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Once upon a time is a stock phrase used in the opening of fairytales and has been used in some form since ~1380 (Wikipedia). This connects to the events of the book because Montag uses this to reference the past, telling Beatty that he may be reading books or looking to the past before books were banned. If I were writing this book today, I would use "A long time ago in a galaxy far, far away" from Star Wars because I think it is much newer and is a little different.

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After researching the item, historical work, or literary allusion, make a post to this board.

Title of your post should be the Allusion and page number where the item shows up.

Brief summary: Teach us about your allusion. Include a citation (tell us where you got your info -- must not be from a generative AI).

Analyze: Explain how your allusion connects to the relevant events or discussions in the novel. How does the meaning of your allusion either agree or disagree with the cultural context in F451 (what is considered to be normal in this society?).

Synthesize: If you were writing the novel today, what would you use from today's society to make the same point? Or, if you can't answer that -- how would you adapt and apply this author, book, play, or idea into our present moment?

Include a picture or link to your thing so we can picture it

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Jonathan Swift (30 November 1667 – 19 October 1745) was an Anglo-Irish writer, essayist, satirist, and Anglican cleric. In 1713, he became the dean of St Patrick's Cathedral, Dublin, and was given the sobriquet "Dean Swift". His trademark deadpan and ironic style of writing, particularly in works such as A Modest Proposal (1729), has led to such satire being subsequently termed as "Swiftian". He wrote the satirical book Gulliver's Travels (1726), which became his best-known publication and popularised the fictional island of Lilliput. This is relevant to Fahrenheit 451 because they both warn people about the dangers of a society that doesn’t think for itself. Swift uses jokes in his books to make fun of problems in his world, Fahrenheit 451 shows a place where books are burned and people stop thinking deeply.

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Montag references Dante as a banned author whom Mildred then calls a radical. Dante wrote a poem called the Divine Comedy in the 13th century, which was about heaven and hell and is the inspiration for most modern depictions of the afterlife. The relevance Dante has to the story is that he is an important historical author who is banned and whose lessons will be forgotten. If I were writing the novel today, I would probably not replace Dante because he only serves a purpose in the book to show how some important stories and their authors have been banned so he would still have the same relevance to the story now as he did in the past.

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William faulkner "Monday burn Millay, Wednesday Whitman, Friday Faulkner, then burn 'em to ashes, then burn the ashes" page 6

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William faulkner "Monday burn Millay, Wednesday Whitman, Friday Faulkner, then burn 'em to ashes, then burn the ashes" page 6

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William faulkner is a renowned author, and he is referenced in fahrenheit 451 on page 6 when Montag is talking to clarrise and saying how their official slogan is "Monday burn Millay, Wednesday Whitman, Friday Faulkner, then burn 'em to ashes, then burn the ashes" This is when william faulkner is referenced in Fahrenheit 451. William faulkner was chosen to be referenced in Fahrenheit 451 because Bradbury wanted to show the readers that at the time even the best and most famous authors were getting burnt. I think if this were written in present day, they would be burning harry potter books because they are popular.

-James

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William Cuthbert Faulkner (; September 25, 1897 - July 6, 1962) was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of his life. A Nobel laureate, Faulkner is one of the most celebrated writers of American literature and often is considered the greatest writer of Southern literature.

Faulkner was born in New Albany, Mississippi and raised in Oxford, Mississippi. During World War I, he joined the Royal Canadian Air Force, but did not serve in combat. Returning to Oxford, he attended the University of Mississippi for three semesters before dropping out. He moved to New Orleans, where he wrote his first novel Soldiers' Pay (1925). He went back to Oxford and wrote (1927), his first work set in the fictional Yoknapatawpha County. In 1929, he published The Sound and the Fury. The following year, he wrote As I Lay Dying. Later that decade, he wrote Light in August, Absalom, Absalom! and The Wild Palms. He also worked as a screenwriter, contributing to Howard Hawks's To Have and Have Not and The Big Sleep adapted from The Big Sleep, a novel by Raymond Chandler; the former film, adapted from a novel by Ernest Hemingway, is the only film with contributions by two Nobel laureates.

Faulkner's reputation grew upon the publication of Malcolm Cowley's The Portable Faulkner, and he was awarded the 1949 Nobel Prize in Literature for "his powerful and unique contribution to the modern American novel." He is the only Mississippi-born Nobel laureate. Two of his works, (1954) and The Reivers (1962), won the Pulitzer Prize for Fiction. Faulkner died from a heart attack on July 6, 1962, following a fall from his horse the month before. Ralph Ellison called him "the greatest artist the South has produced".

Faulkner was influenced by stories of his great-grandfather and namesake William Clark Falkner.

William Cuthbert Falkner was born on September 25, 1897, in New Albany, Mississippi, the first of four sons of Murry Cuthbert Falkner (1870-1932) and Maud Butler (1871-1960). His family was upper middle-class, but "not quite of the old feudal cotton aristocracy". After Maud rejected Murry's plan to become a rancher in Texas, the family moved to Oxford, Mississippi in 1902, where Faulkner's father established a livery stable and hardware store before becoming the University of Mississippi's business manager. Except for short periods elsewhere, Faulkner lived in Oxford for the rest of his life.

Faulkner spent his boyhood listening to stories told to him by his elders - stories that spanned the Civil War, slavery, the Ku Klux Klan, and the Faulkner family. Young William was greatly influenced by the history of his family and the region in which he lived. Mississippi marked his sense of humor, his sense of the tragic position of " black and white" Americans, his characterization of Southern characters, and his timeless themes, including fiercely intelligent people who are dwelling behind the façades of good ol' boys and simpletons. He was particularly influenced by stories of his great-grandfather William Clark Falkner, who had become a near legendary figure in North Mississippi. Born into poverty, the elder Falkner was a strict disciplinarian and was a Confederate colonel. Tried and acquitted twice on charges of murder, he became a member of the Mississippi House and became a part-owner of a railroad before being murdered by his co-owner. Faulkner incorporated many aspects of his great-grandfather's biography into his later works.

Faulkner initially excelled in school and skipped the second grade. However, beginning somewhere in the fourth and fifth grades, he became a quieter and more withdrawn child. He occasionally played truant and became indifferent about schoolwork. Instead, he took an interest in studying the history of Mississippi. The decline of his performance in school continued, and Faulkner wound up repeating the eleventh and twelfth grades, never graduating from high school. As a teenager in Oxford, Faulkner dated Estelle Oldham (1897-1972), the popular daughter of Major Lemuel and Lida Oldham, and he also believed he would marry her. However, Estelle dated other boys during their romance, and, in 1918, Cornell Franklin (five years Faulkner's senior) proposed marriage to her before Faulkner did. She accepted.

Faulkner as a cadet in the Canadian RAF, 1918

When he was 17, Faulkner met Phil Stone, who became an important early influence on his writing. Stone was four years his senior and came from one of Oxford's older families; he was passionate about literature and had bachelor's degrees from Yale and the University of Mississippi. Stone read and was impressed by some of Faulkner's early poetry, becoming one of the first to recognize and encourage Faulkner's talent. Stone mentored the young Faulkner, introducing him to the works of writers like James Joyce, who influenced Faulkner's own writing. In his early 20s, Faulkner gave poems and short stories he had written to Stone in hopes of their being published. Stone sent these to publishers, but they were uniformly rejected. In spring 1918, Faulkner traveled to live with Stone at Yale, his first trip to the North. Through Stone, Faulkner met writers like Sherwood Anderson, Robert Frost, and Ezra Pound.

