415.1 The four men sat silently playing blackjack] Montag‚Äôs nightmare, which opens both the original ‚ÄúLong After Midnight‚ÄĚ typescript and the revised opening fragment, disappears from the beginning of ‚ÄúThe Fireman.‚ÄĚ The published text opens in the firehouse, with Montag thinking about his most recent book burning.
415.20 Leahy, the fire chief.] In both ‚ÄúLong After Midnight‚ÄĚ and ‚ÄúThe Fireman,‚ÄĚ Leahy is Montag‚Äôs immediate superior, chief tormentor and counterpoint to Professor Faber. Bradbury changed the chief‚Äôs name to Beatty for Fahrenheit 451 and made him one of the most recognized names in the world of Dystopic fiction.
429.18 ‚ÄúYes‚Ä¶Plato and Socrates and Marcus Aurelius.‚ÄĚ] Mildred‚Äôs follow-on comment (‚ÄúForeigners?‚ÄĚ) is even more jarring here than in the earlier ‚ÄúLong After Midnight‚ÄĚ text, where she was at least able to distinguish Plato (‚ÄúWasn‚Äôt he a European?‚ÄĚ) from Poe and Shakespeare.
435.2‚Äď3 a fireman ‚Äėtakes‚Äô a book, at a fire, almost by ‚Äėaccident.‚Äô] During this first indirect interrogation of Montag, Leahy does not name a specific book when he describes the 24-hour amnesty policy for a fireman who is tempted to examine the books he burns. In ‚ÄúLong After Midnight,‚ÄĚ Bradbury had Leahy use the hypothetical example of Shakespeare, but then crossed it out and inserted the Bible. This is the book that Montag has taken from his last burning, and he will take it along on his visit to Professor Faber‚Äôs house before he finally turns it in to Leahy for destruction. At all these turns, Bradbury substituted the Bible for Shakespeare as he moved forward with ‚ÄúThe Fireman.‚ÄĚ
437.16‚Äď25 ‚ÄúAnd evening vanish‚Ä¶The shadow of the night comes on‚Ä¶‚ÄĚ] Montag has blindly chosen lines from Archibald MacLeish‚Äôs ‚ÄúYou, Andrew Marvel‚ÄĚ (1930) for Mildred to read. In ‚ÄúLong After Midnight,‚ÄĚ the readings came from the Book of Proverbs (15:2‚Äď4). In his revisions for Fahrenheit 451, Bradbury heightens Mildred‚Äôs bewilderment by changing the random reading to a contextless fragment of satire from Book 1 of Gulliver‚Äôs Travels.
441.26 copies of the Bible] Originally, in ‚ÄúLong After Midnight,‚ÄĚ Montag had asked Faber how many copies of the works of Shakespeare were left in the world. From here through his visit with Faber and his eventual surrender of the book to Leahy, all the allusions had been to Shakespeare in the ‚ÄúLong After Midnight‚ÄĚ text.
443.19‚Äď20 ‚ÄúBehold, the lilies of the field‚ÄĒ‚ÄĚ] In ‚ÄúLong After Midnight,‚ÄĚ where Montag has taken the works of Shakespeare instead of the Bible, Bradbury has him trying to recall (over the din of the Denham‚Äôs Dentifrice ad) Hamlet‚Äôs third soliloquy instead of Matthew 6:28.
446.11‚Äď12 Shakespeare or Pirandello.] The list of playwrights had also included George Bernard Shaw in the ‚ÄúLong After Midnight‚ÄĚ typescript.
447.12‚Äď33 Montag paced‚Ä¶I can‚Äôt take any more of this.] Faber‚Äôs decision to help Montag has little motivation in ‚ÄúLong After Midnight.‚ÄĚ But as he revised for ‚ÄúThe Fireman,‚ÄĚ Bradbury created this pivotal final argument‚ÄĒMontag begins to destroy the last known copy of the Bible in front of Faber‚Äôs eyes to remind him ‚Äúwhat it means to have your heart torn out.‚ÄĚ
449.20 Book of Job] In the earlier ‚ÄúLong After Midnight‚ÄĚ typescript, Montag has the works of Shakespeare instead of the Bible, and reads to himself from King Lear instead of Job.
450.2 to remember Job, for instance,] Montag was trying to memorize plays of Shakespeare rather than books of the Bible in ‚ÄúLong After Midnight.‚ÄĚ The example in the earlier text was Hamlet.
453.1‚Äď19 ‚ÄúThe Sea of Faith‚Ä¶Where ignorant armies clash by night.‚ÄĚ] Matthew Arnold‚Äôs ‚ÄúDover Beach‚ÄĚ is the central tie that binds all four of the core Fahrenheit texts. For ‚ÄúThe Fireman,‚ÄĚ Bradbury focused on the final two stanzas, and the original Galaxy printing follows Bradbury‚Äôs preferred source (Untermeyer‚Äôs A Treasury of Great Poems). Although the poem‚Äôs final lines provide one of the best-known anticipations of the failures of the modern world, the third stanza presents the ‚Äúcrisis of values‚ÄĚ metaphor that had motivated Bradbury from the beginning. In their notes to this poem, Walter Houghton and G. Robert Stange interpret Arnold‚Äôs ebbing Sea of Faith in just the way that Bradbury himself understood it: ‚ÄúThough what is retreating is mainly religious faith, it is also faith of any kind, any coherent philosophy of the world which can make life meaningful‚ÄĚ (Houghton and Stange, eds., Victorian Poetry and Poetics [Boston: Houghton-Mifflin, 1959], 484n).
