths, a metaphor for the death of free thinking.

Further, the names of each of the three sections of Fahrenheit 451 are metaphors too: In section 1, “The Hearth and the Salamander,” the salamander, along with the phoenix, forms the insignia of the firemen. The salamander's significance as the insignia is its mythical fireproof nature. The salamander both makes an inspiring motto for the firemen—they stay safe among the flames—and a metaphor for their resistance to the “fire” books ignite within people. Part 2, “The Sieve and the Sand,” is a metaphor for the mind. The mind is like a sieve, while knowledge is like sand. As Montag discovers a love for books, he hopes by reading them fast enough, he will be able to retain some sand in the sieve of his brain. Part 3, “Burning Bright,” is a metaphor for Montag’s enlightened state of mind and a renewed sense of hope. It is also an allusion to these lines from William Blake’s poem “The Tyger”:

Tyger Tyger, burning bright,
In the forests of the night;
What immortal hand or eye,
Could frame thy fearful symmetry?

Allusions to books are natural in the world of Fahrenheit 451, because the firemen pile and torch books for a living. Even as they incinerate books, bits and pieces from them stick in the memory of the firemen. Beatty makes a reference to the stickiness of words and knowledge when he confesses: “I’m full of bits and pieces. ... Most fire captains have to be. Sometimes I surprise myself.” The context of these words is an allusion made by an old woman whose house they have just burnt down. Preferring to be destroyed with her books rather than watch them burn, the old woman lights herself on fire, too. But earlier, after the firemen have entered her house, she quotes:

Play the man, Master Ridley; we shall this day light such a candle, by God’s grace, in England, as I trust shall never be put out.

The lines are said to have been spoken by sixteenth-century cleric Hugh Latimer to his fellow priest Nicholas Ridley, right before the two were burnt alive at the stake for their Protestant beliefs. The old woman is comparing herself to the clerics who died by fire for their principles. Later, when Montag wonders why the old lady took the name “Master Ridley,” Beatty refers to Latimer.

In the middle of the novel’s second section, Montag recites Matthew Arnold’s poem “Dover Beach” in its entirety before his wife Mildred and her friends. The reckless moment marks Montag’s suppressed voice finally breaking through, just like the poem bursts out of him. Significantly, the poem rues the loss of faith in religion, mirroring the sense of loss Montag feels in a world bereft of literature.

Later that evening, Beatty can sense the completeness of the change in Montag. In a strange sequence, the captain directs a tirade at Montag consisting mostly of quotes from several books. By alluding to differing ideas from different books, Beatty is trying to confuse Montag and show him that since books speak so many varying truths, the knowledge in them cannot be truthful, since the truth can only be one. I have included the referenced texts in parentheses.

Beatty chuckled. “And you said, quoting, ‘Truth will come to light, murder will not be hid long!’ And I cried in good humor, ‘Oh God, he speaks only of his horse!’ And ‘The Devil can cite Scripture for his purpose.’ [The Merchant of Venice, Shakespeare] And you yelled, ‘This age thinks better of a gilded fool, than of a threadbare saint in wisdom's school!’ [Old Fortunatus, Thomas Dekker] And I whispered gently, ‘The dignity of truth is lost with much protesting.’ [Cateline: His Conspiracy, Ben Jonson]

By quoting the Shakespearean lines beginning “The Devil can cite” in particular, Beatty is alluding to the fact that words are slippery and can be used by anyone to suit their nefarious purposes. Of course, Beatty’s easy familiarity with such old literary texts is the text’s meta-metaphor about the infectiousness of writing, which even Beatty cannot escape.

You can find examples of allusions and metaphors in every chapter of this novel - even on every page. For example, in the first chapter, Montag walks into his home after talking to Clarisse and realizes he is not happy. His wife, Mildred, is home watching her screens and she looks up at him:

Two moonstones looked up at him in the light of his small hand-held fire; two pale moonstones buried in a creek of clear water over which the life of the world ran, not touching them.