Faulkner attempted to join the US Army. There are accounts of this that indicate he was rejected for being under weight and his short stature of 5'5". Other accounts purport to prove that the aforementioned accounts are false.Although he initially planned to join the British Army in hopes of being commissioned as an officer, Faulkner then joined the Canadian RAF with a forged letter of reference and left Yale to receive training in Toronto. Records indicate that Faulkner was never actually a member of the British Royal Flying Corps and never saw active service during the First World War. Despite claiming so in his letters, Faulkner did not receive cockpit training or ever fly. Returning to Oxford in December 1918, Faulkner told acquaintances false war-stories and even faked a war wound.

In 1918, Faulkner's surname changed from "Falkner" to "Faulkner". According to one story, a careless typesetter made an error. When the misprint appeared on the title page of his first book, Faulkner was asked whether he wanted the change. He supposedly replied, "Either way suits me." In adolescence, Faulkner began writing poetry almost exclusively. He did not write his first novel until 1925. His literary influences are deep and wide. He once stated that he modeled his early writing on the Romantic era in late 18th- and early 19th-century England.

He attended the University of Mississippi, enrolling in 1919, studying for three semesters before dropping out in November 1920. Faulkner joined the Sigma Alpha Epsilon fraternity, and pursued his dream to become a writer. He skipped classes often and received a "D" grade in English. However, some of his poems were published in campus publications. In 1922, his poem "Portrait" was published in the New Orleans literary magazine Double Dealer. The magazine published his "New Orleans" short story collection three years later. After dropping out, he took a series of odd jobs: at a New York City bookstore, as a carpenter in Oxford, and as the Ole Miss postmaster. He resigned from the post office with the declaration: "I will be damned if I propose to be at the beck and call of every itinerant scoundrel who has two cents to invest in a postage stamp."

During part of his time in New Orleans, Faulkner lived in a house in the French Quarter (pictured center yellow).

While most writers of Faulkner's generation traveled to and lived in Europe, Faulkner remained writing in the United States. Faulkner spent the first half of 1925 in New Orleans, Louisiana, where many bohemian artists and writers lived, specifically in the French Quarter where Faulkner lived beginning in March. During his time in New Orleans, Faulkner's focus drifted from poetry to prose and his literary style made a marked transition from Victorian to modernist. The Times-Picayune published several of his short works of prose.

After being directly influenced by Sherwood Anderson, Faulkner wrote his first novel, Soldiers' Pay, in New Orleans. Soldiers' Pay and his other early works were written in a style similar to contemporaries Ernest Hemingway and F. Scott Fitzgerald, at times nearly exactly appropriating phrases. Anderson assisted in the publication of Soldiers' Pay and Mosquitoes by recommending them to his publisher.

The miniature house at 624 Pirate's Alley, just around the corner from St. Louis Cathedral in New Orleans, is now the site of Faulkner House Books, where it also serves as the headquarters of the Pirate's Alley Faulkner Society.

During the summer of 1927, Faulkner wrote his first novel set in his fictional Yoknapatawpha County, titled Flags in the Dust. This novel drew heavily from the traditions and history of the South, in which Faulkner had been engrossed in his youth. He was extremely proud of the novel upon its completion and he believed it a significant step up from his previous two novels-however, when submitted for publication to Boni & Liveright, it was rejected. Faulkner was devastated by this rejection but he eventually allowed his literary agent, Ben Wasson, to edit the text, and the novel was published in 1929 as The work was notable in that it was his first novel that dealt with the Civil War rather than the contemporary emphasis on World War I and its legacy.

The Sound and the Fury (1929)

In autumn 1928, just after his 31st birthday, Faulkner began working on The Sound and the Fury. He started by writing three short stories about a group of children with the last name Compson, but soon began to feel that the characters he had created might be better suited for a full-length novel. Perhaps as a result of disappointment in the initial rejection of Flags in the Dust, Faulkner had now become indifferent to his publishers and wrote this novel in a much more experimental style. In describing the writing process for this work, Faulkner later said, "One day I seemed to shut the door between me and all publisher's addresses and book lists. I said to myself, 'Now I can write.'" After its completion, Faulkner insisted that Wasson not do any editing or add any punctuation for clarity.

In 1929, Faulkner married Estelle Oldham, with Andrew Kuhn serving as best man at the wedding. Estelle brought with her two children from her previous marriage to Cornell Franklin and Faulkner hoped to support his new family as a writer. Faulkner and Estelle later had a daughter, Jill, in 1933. He began writing As I Lay Dying in 1929 while working night shifts at the University of Mississippi Power House. The novel was published in 1930.

Beginning in 1930, Faulkner sent some of his short stories to various national magazines. Several of these were published and brought him enough income to buy a house in Oxford for his family, which he named Rowan Oak. Fueled by a desire to make money, Faulkner wrote . With limited royalties from his work, he published short stories in magazines such as The Saturday Evening Post to supplement his income.

Light in August and Hollywood years

Light in August (1932)

By 1932, Faulkner was in need of money. He asked Wasson to sell the serialization rights for his newly completed novel, Light in August, to a magazine for $5,000, but none accepted the offer. Then MGM Studios offered Faulkner work as a screenwriter in Hollywood. Faulkner was not an avid movie goer and had reservations about working in the movie industry. As André Bleikasten comments, he "was in dire need of money and had no idea how to get it...So he went to Hollywood." It has been noted that authors like Faulkner were not always hired for their writing prowess but "to enhance the prestige of the ...writers who hired them." He arrived in Culver City, California, in May 1932. The job began a sporadic relationship with moviemaking and with California, which was difficult but he endured in order to earn "a consistent salary that supported his family back home."

Initially, he declared a desire to work on Mickey Mouse cartoons, not realizing that they were produced by Walt Disney Productions and not MGM. His first screenplay was for Today We Live, an adaptation of his short story "Turnabout", which received a mixed response. He then wrote a screen adaptation of Sartoris that was never produced. From 1932 to 1954, Faulkner worked on around 50 films. In early 1944, Faulkner wrote a screenplay adaptation of Ernest Hemingway's novel To Have and Have Not. The film was the first starring Lauren Bacall and Humphrey Bogart. Bogart and Bacall would star in Hawks's The Big Sleep, another film Faulkner worked on.

Faulkner was highly critical of what he found in Hollywood, and he wrote letters that were "scathing in tone, painting a miserable portrait of a literary artist imprisoned in a cultural Babylon." Many scholars have brought attention to the dilemma he experienced and that the predicament had caused him serious unhappiness. In Hollywood he worked with director Howard Hawks, with whom he quickly developed a friendship, as they both enjoyed drinking and hunting. Howard Hawks' brother, William Hawks, became Faulkner's Hollywood agent. Faulkner continued to find reliable work as a screenwriter from the 1930s to the 1950s. While staying in Hollywood, Faulkner adopted a "vagrant" lifestyle, living in brief stints in hotels like the Garden of Allah Hotel and frequenting the bar at the Roosevelt Hotel and the Musso & Frank Grill where he was said to have regularly gone behind the bar to mix his own Mint Juleps. He had an extramarital affair with Hawks' secretary and script girl, Meta Carpenter.

