What are two examples of dramatic irony in Part 2: The Sieve and the Sand of Fahrenheit 451?

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 451that apply dramatic irony to various situations. At the beginning of Part 2, Montag is searching for meaning in life and...

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.