The "moonstones" are Mildren's eyes.

Also, there are tons of allusions in this novel. Why? Because the firemen are book burners. Every time they are talking about books, they are alluding to authors. Again, in the first chapter:

"It's fine work. Monday bum Millay, Wednesday Whitman, Friday Faulkner, burn 'em to ashes, then bum the ashes. That's our official slogan."

This allusion is to poets Edna St. Vincent Millay, Walt Whitman and author William Faulkner, all authors whose books were burned by Montag and his fellow firemen.

An allusion is an indirect reference in a text to a work of literature or art, or an indirect reference to a historical, political or cultural event. Works of literature often allude to earlier literary works or to history to set a tone or trigger a set of associations on the part of the reader. Allusions presuppose a shared cultural context, which is why many allusions, such as to Classical Greek literature, are lost on us today. 

The book burnings that Montag engages in as a fireman allude to the Nazi book burnings of the 1930s. These book burnings may seem remote to us, but they would have been within living memory of many early readers of Bradbury's novel. In the book burnings, the Nazis made huge bonfires of literature they deemed offensive and unfit for loyal members of the Reich. These included books by Jewish authors, by communists, and by other writers who challenged National Socialist ideology. These overt and dramatic acts of censorship made a deep negative impression on Americans wedded to First Amendment freedoms of expression. They became a symbol of totalitarian abuse of individual rights and a symbol of repression. Therefore, the mere mention of book burning would have raised in readers' minds the strong idea that the political regime of the novel was repressive and malevolent. This would have encouraged readers to side with Montag in his resistance to the regime. 

There are many allusions in the novel "Fahrenheit 451". The allusion in the title is a reference to the temperature at which paper burns. Paper burns when it reaches a temperature of 451 degrees Fahrenheit. This is a reference to the job of the firemen in the novel. Ironically, they burn books full of paper instead of putting out fires.

There are three types of irony. Dramatic, verbal, and situational. Dramatic irony occurs when the reader or audience knows something that the characters do not. Verbal irony occurs when what someone says is the opposite of what they mean. Situational irony is when the opposite of what one expects to occur happens.

In Fahrenheit 451, Bradbury sprinkles instances of irony throughout the novel to contribute to the theme of the importance of books.

At the beginning of the book, Montag meets a young neighbor girl named Clarisse as he is walking home from work. Clarisse asks him a question:

They walked still further and the girl said, "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." He laughed.

This is an example of dramatic irony because the reader knows that firemen put out fires. Montag finds Clarisse's question amusing. He believes that fireman have always burned books because this is what society, and his job, have programmed him to think. Montag believes that houses have always been fireproof. It is also ironic that young Clarisse seems to know this basic information, but the adult Montag does not. Clarisse most likely knows this information because she comes from a family who reads. The reader assumes this because of the questions she asks and the knowledge she has that cannot be learned in the mundane classes, mostly sports or television related, that she tells Montag she takes in school. The fact that she has this knowledge, and a grown man does not, shows how important it is to read books.

Montag visits a professor that he once met in the park after calling him on the phone. When Montag gets to his house, the professor is overly cautious. When he sees Montag and insists that he hasn't done anything wrong. Montag convinces the man that he is alone.

The front door opened slowly. Faber peered out, looking very old in the light and very fragile and very much afraid. The old man looked as if he had not been out of the house in years. He and the white plaster walls inside were much the same. There was white in the flesh of his mouth and his cheeks and his hair was white and his eyes had faded, with white in the vague blueness there. Then his eyes touched on the book under Montag's arm and he did not look so old any more and not quite as fragile. Slowly his fear went. "I'm sorry. One has to be careful." He looked at the book under Montag's arm and could not stop. "So it's true."