With the onset of World War II, in 1942, Faulkner tried to join the United States Air Force but was rejected. He instead worked on local civil defense. The war drained Faulkner of his enthusiasm. He described the war as "bad for writing". Amid this creative slowdown, in 1943, Faulkner began work on a new novel that merged World War I's Unknown Soldier with the Passion of Christ. Published over a decade later as , it won the 1954 Pulitzer Prize. The award for A Fable was a controversial political choice. The jury had selected Milton Lott's The Last Hunt for the prize, but Pulitzer Prize Administrator Professor John Hohenberg convinced the Pulitzer board that Faulkner was long overdue for the award, despite A Fable being a lesser work of his, and the board overrode the jury's selection, much to the disgust of its members.

By the time of The Portable Faulkner's publication, most of his novels had been out of print.

Faulkner in 1954

Faulkner was awarded the 1949 Nobel Prize in Literature for "his powerful and artistically unique contribution to the modern American novel". It was awarded at the following year's banquet along with the 1950 Prize to Bertrand Russell.

When Faulkner visited Stockholm in December 1950 to receive the Nobel Prize, he met Else Jonsson (1912-1996), who was the widow of journalist Thorsten Jonsson (1910-1950). Jonsson, a reporter for Dagens Nyheter from 1943 to 1946, had interviewed Faulkner in 1946 and introduced his works to Swedish readers. Faulkner and Else had an affair that lasted until the end of 1953. At the banquet where they met in 1950, publisher Tor Bonnier introduced Else as the widow of the man responsible for Faulkner winning the Nobel Prize.

Faulkner's Nobel Prize Acceptance Speech on the immortality of the artists, although brief, contained a number of allusions and references to other literary works. However, Faulkner detested the fame and glory that resulted from his recognition. His aversion was so great that his 17-year-old daughter learned of the Nobel Prize only when she was called to the principal's office during the school day. He began by saying: "I feel that this award was not made to me as a man, but to my work - a life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin." He donated part of his Nobel money "to establish a fund to support and encourage new fiction writers", eventually resulting in the William Faulkner Foundation (1960-1970).

In 1951, Faulkner received the Chevalier de la Légion d'honneur medal from the government of France.

Faulkner served as the first Writer-in-Residence at the University of Virginia at Charlottesville from February to June 1957 and again in 1958.

In 1961, Faulkner began writing his nineteenth and final novel, The Reivers. The novel is a nostalgic reminiscence, in which an elderly grandfather relates a humorous episode in which he and two boys stole a car to drive to a Memphis bordello. In summer 1961, he finished the first draft. During this time, he injured himself in a series of falls.

On June 17, 1962, Faulkner suffered a serious injury in a fall from his horse, which led to thrombosis. He suffered a fatal heart attack on July 6, 1962, at the age of 64, at Wright's Sanatorium in Byhalia, Mississippi. Faulkner is buried with his family in St. Peter's Cemetery in Oxford.

One of Faulkner's typewriters

From the early 1920s to the outbreak of World War II, Faulkner published 13 novels and many short stories. This body of work formed the basis of his reputation and earned him the Nobel Prize at age 52. Faulkner's prodigious output include celebrated novels such as The Sound and the Fury (1929), As I Lay Dying (1930), Light in August (1932), and Absalom, Absalom! (1936). He was also a prolific writer of short stories.

Faulkner's first short story collection, (1931), includes many of his most acclaimed (and most frequently anthologized) stories, including " A Rose for Emily", " Red Leaves", " That Evening Sun", and " Dry September". He set many of his short stories and novels in Yoknapatawpha County-which was based on and nearly geographically identical to Lafayette County (of which his hometown of Oxford, Mississippi, is the county seat). Yoknapatawpha was Faulkner's "postage stamp", and the bulk of work that it represents is widely considered by critics to amount to one of the most monumental fictional creations in the history of literature. Three of his novels, , and The Mansion, known collectively as the Snopes trilogy, document the town of Jefferson and its environs, as an extended family headed by Flem Snopes insinuates itself into the lives and psyches of the general populace. Yoknapatawpha County has been described as a mental landscape.

His short story " A Rose for Emily" was his first story published in a major magazine, the Forum, but received little attention from the public. After revisions and reissues, it gained popularity and is now considered one of his best.

Faulkner wrote two volumes of poetry which were published in small printings, The Marble Faun (1924), and A Green Bough (1933), and a collection of mystery stories, Knight's Gambit (1949).

The peacefullest words. Peacefullest words. Non fui. Sum. Fui. Non sum. Somewhere I heard bells once. Mississippi or Massachusetts. I was. I am not. Massachusetts or Mississippi. Shreve has a bottle in his trunk. Aren't you even going to open it Mr and Mrs Jason Richmond Compson announce the Three times. Days. Aren't you even going to open it marriage of their daughter Candace that liquor teaches you to confuse the means with the end I am. Drink. I was not. Let us sell Benjy's pasture so that Quentin may go to Harvard and I may knock my bones together and together. I will be dead in. Was it one year Caddy said.

- An example of Faulkner's prose in The Sound and the Fury (1929)
Carl Rollyson has argued that, "as an artist," Faulkner believed "he should be above worldly concerns and even morality." Rollyson, Carl (2020). The Life of William Faulkner. University of Virginia. ISBN 978-0813944401. Faulkner was known for his experimental style with meticulous attention to diction and cadence. In contrast to the minimalist understatement of his contemporary Ernest Hemingway, Faulkner made frequent use of stream of consciousness in his writing, and wrote often highly emotional, subtle, cerebral, complex, and sometimes Gothic or grotesque stories of a wide variety of characters including former slaves or descendants of slaves, poor white, agrarian, or working-class Southerners, and Southern aristocrats.

Faulkner's contemporary critical reception was mixed, with The New York Times noting that many critics regarded his work as "raw slabs of pseudorealism that had relatively little merit as serious writing". His style has been described as "impenetrably convoluted".

In an interview with The Paris Review in 1956, Faulkner remarked:

Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.

In that same interview, Jean Stein says "Some people say they can't understand your writing, even after they read it two or three times. What approach would you suggest for them?" Faulkner replies: "Read it four times."

When asked about his influences, Faulkner says "the books I read are the ones I knew and loved when I was a young man and to which I return as you do to old friends: the Old Testament, Dickens, Conrad, Cervantes, Don Quixote-I read that every year, as some do the Bible. Flaubert, Balzac-he created an intact world of his own, a bloodstream running through twenty books- Dostoyevsky, Tolstoy, Shakespeare. I read Melville occasionally and, of the poets, Marlowe, Campion, Jonson, Herrick, Donne, Keats, and Shelley."