454.33 the Bible] Montag turns in a Bible at this point near the end of Part Two; he is implicitly aware that Leahy knows the very title he had taken from the scene of his last burning early in Part One, and that Leahy is simply waiting to see if Montag will surrender it voluntarily. In ‚ÄúLong After Midnight,‚ÄĚ Bradbury had initially used Shakespeare instead of the Bible throughout this sequence of events.
459.21 Water, Water, Quench Fire] Bradbury‚Äôs new title for Part Three replaces the earlier ‚ÄúLong After Midnight‚ÄĚ title, Books Without Pages.
467.8‚Äď24 ‚ÄúTry the factory section,‚Ä¶across the country.‚ÄĚ] Bradbury added Faber‚Äôs description of the Book People at this point in ‚ÄúThe Fireman‚ÄĚ text, along with the discussion of Faber‚Äôs plan to leave the city. Faber‚Äôs underestimation of the organization and long-range planning of the Book People effectively sets the stage for Granger‚Äôs subsequent revelations to Montag.
470.32 the Seashell at his ear] In the earlier ‚ÄúLong After Midnight‚ÄĚ typescript photocopy, the little radio is called a Thimble; this was apparently an early shape-name for the device, which in an earlier passage of ‚ÄúLong After Midnight‚ÄĚ was already being referred to as a Seashell. In ‚ÄúThe Fireman,‚ÄĚ the shape-name is ‚ÄúSeashell‚ÄĚ six times; Millie‚Äôs ear-piece is called a ‚ÄúThimble‚ÄĚ once in Part One (412.22), but the older term carries through at no other points.
472.24 ‚ÄúMy name is Granger,] Although this is an alias, the name Granger becomes a distinct identity for the leader of the Book People. In the earlier ‚ÄúLong After Midnight‚ÄĚ version, the leader remains indistinguishable by name: ‚ÄúWe‚Äôre all named Smith. That‚Äôs the way it is.‚ÄĚ
474.14 ‚ÄúMy real name is Clement,] Granger‚Äôs former professorship is the same in both ‚ÄúThe Fireman‚ÄĚ and ‚ÄúLong After Midnight,‚ÄĚ but in the earlier work he gives his real surname as Stewart.
474.34‚Äď35 the Book of Job, but I haven‚Äôt even got that now.‚ÄĚ] In ‚ÄúLong After Midnight,‚ÄĚ his escape in the river had brought the Book of Job firmly back into his memory. This mastery sealed his new life with the Book People. For ‚ÄúThe Fireman,‚ÄĚ Bradbury left Montag textless when he joins the Book People, but Granger offers the possibility of hypnosis and assures Montag that ‚ÄúIt‚Äôll come when we need it.‚ÄĚ Later, when the bombs suddenly fall on the distant city, the shock provides the necessary stimulus for Montag‚Äôs memory: ‚ÄúNow I remember another thing. Now I remember the Book of Job‚ÄĚ (471.18‚Äď19).
476.16 ‚ÄúAnd John Dewey.‚ÄĚ] In revising for ‚ÄúThe Fireman,‚ÄĚ Bradbury substituted the philosophical pragmatism of John Dewey in place of the far more problematic implications of Nietzche and his works.
476.25‚Äď29 And I am‚Ä¶Shakespeare.] Granger‚Äôs literary identities are different in the ‚ÄúLong After Midnight‚ÄĚ typescript photocopy. In that earlier version, he is not the Biblical Ruth, and his bits and pieces include ‚Äúsnatches of Byron and Shaw and Washington and Galileo and DaVinci and Washington Irving.‚ÄĚ
477.8‚Äď23 But our way is simpler‚Ä¶forever.] Granger‚Äôs highly detailed account of how the Book People survived, and how they plan to re-kindle literature in the future, was greatly expanded as Bradbury revised toward ‚ÄúThe Fireman‚ÄĚ text. The far shorter account in ‚ÄúLong After Midnight‚ÄĚ (401.16‚Äď20) is only one sentence in length.
484.1‚Äď4 ‚ÄúTo everything there is a season‚Ä¶a time to heal‚Ä¶‚ÄĚ] Montag‚Äôs scattershot sequence of literary fragments offered in ‚ÄúLong After Midnight‚ÄĚ is compressed in ‚ÄúThe Fireman‚ÄĚ to three verses from Ecclesiastes (3:1‚Äď3). Other voices from the Book People then contribute passages from their own literary identities in a more natural and dramatic moment of collaborative recitation. This passage was reworked yet again for Fahrenheit 451, where the voices of the other Book People are replaced by Montag‚Äôs expanding recollection of Biblical texts‚ÄĒthe lines from Ecclesiastes lead him to recall Revelation 22:2 (the healing of nations) as the novel closes.