The irony in this instance is dramatic. The reader already knows that Montag does not wish to investigate the professor. Interestingly enough, Montag could have caught the professor when he first saw him in the park, which makes the reader question why he didn't. Perhaps he subconsciously always had doubts about burning the books. This incident at Faber's house furthers the theme of the importance of books because Faber is paranoid that he will be investigated and have his books burned. When Faber sees the book that Montag has his fear slowly goes away and he continues to stare at the book as if in shock because it is a rare bible, there aren't many left. The fact that Montag even has a book in his hand demonstrates the importance of books; here it is a sign to Faber that Montag can be trusted.

Perhaps the most ironic part of the story is Beatty himself. The irony surrounding Beatty is largely situational. The reader suspects that Beatty knows a lot about books and probably has read them early on, but yet he chooses to be against books and wants to burn them all. At the end of the novel, when he goes to arrest Montag and burn his books, he says,

It was pretty silly, quoting poetry around free and easy like that. It was the act of a silly damn snob. Give a man a few lines of verse and he thinks he's the Lord of all Creation. You think you can walk on water with your books. Well, the world can get by just fine without them. Look where they got you, in slime up to your lip. If I stir the slime with my little finger, you'll drown!

Beatty demeans Montag by making it seem like anyone with a little bit of education or learning automatically thinks they are better than everyone else. He tells Montag how silly it is to repeat verses of a poem, when several lines later he, himself, is making literary references, showing his own hypocrisy. Beatty calls Montag a snob and tells him to quote Shakespeare, but then Beatty quotes Shakespeare; therefore, is he not also what he claims Montag is, a snob?

What'll it be this time? Why don't you belch Shakespeare at me, you fumbling snob? "There is no terror, Cassius, in your threats, for I am arm'd so strong in honesty that they pass by me as an idle wind, which I respect not!" How's that?

These quotations from Beatty enhance the theme of the importance of books. Earlier Beatty told Montag that "We must all be alike. Not everyone born free and equal, as the Constitution says, but everyone made equal." He tells Montag that "A book is a loaded gun in the house next door" and "Who knows who might be the target of the well-read man?" His words are ironic because he is a well-read man and he targets other people who attempt to become well-read by finding them and burning their books.

I have edited your question with the hope that you will receive a few more answers.  I think one key to finding these quotes is fully understanding the meaning of the literary terms you seek.  I highly encourage you to check out the link below and refresh yourself on the definitions of these terms.

There are several examples of allusions throughout the book.  Anytime a character makes a reference to something that is from another book, it is a literary allusion.

There is an example of a simile (comparison of two unlike things using "like" or "as") at the very beginning of the story, when Montag comes home and enters his bedroom still thinking of his coversation with Clarisse:

He wore his happiness like a mask and the girl had run off across the lawn with the mask and there was no way of going to knock on her door and ask for it back.

Just after this a hyperbole(a literary exaggeration) is used to describe Montag's suffocating sense of confusion and possible anxiety:

So, with the feeling of a man who will die in the next hour for lack of air, he felt his way toward his...bed.

Hopefully these examples have helped you get started.  The better you get acquainted with examples of literary terms, the more you will start spotting them effortlessly.

Alliteration is the repetition of initial sounds. It is used for literary emphasis and richness. Alliteration simply sounds appealing, and it helps authors focus readers' attention on important elements. That's why Ray Bradbury uses quite a lot of alliteration at the beginning of his novel Fahrenheit 451. Let's look at some examples.

In the novel's very first paragraph, we read that Montag's hands were the “hands of some amazing conductor playing all the symphonies of blazing and burning to bring down the tatters and charcoal ruins of history.” Aside from being a creative metaphor, the quotation features some excellent b-alliteration. The same letter is used again a few paragraphs later when the man “hung up his black beetle-colored helmet.” The h also alliterates.