Like his contemporaries James Joyce and T. S. Eliot, Faulkner uses stories and themes from classic literature in a modern context. Joyce, in , modeled the journey of his hero Leopold Bloom on the adventures of Odysseus. Eliot, in his essay "Ulysses, Order and Myth", wrote that "In using the myth, in manipulating a continuous parallel between contemporaneity and antiquity, Mr. Joyce is pursuing a method which others must pursue after him. They will not be imitators, any more than the scientist who uses the discoveries of an Einstein in pursuing his own, independent, further investigations. It is simply a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history." Faulkner's allusions to earlier authors are evidenced by his titles; the title of The Sound and the Fury comes from Macbeth's soliloquy: "it is a tale/ Told by an idiot, full of sound and fury,/ Signifying nothing." The opening of the novel is told from the perspective of the intellectually disabled Benjy Compson. The title of As I Lay Dying comes from Homer's , where it is spoken by Agamemnon in the past tense: "As I lay dying, the woman with the dog's eyes would not close my eyes as I descended into Hades." Faulkner's novel, in contrast, is narrated in the present tense. The title of Go Down, Moses is from an African American spiritual, and the book is dedicated "To Mammy / Caroline Barr / Mississippi / [1840-1940] Who was born in slavery and who gave to my family a fidelity without stint or calculation of recompense and to my childhood an immeasurable devotion and love."

Faulkner's work has been examined by many critics from a wide variety of critical perspectives, including his position on slavery in the South and his view that desegregation was not an idea to be forced, arguing desegregation should "go slow" so as not to upend the southern way of life. [citation needed ] The essayist and novelist James Baldwin was highly critical of his views around integration. Ralph Ellison said that "No one in American fiction has done so much to explore the types of Negro personality as has Faulkner."

The New Critics became interested in Faulkner's work, with Cleanth Brooks writing The Yoknapatawpha Country and Michael Millgate writing The Achievement of William Faulkner. Since then, critics have looked at Faulkner's work using other approaches, such as feminist and psychoanalytic methods. Faulkner's works have been placed within the literary traditions of modernism and the Southern Renaissance.

French philosopher Albert Camus wrote that Faulkner successfully imported classical tragedy into the 20th century through his "interminably unwinding spiral of words and sentences that conducts the speaker to the abyss of sufferings buried in the past".

Faulkner's home Rowan Oak is maintained by the University of Mississippi.

A Parisian street named for Faulkner

Faulkner is a towering figure in Southern literature; Flannery O'Connor wrote that "the presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down". In 1943, while working at Warner Brothers, Faulkner wrote a letter of encouragement to a young Mississippi writer, Eudora Welty. According to critic and translator Valerie Miles, Faulkner's influence on Latin American fiction is considerable, with fictional worlds created by Gabriel García Márquez ( Macondo) and Juan Carlos Onetti (Santa Maria) being "very much in the vein of" Yoknapatawpha, and that " Carlos Fuentes's The Death of Artemio Cruz wouldn't exist if not for As I Lay Dying". Fuentes himself cited Faulkner as one of the writers most important to him. Faulkner had great influence on Mario Vargas Llosa, particularly on his early novels The Time of the Hero, The Green House and Conversation in the Cathedral. Vargas Llosa has claimed that during his student years he learned more from Yoknapatawpha than from classes. Jorge Luis Borges translated Faulkner's The Wild Palms into Spanish.

The works of William Faulkner are a clear influence on the French novelist Claude Simon, and the Portuguese novelist António Lobo Antunes. Cormac McCarthy has been described as a "disciple of Faulkner".

In The Elements of Style, E. B. White cites Faulkner: "If the experiences of Walter Mitty, of Dick Diver, of Rabbit Angstrom have seemed for the moment real to countless readers, if in reading Faulkner we have almost the sense of inhabiting Yoknapatawpha County during the decline of the South, it is because the details used are definite, the terms concrete." Later, Faulkner's style is contrasted with that of Hemingway.

After his death, Estelle and their daughter, Jill, lived at Rowan Oak until Estelle's death in 1972. The property was sold to the University of Mississippi that same year. The house and furnishings are maintained much as they were in Faulkner's day. Faulkner's scribblings are preserved on the wall, including the day-by-day outline covering a week he wrote on the walls of his small study to help him keep track of the plot twists in his novel . Some of Faulkner's Nobel Prize winnings went to establish the William Faulkner Foundation. It gave an Award for Notable First Novel; winners included John Knowles's A Separate Peace, Thomas Pynchon's , Cormac McCarthy's The Orchard Keeper, Robert Coover's The Origin of the Brunists and Frederick Exley's A Fan's Notes. Starting in 1981, this became the PEN/Faulkner Award for Fiction, founded by, among others, Mary Lee Settle as an alternative to the National Book Award.

Some of Faulkner's works have been adapted into films. They have received a polarized response, with many critics contending that Faulkner's works are "unfilmable". Faulkner's final work, The Reivers, was adapted into a 1969 film starring Steve McQueen. Tommy Lee Jones's neo-Western film The Three Burials of Melquiades Estada was partly based on Faulkner's As I Lay Dying.

During the Nazi Occupation of France in World War II, the German occupiers banned American literature. A black-market of American books emerged, and reading works by Hemingway and Faulkner became an act of defiance. Faulkner remains especially popular in France, where a 2009 poll found him the second most popular writer (after only Marcel Proust). Contemporary Jean-Paul Sartre stated that "for young people in France, Faulkner is a god", and Albert Camus made a stage adaptation of Faulkner's Requiem for a Nun. In Jean-Luc Godard's Breathless, Patricia ( Jean Seberg) quotes The Wild Palms: "Between grief and nothing, I will take grief."

He also won the U.S. National Book Award twice, for Collected Stories in 1951 and in 1955.

The United States Postal Service issued a 22-cent postage stamp in his honor on August 3, 1987. Faulkner had once served as Postmaster at the University of Mississippi, and in his letter of resignation in 1923 wrote:

As long as I live under the capitalistic system, I expect to have my life influenced by the demands of moneyed people. But I will be damned if I propose to be at the beck and call of every itinerant scoundrel who has two cents to invest in a postage stamp. This, sir, is my resignation.

On October 10, 2019, a Mississippi Writers Trail historical marker was installed at Rowan Oak in Oxford, Mississippi honoring the contributions of William Faulkner to the American literary landscape.

The manuscripts of most of Faulkner's works, correspondence, personal papers, and over 300 books from his working library reside at the Albert and Shirley Small Special Collections Library at the University of Virginia, where he spent much of his time in his final years. The library also houses some of the writer's personal effects and the papers of major Faulkner associates and scholars, such as his biographer Joseph Blotner, bibliographer Linton Massey, and Random House editor Albert Erskine.

Southeast Missouri State University, where the Center for Faulkner Studies is located, also owns a generous collection of Faulkner materials, including first editions, manuscripts, letters, photographs, artwork, and many materials pertaining to Faulkner's time in Hollywood. The university possesses many personal files and letters kept by Joseph Blotner, along with books and letters that once belonged to Malcolm Cowley. The university achieved the collection due to a generous donation by Louis Daniel Brodsky, a collector of Faulkner materials, in 1989.

Further significant Faulkner materials reside at the University of Mississippi, the Harry Ransom Center, and the New York Public Library.

The Random House records at Columbia University also include letters by and to Faulkner.

In 1966, the United States Military Academy dedicated a William Faulkner Room in its library.

1. ^ "Faulkner, William". Lexico.com. Archived from the original on September 24, 2021.

2. ^ MWP: William Faulkner (1897-1962) Archived November 1, 2015, at the Wayback Machine, OleMiss.edu; accessed September 26, 2017.

