Fahrenheit 451

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Violence Is Frequently Relevant To the Society in Fahrenheit 451

Fahrenheit 451 is a novel written by Ray Bradbury. In Bradbury’s futuristic novel, violence is prevalently revealed in the society. Violence in society is aggression, cruelty, rough or injurious physical actions and treatment towards the citizens and civilization in the society, where everyone has the same theory and beliefs on the way one should act. In Fahrenheit 451, everyone is careless and relatively violent with the exception of Clarisse Maclellan who has an innocent love of people and nature. Guy Montag, who is searching for himself and happiness, progresses into a very violent character throughout the novel. Fahrenheit 451 is violent for many reasons including the fact that fire itself is a very violent proposal to engage. The society in Fahrenheit 451 portrays ideas which would not be considered safe in today’s society, such as the “Mechanical Hound.” The Mechanical Hound is a robot with eight legs and a lethal needle with which it injects morphine or procaine into its victim. The parlor walls, which almost everyone has in the society, also portray violence because the shows and programs they play are often violent. Driving vehicles is not safe in the society, as people repeatedly get killed and hit by cars. Teenagers in Fahrenheit 451 are intrigued by the idea of violence, as are most adults. The way in which the society as well as the people act, violence is frequently relevant in Fahrenheit 451.
In Fahrenheit 451, the parlor walls portray violent and negative ideas. Not only do the parlor walls portray violent and negative ideas, but they also instruct the citizens in the society, particularly teenagers how to act violently. The programs that the parlor walls engage in to occupy the citizens are typically based on violence. Mildred Montag as well as the parlor ladies are intrigued and get exceptionally eager when a violent clip is shown on their parlor walls. Since the society in



Cited: Bradbury, Ray. Fahrenheit 451. New York: Ballantine Books, 1953.

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