A couple paragraphs after this, Montag sees a girl. “Her dress was white and it whispered,” the narrator relates, using a w-alliteration that actually does whisper. As Montag speaks to the girl, he uses alliteration when describing his work: “Monday burn Millay, Wednesday, Whitman, Friday, Faulkner.” The girl, as she speaks, mentions “the man in the moon” with its m-alliteration. As Montag thinks about the girl, he reflects on the “incredible power of identification” she has and how she watched “each flick of a finger.” He does not understand her.

A while later, when Montag finds that his wife has overdosed on sleeping pills, he thinks about the machine that slides down into her stomach. “Did it drink of the darkness?” he wonders. Notice the d-alliteration here. After she is treated, Montag notices that his wife's lips are “fresh and full of color.” The alliteration continues as the novel progresses, giving readers a linguistic treat as they pursue a dark story.

"Revelation" is to uncover, display, or bring into the open.  In the book, "Fahrenheit 451", Bradbury displays what might happen to a society that no longer reads and thinks.  Through the action of the characters, he shows how the people of this futuristic society are being manipulated by their government.  When Capt. Beatty tells Guy Montag, in the first section, how their society came to be, he explains that people wanted to be entertained more than they wanted to be enlightened.  He says that people didn't want to have to think and to analyze on their own - they wanted to have any pertinent information given to them in a quick, concise manner.  He tells Montag that the government took over more and more until finally, books were outlawed altogether because they made people think.  In the second section, revelation takes place as Montag realizes that something must be done to stop the madness of his current society and he struggles to find a way to stop it.  Revelation also takes place in the final section of the book when Montag joins the book people and he uncovers the hope of a better future as he watches his city and his society become incinerated by an atomic bomb.  Revelation isn't as much an allusion as it is an outright statement.

Please note: page numbers vary among editions. In the edition used for this answer, section 2 begins on page 69 and section 3 begins on page 111.

In the first section of Fahrenheit 451, after Montag says good night to Clarice after they first meet, similes and metaphors are used to convey the initial stirrings of change as contrasted to the frozen or dead quality of his current life (10). Using a simile, he thinks of Clarice in relationship to time and to slow illumination:

She had a very thin face like the dial of a small clock seen faintly in a dark room in the middle of the night… all certainty and knowing what it had to tell of the night passing swiftly on toward further darknesses, but moving also toward a new sun.

A different image is offered by a simile that is applied to his home, emphasizing its dark, dead quality. Entering his bedroom

was like coming into the cold marbled room of a mausoleum after the moon has set.

The contrast of light and dark, and emerging sun and setting moon, stand for the intellectual illumination that is beginning for Montag.

In section 2, Montag is at home while Millie and her friends get together and watch their shows on the wall screens. The device of flashback is used to show his attitude toward the women and the society they represent (95). He recalls looking at

the faces of saints in a strange church he had entered when he was a child. The faces of those enameled creatures meant nothing to him, thought he talked to them and stood in that church for a long time, trying to be of that religion….

When Montag returns to the firehouse and plays cards with the other firemen, Captain Beatty uses numerous allusions (105–108). He quotes Sir Philip Sidney, “Sweet food of sweetly uttered knowledge.” Montag’s terror at being found out and his realization that his choices were final ones are described through a simile and a metaphor:

Montag sat like a carved white stone. The echo of the final hammer on his skull died slowly away into the black cavern….

In section 3, dialogue between Montag and Faber is used to show Montag’s questioning of his actions and Faber’s help in realizing the importance and inevitability of his decisions (131).

[Montag] “Good Christ, the things I’ve done in a single week!”

[Faber] “You did what you had to do. It was coming on for a long time.”

[Montag] “Yes, I believe that, if I believe nothing else. It saved itself up to happen. I could feel it for a long time, I was saving something up.”

In the last few pages of the book, Montag understands that he is not alone either physically or intellectually. He encounters a group of men who memorize and thereby perpetuate books. One literary device used is allusion. Granger recalls the mythological phoenix bird, which burned itself on a funeral pyre but was regenerated (163). Granger says,

someday we’ll stop making the goddamn funeral pyres and jumping in the middle of them.

