Claim
Throughout The Book Thief, Zusak associates music with tragedy.
Evidence
Quote: One of Hans’s favorite parts of the Great War was "the music. Always the music” (Zusak 175)
Evidence
Quote: Max calls Hitler “the conductor” (Zusak 279)
Reasoning:
Answer menu - Drag into one of the empty spots above.
Zusak connects music to both the past violence of World War I and the present suffering caused by Hitler.
This reference to Hitler as "the conductor" appears in the first book that Max creates for Liesel (Zusak 279).
Zusak uses Hans’ accordion as a symbol of death throughout the novel.
Zusak connects music to both the past violence of World War I and the present suffering caused by Hitler.
Claim
In Fahrenheit 451, Beatty projects his own ideas about books and their emotional effects onto Montag.
Evidence
Quote: Beatty says to Montag, “Read a few lines [of a book] and off you go over the cliff. Bang, you’re ready to blow up the world, chop off heads, knock down women and children, destroy authority. I know, I’ve been through it all” (Bradbury 102)
Reasoning
Answer menu - Drag into one of the empty spots above.
While Beatty thinks that reading literature makes Montag feel guilty, Montag actually feels freed by the act.
Beatty falsely assumes that reading makes Montag violent, just as it did him.
In this instance, Beatty reveals that he also finds his society’s authority figures to be worth challenging.
Beatty falsely assumes that reading makes Montag violent, just as it did him.
Reasoning:
Zusak connects music to both the past violence of World War I and the present suffering caused by Hitler. This is evident in the quote where Hans says that one of his favorite parts of the Great War was "the music. Always the music" (Zusak 175). This suggests that even amidst the tragedy of war, music is able to bring some sort of solace or respite. Additionally, Max refers to Hitler as "the conductor" (Zusak 279), which further emphasizes the association of music with tragedy. This reference to Hitler as a conductor suggests that he is orchestrating the suffering and destruction caused by the war, just as a conductor directs an orchestra. Lastly, the recurring presence of Hans' accordion in the novel serves as a symbol of death. The accordion is a musical instrument, and its presence throughout the story ties music to the themes of tragedy and loss.
Reasoning:
Zusak connects music to both the past violence of World War I and the present suffering caused by Hitler. One piece of evidence for this claim is found when Hans Hubermann, Liesel's foster father, expresses his fondness for the music during the war, saying, "One of Hans's favorite parts of the Great War was 'the music. Always the music'" (Zusak 175). This suggests that amidst the tragedy of war, there is a sense of solace or escape found through music.
Another piece of evidence comes from Max, a Jewish man hiding in the Hubermann's basement, who refers to Hitler as "the conductor" (Zusak 279). This metaphorical comparison between Hitler and a conductor suggests that Hitler orchestrated the tragic events of World War II, much like a conductor orchestrates an ensemble.
Furthermore, Zusak uses Hans' accordion as a symbol of death throughout the novel. It is a reminder of Hans' involvement in the war and the death and destruction that accompanied it. The accordion is also connected to the idea of music, which further emphasizes the association between music and tragedy.
By consistently associating music with tragedy throughout the book, Zusak highlights the ways in which music can evoke emotions and capture the essence of human suffering in times of great turmoil.