Symbolism In The Veldt By Ray Bradbury

As Norwegian historian Christian Lous Lange once said, “Technology is a useful servant but a dangerous master.” This is especially true in Ray Bradbury’s 1951 short story, “The Veldt.” In the story, a man named George Hadley lives with his family in a technologically advanced house, where all day-to-day tasks are automated. In this house, there is a “nursery,” where George’s two children spend most of their time. This nursery uses its advanced engineering to create whatever simulated environment the children think of. Soon after, George sees the danger of the nursery, and decides to shut off the entire home, but his children soon lure him and his wife into the nursery and lock the door. They are then eaten by lions. Using imagery and symbolism,

When George and Lydia investigate the nursery, George finds a personal possession. “An old wallet of mine,’ he said. He showed it to her. The smell of hot grass was on it and the smell of a lion. There were drops of saliva on it, it had been chewed, and there were blood smears on both sides” (Bradbury). This damaged wallet is a symbol for George’s money and spending, especially on the house and nursery, which eventually led to his downfall. In the 1950’s, “Some people were afraid that watching too much television would lead to the total breakdown of the family unit. This fear is directly reflected in ‘The Veldt,’ but in the story, Bradbury heightens the odds by creating a machine that not only allows children to detach emotionally from their parents, but one that can also physically destroy the parents, as well” (Milne). This reflects that the machine influenced the children’s thoughts by making them lose affection for their parents, replacing them with the house. Afterwards, George finds another personal effect in the nursery. “He bent and picked up a bloody scarf. ‘This yours?’ ‘No.’ George Hadley’s face was rigid. ‘It belongs to Lydia” (Bradbury). The scarf is another symbol for George’s spending. “George believes that he can show his family love by buying them things. Allowing material possessions to stand in for direct human interaction and expressions of love, however, is what ultimately sets George up as the enemy to his children” (Milne). As aforementioned, the house replaces George and Lydia in their children’s