Vivid Description In The Veldt

Numerous people have wished to travel to an unfamiliar place. In The Veldt, author Ray Bradbury has set the story in a futuristic world that only he can visualize. Homes are equipped with advanced technology. Walls can change their appearance at their master’s whim. By focusing on vivid description, Ray Bradbury transports readers to The Veldt’s Happylife Home, a fictional place that they’ve never seen before. Halfway into the story, the author uses description to emphasize how silent and foreign the house must seem after all of the machinery is shut down. Though it’s clear that description is the most prominent form of craft in The Veldt, a counterclaim could be made. It could be said that Ray Bradbury’s word choice is more significant. Conclusively, however, it is clear that description is more important, suggested through evidence such as the beginning and ending scenes of the nursery. The description on these places enhanced how disturbingly chilling the nursery is. By focusing on vivid description, Ray Bradbury transports readers to The Veldt’s fictional,

Words such as twinge, emanations, seeping, lurking, and babbling are just a few examples. Though these sophisticated words do enrich the story, they themselves are a kind of description. In fact, the majority of the description in The Veldt contains this word choice. “There was a green, lovely forest, a lovely river, a purple mountain, high voices singing, and Rima, lovely and mysterious, lurking in the trees with colorful flights of butterflies, like animated bouquets, lingering in her long hair.” (Bradbury). Lovely, mysterious, lurking, animated, and lingering; these words work and blend together with this description to depict an enchanting scene that the nursery has generated. Bradbury’s word choice is crucial to the The Veldt’s richness, but only because it’s part of the story’s