character foils for fahrenheit 451
Character foils An enthusiast of life and nature, Clarisse, an affable next-door neighbor who is seventeen, is the foil of Mildred– Montag’s cold, meaningless, conforming other half. Delightfully human and aware of her environments, Clarisse disdains the fact-learning that passes for modern education. She enjoys nature. Powered by an insatiable curiosity, Clarisse, whom Beatty labels a “time bomb,” works as the driver that impels Montag toward an unpleasant however necessary self-examination. With gentle pricks to his self-awareness, Clarisse reveals to him the lack of love, enjoyment, and satisfaction in his life. Her role in the ovel is just the forerunner of the spiritual revitalization finished by Faber and Granger. Her dreadful death, nearly repeated when a careening automobile passes over the tip of Montag’s finger, underscores the widespread dehumanization of society and the resulting random acts of violence. Montag’s partner, Mildred identifies shallowness and mediocrity. Her abnormally white flesh and chemically scorched hair characterize a society that demands a synthetic beauty in females through diets and hair dye. Completely immersed in an electronic world and growing more incompatible with Montag with every electronic device that enters her house, she fills her aking hours with manic drives in the beetle and by watching a TELEVISION clown, who sidetracks her from her real feelings and leads her almost to suicide from a drug overdose. Reluctant and not able to evaluate reasonably, she lives a shallow life in a technological chamber of horrors. She ranges herself from genuine emotion by relating to “the family,” a three-dimensional fiction in which she plays a scripted part. Her longing for a fourth wall of tv recommends her capability of immersing in fantasy to withdraw from the functions of spouse, mother, and whole person. Addicted to the labor-saving achines that toast and butter her bread and fill her mind with simple entertainment, she forgets to bring aspirin to her ailing other half and recedes into monosyllabic interaction. Her replies to him are impersonal and callous, as shown by her bland statement of Clarisse’s death. To eliminate any doubts about her materialistic, robotic lifestyle, Mildred surrounds herself with good friends like Clara Phelps and Ann Bowles, vapid and witless dullards who pick a presidential prospect by his televised good looks. Unsurprisingly, Mildred betrays her spouse and flees their marital relationship while mourning the loss of her TV family.