3. William Faulkner on Nobelprize.org

4. ^ Watson, James G. (2002). William Faulkner: Self-Presentation and Performance. Austin: University of Texas Press. ISBN 978-0-292-79151-0.

5. ^ Messenger, Christian K. (1983). Sport and the Spirit of Play in American Fiction: Hawthorne to Faulkner. Columbia University Press. p. 219. ISBN 978-0-231-51661-7. Archived from the original on March 2, 2022.

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24. ^ St. C. Crane, Joan (1989). "William Faulkner to Eudora Welty: A Letter". The Mississippi Quarterly. 42 (3): 223-227. ISSN 0026-637X. JSTOR 26475181.

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26. ^ The Latin Master Archived June 24, 2021, at the Wayback Machine The Guardian 5 May 2001

27. ^ Vegh, Beatriz (1995). "The Wild Palms and Las palmeras salvajes: The Southern Counterpoint Faulkner/Borges". The Faulkner Journal. 11 (1/2): 165-179. JSTOR 24907724 - via JSTOR.

28. Duncan, Alistair B. ^ Claude Simon and William Faulkner Forum for Modern Language Studies, Volume IX, Issue 3, July 1973, Pages 235-252

29. Bucaioni, Marco, ^ A Huge Debt to 20th Century Modernism? António Lobo Antunes's Prose Style and his Models, Repositório da Universidade de Lisboa, 2019, p.477-497

30. ^ White, E. B. (1975). The Elements of Style (3rd ed.). p. 22.

31. ^ "National Book Awards - 1951" Archived October 28, 2018, at the Wayback Machine. National Book Foundation. Retrieved 2012-03-31. (With essays by Neil Baldwin and Harold Augenbraum from the Awards 50- and 60-year anniversary publications.)

32. ^ "National Book Awards - 1955" Archived April 22, 2019, at the Wayback Machine. National Book Foundation. Retrieved 2012-03-31. (With acceptance speech by Faulkner and essays by Neil Baldwin and Harold Augenbraum from the Awards 50- and 60-year anniversary publications.)

33. ^ Jaillant (2014)

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Zeitlin, Michael (Spring 2016). "Faulkner and the Royal Air Force Canada, 1918". The Faulkner Journal. 30 (1). Johns Hopkins University: 15-38. doi:10.1353/fau.2016.0009. JSTOR 44578811. S2CID 165335050. Archived from the original on June 24, 2021.

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William Cuthbert Faulkner (; September 25, 1897 - July 6, 1962) was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of his life.

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Shaw was a celebrated playwright and a prolific essayist who used his writing to provoke thought and debate on social issues. Bradbury valued this intellectual energy and incorporated it into his novel. He depicts a future where people have sacrificed intellectual pursuits for shallow entertainment and mindless consumption, a trend he saw taking hold in his own time. The novel is a direct challenge to the notion that the public should be passively entertained rather than thoughtfully informed. George Bernard Shaw is mentioned on page 84 in a supplemental analysis of Fahrenheit 451, where he is described as an Irish playwright and a famous critic of societal norms. He is listed among other authors like Luigi Pirandello and William Shakespeare, who are discussed in a section focused on the literary allusions and quotations used by Ray Bradbury in the book.

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In the Allegory of the Cave, prisoners are chained in a cave and only see shadows on the wall, which they take for reality. When one prisoner is freed and sees the outside world, he realizes that the shadows were just illusions. In the book, this allusion is used to highlight how society is trapped in ignorance, only perceiving a shallow reality shaped by censorship, propaganda, and artificial entertainment. As the story develops, Montag starts to seem and act like the freed prisoner. Montag starts seeing past the shadows and realizes how they are simply a figment of his imagination.

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Hamlet is one of Shakespeare's most popular plays. It is about Hamlet, the main character, who seeks revenge for the murder of his father. This becomes difficult when he finds out that his Uncle Claudius, who is the King of Denmark, was the murderer. (Folgers Shakespeare Library)

Hamlet connects to Captain Beatty's visit because Beatty wants to bring up a classic that Montag would know. Since this is a popular play by Shakespeare, he knows that the word Hamlet will ring a bell in Montag's mind. However, this disagrees with the cultural contexts in F451 because books have been banned, so Montag should not know about this play.

I would adapt this play to our present moment by making Hamlet's uncle the president of the United States instead of the King of Denmark. I feel that making him the president would make it easier to picture how powerful he would be and make it more relevant than a King, which hasn't been popular in a while.

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“That favorite subject, Myself”  page 68

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“That favorite subject, Myself”  page 68

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The illusion "That favorite subject, Myself" could mean anything without any context, but what we can conclude is that he is saying something along the lines of liking who he is. But what I found on Wikipedia is interesting. On page 68, Guy says this while reading his secret book stash. And then he is pondering about his life while looking at all his books and says the quote.

It ties into the book directly because in his society, you can't read, and Motag has some issues with himself, and realizing that he actually likes himself means a lot, and knowing he likes the book.

If I were writing a book I would use a simular topic on how screens take over our lives.

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William Shakespeare was an English playwright, poet, and actor. Many of Shakespeare's lines are written in different books, movies, stories, etc. (Wikipedia) He wrote "Consider the lilies of the field” in one of his plays called Julius Caesar. On page 74 and 75, Montag was telling himself "Consider the lilies of the field.” This is another way of just telling himself to stop and calm down. In the scene, he was saying “Denham’s Dentifrice.” He couldn't stop saying it. William Shakespeare wrote "Consider the lilies of the field” in one of his plays called Julius Caesar. It would be a shame to not be able to read any of Shakespeare's work because he was one of the first people to have a big impact with drama and literature.

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He was a founding father and the 3rd US president, 1801-1809. He wrote a book called Jefferson's Literary Commonplace Book and a book called Legal Commonplace Book. He is brought up because he is very influential in helping to create democracy in the US so he would likely be against the society in Fahrenheit 451 it would be important to have works that are critical of the current society.

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Edna St. Vincent Millay (February 22, 1892 – October 19, 1950) was an American poet and playwright. Millay was a renowned social figure and noted feminist in New York City during the Roaring Twenties and beyond. She also wrote prose under the pseudonym Nancy Boyd. (https://en.wikipedia.org/wiki/Edna_St._Vincent_Millay?scrlybrkr=67e53050) She connects to Fahrenheit 451 because she wrote a book about a candle burning on both sides to symbolize a life burned intensely and rapidly.

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"Dover Beach" is a lyric poem by the English poet Matthew Arnold. It was first published in 1867 in the collection New Poems; however, surviving notes indicate its composition may have begun as early as 1849. The most likely date is 1851. Wikipedia

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my allusion connects to Fahrenheit 451 because Montag starts to read it out loud to Mildred and her friends even tho books are illegal. So there for my allusion disagrees with the cultural context. If I were to write the novel in todays society i would probably use a book thats aimed at a similar point. Because everyone is on there phones now a days and it would show an effort to take a break with technology.

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Sophocles was an ancient Greek tragedian. His most popular works are Oedipus and Antigone. He's a curator for the development of dramas. (https://en.wikipedia.org/wiki/Sophocles)

Sophocles is an important influence in F451 as he wrote tragedies and was one of the main influences of the genre of dramas as a whole. F451 is a story in a tragic and failing environment, and this is what Sophocles' writing was mainly based on. An influence from today's world I would use in F451 would be artificial intelligence. In the book, the rise of technology is a main plot point. There are parlors where they're practically being fed brainrot. In today's world, it's harder for kids to learn because it's as easy as asking generative AI to write something and getting them to do it for you.

