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Mr. XXXX

English 9H P7

2014 June 6

The Bunch: Mildred, Clarisse, and Conformity to Society in Fahrenheit 451

The pervasive influence of the media can be detrimental to society’s individuals. Ray

Bradbury's Fahrenheit 451 depicts a dystopian society in which free thought is suppressed,

firemen burn books, and citizens are spoon-fed a steady stream of vacuous "entertainment".

Consumed by a constant barrage of radio and television programming, people lose the ability to

contemplate. The dissident fireman Montag's wife Mildred is a prime example of this mindless

conformity. She continually drowns herself in empty sensory stimulation—whether through the

obnoxiously loud and colorful "parlor wall" television by day or miniature ear bud "seashell"

radios by night—and avoids anything requiring rumination. The new neighbor Clarisse

McClellan, however, is just the opposite: unbound by society, bright and eager to explore, she

possesses a keen eye and insatiable curiosity. The stark contrast between Mildred and Clarisse

emphasizes the destructive nature of conformity to society.

The contrast between Mildred and Clarisse emphasizes the destructive nature of

conforming to society when they are first introduced. In Clarisse’s first appearance, the imagery

used to describe her gives her a radiant, dreamlike aura. Her figurative luminosity is described in

literal terms of the “moonlit pavement”, which seems to slide under her feet (5); her face, {a

“fragile milk crystal”/“bright as snow in the moonlight”}; and even her dark eyes, “shining drops

of bright water” (7). These words imply purity, youth, and vitality, all traits that Clarisse

{embodies?}. In juxtaposition, Mildred’s bedroom is associated with death and darkness. {“cold
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marbled room of a mausoleum” “Complete darkness, not a hint of the silver world outside, the

windows tightly shut, the chamber a tomb world where no sound from the great city could

penetrate (11) … His wife stretched on the bed, uncovered and cold, like a body displayed on

the lid of a tomb… (12) Darkness. Featureless night. Mildred’s bedroom is a tomb. She is not

alive, figuratively (throughout the book) and in this case literally.

The contrast between Mildred and Clarisse emphasizes the destructive implications of

conforming to society when they talk to Montag. Clarisse asks him a lot of questions. Half of

what she says are questions or observations about Montag. She doesn’t talk much about herself

unless asked. She shares her thoughts but her thoughts are about others and about the world.

Mildred, on the other hand, talks mostly about herself. She even interrupts Montag mid-sentence

to say “God, I’m hungry” over and over. The few questions she asks are not soliciting Montag’s

opinion, but rather concern for herself only. She makes a passing remark about Montag as a sort

of afterthought: “You don’t look so hot yourself” (19). Mildred does not care to hear others’

opinions. This is evident in the way most of her questions are rhetorical, or she answers them

herself without waiting long enough for Montag to answer. “What would I want to go and do a

silly thing like that for?” “I didn’t do that … Never in a billion years.” (19, 20) “Isn’t that fun,

Guy?” “It’s sure fun,” (20) “Wasn’t he a radical?” “He was a radical” (50). Mildred is self-

absorbed and inconsiderate. She doesn’t care about anyone other than herself. Clarisse is aware

of everything around her. She wants to learn more about people and the world. Mildred’s

selfishness, Clarisse’s selflessness page 72] He opened another book. “‘That favourite subject,

Myself.’” … “I understand that one,” said Mildred. “But Clarisse’s favorite subject wasn’t

herself. It was everyone else, and me. She was the first person in a good many years I’ve really

liked. She was the first person I can remember who looked straight at me as if I counted.”
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The contrast between Mildred and Clarisse emphasizes the destructive influence of

conforming to society in how they spend their time. “I like to smell things and look at things, and

sometimes stay up all night, walking, and watch the sun rise.” (7) “I rarely watch the ‘parlor

walls’ or go to races or Fun Parks. So I’ve lots of time for crazy thoughts, I guess.” (9) “…as

many times he came out of the house and Clarisse was there somewhere in the world.” (28) pp.

29-31. Mildred is obsessed with the parlor wall programs. They are her life. pp. 20-21, 44-46,

48-49, 73, 77,

At the end of their first encounter, Clarisse asks Montag if he is happy. He concludes that

he is not, and this reality haunts him. Mildred later asserts, her mouth beaming, that she is happy

and “proud of it” (65). Even so, her happiness is insubstantial; it depends on the manufactured

“fun” with which her society is glutted. When she is forced out of her home, her blubbering

refrain is “poor family, poor family… everything gone…”—the television characters are her

everything, and without them she has nothing (114). Clarisse’s happiness, in contrast, comes

from learning about others and interacting with the world. Her penchant for questioning societal

norms is enlightening for herself and for everyone she talks to. {quote?}

Add to conclusion: 1st body Para, 2nd body Para, Wider Implications.