On the last page, Montag’s journey has ended and new journey has begun. As he walks with the other book rememberers, metaphor and allusion are used. With a metaphor of cooking, Montag is said to feel “the slow stir of words, the slow simmer.”

As befits his newly accepted role of remembering the Bible’s Book of Ecclesiastes, he thinks about what to say: “To everything there is a season.” With another allusion, he thinks ahead to what he will say later, about the “tree of life” and “the healing of the nations.” These lines are from the Bible’s Book of Revelation.

Allusion:  Near the end of the book, when Montag is at the fire station for the last time right before he gets sent to his own house, Beatty is quoting line after line of literature to him.  Allusion exists there because Beatty is alluding to different pieces of literature, using them as references.  He even references which authors he is quoting--Alexander Pope, William Shakespeare, the Bible, Sir Philip Sidney.  Beatty does this a lot, throws in literary allusions to great pieces of literature.  It indicates that he is ironically well-read for a man that is supposed to hate books and incinerate them.

Anthromorphism:  Bradbury uses very blatant personification all throughout the book.  For example, the machine that replenishes Mildred's blood is a snake, and the books that are getting burned are moths, birds, flowers, insects.  The kerosene hose is a venemous viper, a snake "spitting its venemous kerosene upon the world."  Bradbury uses this technique to give life and symbolism to these important objects, endowing them with beauty or violence as needed.

Paradox:  Consider how "Montag" dies at the end of the novel.  He doesn't die really, but, he watches a man that the government has found that they are pretending is him, and the Hound takes him out.  It seems impossible that Montag would watch his own death, but he does.

I hope that those thoughts helped; good luck!

I can try to list a few to get you started.  When you are looking for ironies, look for anything that is the opposite of what you might expect.  There are examples, obvious and more integrated, throughout the entire novel.

1.  Firemen that burn books instead of put out fires.

2.  The person to turn Montag into the authorities is his own wife.

3.  Montag, a fireman, gets an alarm turned in on his own house, and it is torched.

4.  Beatty, captain of the firemen, is extremely well-read and knowledgable about books, to the extent that he can quote them from heart.

5.  Families that are stable, loving, and funtioning, are targeted as threats and destroyed in their society.

6.  Montag and Mildred can't remember where they met.

Those are just a few ideas for you; I hope that helps a bit!  Good luck!

Montag’s path from conformity to intellectual freedom is perhaps the strongest theme in the whole novel. Rather than give you the quotations, I will offer some guidance on key scenes, so that you are able to select the appropriate information for yourself.

Firstly, when the story begins, we know that Montag is very much a conformist. Take a look at the opening scene where Montag is at work as a fireman. The text makes it clear that he loves his job and derives from it a sense of satisfaction, and you can select an appropriate quote from this section.

By the next scene, in which Montag is on his way home, the transformation to intellectual freedom is beginning. You will notice, for example, Montag has a strange, almost uneasy feeling, which foreshadows Clarisse’s impending appearance as well as the role that she will play in making him question the status quo. Again, this scene offers plenty of scope for choosing a quotation.

Another scene worth noting happens later in part 1 when Mildred takes an overdose and Montag calls for help. As you read, it becomes clear that Mildred’s overdose and the behavior of the doctors as they treat her has a strong impact on Montag. Similarly, the next morning, Mildred’s complete refusal to acknowledge her overdose is significant, because it leads to Montag wanting to miss a day from work. These are pivotal moments in Montag’s transformation and can be used to demonstrate it.

Finally, head to part 2 and read Montag’s meeting with Faber, the former professor. In terms of Montag’s transformation to intellectual freedom, this is one of the most crucial scenes in the book, because Montag asks Faber to help him bring down the system. As he comments, “when you’ve got nothing to lose, you run any risk you want.” In other words, his transformation from conformist to rebel is arguably now complete.