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Sophocles (; Greek: Σοφοκλῆς Sophoklēs, pronounced [so.pʰo.klɛ̂ːs]; c. 497/6 - winter 406/5 BC) is one of three ancient Greek tragedians whose plays have survived. His first plays were written later than or contemporary with those of Aeschylus, and earlier than or contemporary with those of Euripides. Sophocles wrote over 120 plays during the course of his life, but only seven have survived in a complete form: , , Women of Trachis, Oedipus Rex, , Philoctetes and Oedipus at Colonus. For almost 50 years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens that took place during the religious festivals of the Lenaea and the Dionysia. He competed in 30 competitions, won 24, and was never judged lower than second place. Aeschylus won 13 competitions, and was sometimes defeated by Sophocles, while Euripides won four competitions.

The most famous tragedies of Sophocles feature Oedipus and also Antigone: they are generally known as the Theban plays, although each play was actually a part of a different tetralogy, the other members of which are now lost. Sophocles influenced the development of drama, most importantly by adding a third actor, thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights such as Aeschylus.

Sophocles, the son of Sophilus, was a wealthy member of the rural (small community) of Hippeios Colonus in Attica, which was to become a setting for one of his plays, and he was probably born there. Sophocles was born a few years before the Battle of Marathon in 490 BC: the exact year is unclear, although 497/6 is the most likely. Sophocles was born into a wealthy family (his father was an armour manufacturer) and was highly educated. Sophocles' first artistic triumph was in 468 BC, when he took first prize in the Dionysia theatre competition over the reigning master of Athenian drama, Aeschylus. According to Plutarch, the victory came under unusual circumstances. Instead of following the usual custom of choosing judges by lot, the archon asked Cimon and the other present to decide the victor of the contest. Plutarch further contends that following this loss Aeschylus soon left for Sicily. Although Plutarch says that this was Sophocles' first production, it is now thought that his first production was probably in 470 BC. Triptolemus was probably one of the plays that Sophocles presented at this festival.

In 480 BC Sophocles was chosen to lead the paean (a choral chant to a god), celebrating the Greek victory over the Persians at the Battle of Salamis. Early in his career, the politician Cimon might have been one of his patrons, although if he was, there was no ill will borne by Pericles, Cimon's rival, when Cimon was ostracized in 461 BC. In 443/2 he served as one of the Hellenotamiai, or treasurers of Athena, helping to manage the finances of the city during the political ascendancy of Pericles. According to the Vita Sophoclis, in 441 BC he was elected one of the ten generals, executive officials at Athens, as a junior colleague of Pericles, and he served in the Athenian campaign against Samos; he was supposed to have been elected to this position as the result of his production of Antigone.

In 420 BC, he welcomed and set up an altar for the image of Asclepius at his house, when the deity was introduced to Athens. For this, he was given the posthumous epithet Dexion (receiver) by the Athenians. He was also elected, in 413 BC, one of the commissioners () who responded to the catastrophic destruction of the Athenian expeditionary force in Sicily during the Peloponnesian War.

Sophocles died at the age of ninety or ninety-one in the winter of 406/5 BC, having seen within his lifetime both the Greek triumph in the Persian Wars and the bloodletting of the Peloponnesian War. As with many famous men in classical antiquity, his death inspired a number of apocryphal stories. The most famous is the suggestion that he died from the strain of trying to recite a long sentence from his Antigone without pausing to take a breath. Another account suggests he choked while eating grapes at the Anthesteria festival in Athens. A third holds that he died of happiness after winning his final victory at the City Dionysia. A few months later, a comic poet, in a play titled The Muses, wrote this eulogy: "Blessed is Sophocles, who had a long life, was a man both happy and talented, and the writer of many good tragedies; and he ended his life well without suffering any misfortune." According to some accounts, however, his own sons tried to have him declared incompetent near the end of his life; he is said to have refuted their charge in court by reading from his as yet unproduced Oedipus at Colonus. One of his sons, Iophon, and a grandson, also called Sophocles, also became playwrights.

An ancient source, Athenaeus's work Sophists at Dinner, contains references to Sophocles' homosexuality or bisexuality. In that work, a character named Myrtilus, in a lengthy banquet speech claims that Ion of Chios writes in his book Encounters, that Sophocles loved boys as much as Euripides loved women. Myrtilus also repeats an anecdote reportedly told by Ion of Chios that involves Sophocles flirting with a serving boy at a symposium. Myrtilus also claims that in a work by Hieronymus of Rhodes entitled Historical Notes it is said that Sophocles once lured a boy outside to have sex, and afterwards the boy left with Sophocles' cape, while the boy's own cape was left with Sophocles.

Among Sophocles' earliest innovations was the addition of a third actor, which further reduced the role of the chorus and created greater opportunity for character development and conflict between characters. Aeschylus, who dominated Athenian playwriting during Sophocles' early career, followed suit and adopted the third character into his own work towards the end of his life. Aristotle credits Sophocles with the introduction of skenographia, or scenery-painting. It was not until after the death of the old master Aeschylus in 456 BC that Sophocles became the pre-eminent playwright in Athens.

Thereafter, Sophocles emerged victorious in dramatic competitions at 18 Dionysia and 6 Lenaia festivals. In addition to innovations in dramatic structure, Sophocles' work is also known for its deeper development of characters than earlier playwrights. His reputation was such that foreign rulers invited him to attend their courts, although unlike Aeschylus who died in Sicily, or Euripides who spent time in Macedon, Sophocles never accepted any of these invitations. Aristotle used Sophocles' Oedipus Rex in his (c. 335 BC) as an example of the highest achievement in tragedy, which suggests the high esteem in which his work was held by later Greeks.

Only two of the seven surviving plays can be dated securely: Philoctetes (409 BC) and Oedipus at Colonus (401 BC, staged after Sophocles' death by his grandson). Of the others, shows stylistic similarities to these two plays, which suggests that it was probably written in the latter part of his career. , and The Trachiniae are generally thought to be among his early works, again based on stylistic elements, with Oedipus Rex coming in Sophocles' middle period. Most of Sophocles' plays show an undercurrent of early fatalism and the beginnings of Socratic logic as a mainstay for the long tradition of Greek tragedy.

The Theban plays consist of three plays: Oedipus Rex (also called Oedipus Tyrannus or Oedipus the King), Oedipus at Colonus and . All three plays concern the fate of Thebes during and after the reign of King Oedipus. They have often been published under a single cover. Sophocles, however, wrote the three plays for separate festival competitions, many years apart. Not only are the Theban plays not a true trilogy (three plays presented as a continuous narrative) but they are not even an intentional series and contain some inconsistencies among them. He also wrote other plays having to do with Thebes, such as the , of which only fragments have survived.

Each of the plays relates to the tale of the mythological Oedipus, who killed his father and married his mother without knowledge that they were his parents. His family is fated to be doomed for three generations.

In Oedipus Rex, Oedipus is the protagonist. Oedipus' infanticide is planned by his parents, Laius and Jocasta, to avert him from fulfilling a prophecy; in truth, the servant entrusted with the infanticide passes the infant on through a series of intermediaries to a childless couple, who adopt him not knowing his history. Oedipus eventually learns of the Delphic Oracle's prophecy of him, that he would kill his father and marry his mother; Oedipus attempts to flee his fate without harming those he knows as his parents (at this point, he does not know that he is adopted). Oedipus meets a man at a crossroads accompanied by servants; Oedipus and the man fight, and Oedipus kills the man (who was his father, Laius, although neither knew at the time). He becomes the ruler of Thebes after solving the riddle of the Sphinx and in the process, marries the widowed queen, his mother Jocasta. Thus the stage is set for horror. When the truth comes out, following from another true but confusing prophecy from Delphi, Jocasta commits suicide, Oedipus blinds himself and leaves Thebes. At the end of the play, order is restored. This restoration is seen when Creon, brother of Jocasta, becomes king, and also when Oedipus, before going off to exile, asks Creon to take care of his children. Oedipus's children will always bear the weight of shame and humiliation because of their father's actions.

In Oedipus at Colonus, the banished Oedipus and his daughter Antigone arrive at the town of Colonus where they encounter Theseus, King of Athens. Oedipus dies and strife begins between his sons Polyneices and Eteocles.

In Antigone, the protagonist is Oedipus' daughter, Antigone. She is faced with the choice of allowing her brother Polyneices' body to remain unburied, outside the city walls, exposed to the ravages of wild animals, or to bury him and face death. The king of the land, Creon, has forbidden the burial of Polyneices for he was a traitor to the city. Antigone decides to bury his body and face the consequences of her actions. Creon sentences her to death. Eventually, Creon is convinced to free Antigone from her punishment, but his decision comes too late and Antigone commits suicide. Her suicide triggers the suicide of two others close to King Creon: his son, Haemon, who was to wed Antigone, and his wife, Eurydice, who commits suicide after losing her only surviving son.

Composition and inconsistencies

The plays were written across thirty-six years of Sophocles' career and were not composed in chronological order, but instead were written in the order , Oedipus Rex, and Oedipus at Colonus. Nor were they composed as a trilogy - a group of plays to be performed together, but are the remaining parts of three different groups of plays. As a result, there are some inconsistencies: notably, Creon is the undisputed king at the end of Oedipus Rex and, in consultation with Apollo, single-handedly makes the decision to expel Oedipus from Thebes. Creon is also instructed to look after Oedipus' daughters Antigone and Ismene at the end of Oedipus Rex. By contrast, in the other plays there is some struggle with Oedipus' sons Eteocles and Polynices in regard to the succession. In Oedipus at Colonus, Sophocles attempts to work these inconsistencies into a coherent whole: Ismene explains that, in light of their tainted family lineage, her brothers were at first willing to cede the throne to Creon. Nevertheless, they eventually decided to take charge of the monarchy, with each brother disputing the other's right to succeed. In addition to being in a clearly more powerful position in Oedipus at Colonus, Eteocles and Polynices are also culpable: they consent (l. 429, Theodoridis, tr.) to their father's going to exile, which is one of his bitterest charges against them.

In addition to the three Theban plays, there are four surviving plays by Sophocles: , Women of Trachis, , and Philoctetes, the last of which won first prize in 409 BC in which it competed.

Ajax focuses on the proud hero of the Trojan War, Telamonian Ajax, who is driven to treachery and eventually suicide. Ajax becomes gravely upset when Achilles' armor is presented to Odysseus instead of himself. Despite their enmity toward him, Odysseus persuades the kings Menelaus and Agamemnon to grant Ajax a proper burial.

The Women of Trachis (named for the Trachinian women who make up the chorus) dramatizes Deianeira's accidentally killing Heracles after he had completed his famous twelve labors. Tricked into thinking it is a love charm, Deianeira applies poison to an article of Heracles' clothing; this poisoned robe causes Heracles to die an excruciating death. Upon learning the truth, Deianeira commits suicide.

Electra corresponds roughly to the plot of Aeschylus' Libation Bearers. It details how Electra and Orestes' avenge their father Agamemnon's murder by Clytemnestra and Aegisthus.

Philoctetes retells the story of Philoctetes, an archer who had been abandoned on Lemnos by the rest of the Greek fleet while on the way to Troy. After learning that they cannot win the Trojan War without Philoctetes' bow, the Greeks send Odysseus and Neoptolemus to retrieve him; due to the Greeks' earlier treachery, however, Philoctetes refuses to rejoin the army. It is only Heracles' deus ex machina appearance that persuades Philoctetes to go to Troy.

Although the list of over 120 titles of plays associated with Sophocles are known and presented below, little is known of the precise dating of most of them. Philoctetes is known to have been written in 409 BC, and Oedipus at Colonus is known to have only been performed in 401 BC, posthumously, at the initiation of Sophocles' grandson. The convention on writing plays for the Greek festivals was to submit them in tetralogies of three tragedies along with one satyr play. Along with the unknown dating of the vast majority of over 120 play titles, it is also largely unknown how the plays were grouped. It is, however, known that the three plays referred to in the modern era as the "Theban plays" were never performed together in Sophocles' own lifetime, and are therefore not a trilogy (which they are sometimes erroneously seen as).

Fragments of ( Tracking Satyrs) were discovered in Egypt in 1907. These amount to about half of the play, making it the best preserved satyr play after Euripides' , which survives in its entirety. Fragments of the were discovered in April 2005 by classicists at Oxford University with the help of infrared technology previously used for satellite imaging. The tragedy tells the story of the second siege of Thebes. A number of other Sophoclean works have survived only in fragments, including:

Sophocles' view of his own work

There is a passage of Plutarch's tract De Profectibus in Virtute 7 in which Sophocles discusses his own growth as a writer. A likely source of this material for Plutarch was the Epidemiae of Ion of Chios, a book that recorded many conversations of Sophocles. This book is a likely candidate to have contained Sophocles' discourse on his own development because Ion was a friend of Sophocles, and the book is known to have been used by Plutarch. Though some interpretations of Plutarch's words suggest that Sophocles says that he imitated Aeschylus, the translation does not fit grammatically, nor does the interpretation that Sophocles said that he was making fun of Aeschylus' works. C. M. Bowra argues for the following translation of the line: "After practising to the full the bigness of Aeschylus, then the painful ingenuity of my own invention, now in the third stage I am changing to the kind of diction which is most expressive of character and best."

Here Sophocles says that he has completed a stage of Aeschylus' work, meaning that he went through a phase of imitating Aeschylus' style but is finished with that. Sophocles' opinion of Aeschylus was mixed. He certainly respected him enough to imitate his work early on in his career, but he had reservations about Aeschylus' style, and thus did not keep his imitation up. Sophocles' first stage, in which he imitated Aeschylus, is marked by "Aeschylean pomp in the language". Sophocles' second stage was entirely his own. He introduced new ways of evoking feeling out of an audience, as in his Ajax, when Ajax is mocked by Athene, then the stage is emptied so that he may commit suicide alone. Sophocles mentions a third stage, distinct from the other two, in his discussion of his development. The third stage pays more heed to diction. His characters spoke in a way that was more natural to them and more expressive of their individual character feelings.

Beer, Josh (2004). Sophocles and the Tragedy of Athenian Democracy. Greenwood Publishing. ISBN 0-313-28946-8

Bowra, C.M. (1940). "Sophocles on His Own Development". American Journal of Philology. 61 (4): 385-401. doi:10.2307/291377. JSTOR 291377.

Finkel, Raphael. "Adler number: sigma,815". Suda on Line: Byzantine Lexicography.

Freeman, Charles. (1999). The Greek Achievement: The Foundation of the Western World. New York: Viking Press. ISBN 0-670-88515-0

Hubbard, Thomas K. (2003). Homosexuality in Greece and Rome: A Sourcebook of Basic Documents.

Johnson, Marguerite & Terry Ryan (2005). Sexuality in Greek and Roman Society and Literature: A Sourcebook. Routledge. ISBN 0-415-17331-0, 978-0-415-17331-5

Lloyd-Jones, Hugh & Wilson, Nigel Guy (ed.) (1990). Sophoclis: Fabulae. Oxford Classical Texts.

Lloyd-Jones, Hugh (ed.) (1994). Sophocles: Ajax. Electra. Oedipus Tyrannus. Edited and translated by Hugh Lloyd-Jones, Loeb Classical Library No. 20.

Lloyd-Jones, Hugh (ed.) (1994). Sophocles: Antigone. The Women of Trachis. Philoctetes. Oedipus at Colonus. Edited and translated by Hugh Lloyd-Jones, Loeb Classical Library No. 21.

Lloyd-Jones, Hugh (ed.) (1996). Sophocles: Fragments. Edited and translated by Hugh Lloyd-Jones, Loeb Classical Library No. 483.

Lucas, Donald William (1964). The Greek Tragic Poets. W.W. Norton & Co.

Plato. Plato in Twelve Volumes, Vols. 5 & 6 translated by Paul Shorey. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1969.

Schultz, Ferdinand (1835). De vita Sophoclis poetae commentatio. Phil. Diss., Berlin.

Scullion, Scott (2002). Tragic dates, Classical Quarterly, new sequence 52, pp. 81-101.

Seaford, Richard A. S. (2003). "Satyric drama". In Simon Hornblower and Antony Spawforth (ed.). The Oxford Classical Dictionary (revised 3rd ed.). Oxford: Oxford University Press. p. 1361. ISBN 978-0-19-860641-3.

Smith, Philip (1867). "Sophocles". In William Smith (ed.). Dictionary of Greek and Roman Biography and Mythology. 3. Boston: Little, Brown, and Company. pp. 865-73. Archived from the original on 2 February 2007.

Sommerstein, Alan Herbert (2002). Greek Drama and Dramatists. Routledge. ISBN 0-415-26027-2

Sommerstein, Alan Herbert (2007). "General Introduction" pp. xi-xxix in Sommerstein, A.H., Fitzpatrick, D. and Tallboy, T. Sophocles: Selected Fragmentary Plays: Volume 1. Aris and Phillips. ISBN 0-85668-766-9

Sophocles. Sophocles I: Oedipus the King, Oedipus at Colonus, Antigone. 2nd ed. Grene, David and Lattimore, Richard, eds. Chicago: University of Chicago, 1991.

Encyclopædia Britannica, Inc. "Macropaedia Knowledge In Depth." The New Encyclopædia Britannica Volume 20. Chicago: Encyclopædia Britannica, Inc., 2005. 344-46.

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Sophocles (; Greek: Σοφοκλῆς Sophoklēs, pronounced [so.pʰo.klɛ̂ːs]; c. 497/6 - winter 406/5 BC) is one of three ancient Greek tragedians whose plays have survived. His first plays were written later than or contemporary with those of Aeschylus, and earlier than or contemporary with those of Euripides.

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In the story, Tower of Babel, a human race that all speak the same language decides to build a tower as tall as the sky to show their power as a human race. God finds this rude because humans must understand that they do not have as much power as he does, so God confounds their speech so they can no longer all understand each other and scatters them around the world, which means they left the tower unfinished. (information from Wikipedia) When the Tower of Babel is referenced in the book, a woman accuses Montage of stealing her books. Captain Beatty says this: "You've been locked up here for years with a regular damned tower of babel." I think Beatty is accusing this woman of thinking she is more powerful or trying to obtain more knowledge or power than other people by reading books, and that is the connection here. I also think that books are a way in this society of having more power than the rest of society. Just as building a tower is a way of having more power than God.  If I were writing a novel today, I would use today's society to make the same point by talking about how wealthy people can use money to gain political power against the rest of society. just as the humans in the story of the Tower of Babel created a tall tower to show their power.

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John Milton born December 9, 1608, London England died November 8?, 1674, London? was an English poet, pamphleteer, and historian, considered the most significant English author after William shakespsear. - (britannica)

During page 84 Captain Beatty mentions John Milton in the beginning of his manipulative speech to Montag to target the fact that books must be banned and to live in a world of rejecting books and how John Milton ties to this is because he is used him as an example on how books make people think to deeply and cause conflict which is exactly what there society is trying to avoid. If it was me I would try maybe something like social media to make the same point because psychology has proven that phones were made even way back then when it was just smart phones they were designed to be used like a drug and keep people from thinking deeply, question the world around them, and slowing down human creativity.

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The Bible pgs. 71-2, By Lillian Kena

The bible is the Holy book of Christianity. It contains over 60 books filled with people who were prophets and parables of God’s word. And it has 2 testaments, the New Testament and the Old Testament. And the New Testament is the most important because it tells the story of Jesus and the disciples from his birth to his death. “For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life.”- John 3:16 ( NIV )

The Allusion of the bible in Fahrenheit 451 is relevant in the discussions in the book by talking about controversial topics that no one wants to speak on or hear about. For example the bible, especially the book of Proverbs, points out human mistakes and sins, and even shames those who choose to ignore what they are doing wrong. This will and already rumble Montag’s society the wrong way because of the bible pointing out the truth that covering up with lies, just to make it sound better and more comforting. If I were make this book today with the same point I would talk about the media of today. How things change from moderate use of technology to we can’t do anything without it especially when it comes to A.I.

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Page 32

In Fahrenheit 451, Captain Beatty says Benjamin Franklin was the first ever fireman, but he made it up by saying Franklin burned books. Benjamin Franklin really created libraries and a fire department to protect people and to spread knowledge. This shows how the society in Fahrenheit 451 changed history to make censorship and book burning seem normal.

If the book were written today, Bradbury might use the internet instead of Benjamin Franklin. The internet was created to share information to people, but now it is often censored or filled with misinformation. This makes the same point about how society can twist something meant for knowledge into something for control.

I got this information from https://en.wikipedia.org/wiki/Benjamin_Franklin?scrlybrkr=51713bdd

I got this picture from

https://www.behance.net/gallery/65987069/Fahrenheit-451-HBO

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Marcus Aurelius was a Roman emperor from 161 to 180 and a stoic philosopher. (Wikipedia) Stoicism teaches discipline, rational thought, and emotional resilience. It’s a philosophy of life essentially. This connects to the events of the book as Montag is constantly reflecting on his life throughout the story. I think if F451 were written today Marcus Aurelius could help people our age with reflection on things like social media consumption. Stoic philosophy nowadays could help us with critical thinking and slowing down.