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“Walls, Lydia, remember; crystal walls, that’s all they are. Oh, they look real, I must admit—Africa in your parlor—but it’s all dimensional, superreactionary, supersensitive color film and mental tape film behind glass screens. It’s all odorophonics and sonics, Lydia. Here’s my handkerchief.”
“I’m afraid.” She came to him and put her body against him and cried steadily. “Did you see? Did you feel? It’s too real.”

Explanation and Analysis:

Here George offers his unconvincing reassurance to Lydia, and it seems like he is also trying to convince himself not to be afraid of the veldt. He knows Lydia is correct when she says the Africa in their parlor is “too real.” Through these cha...

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Original

Romeo

(aside) She speaks.
O, speak again, bright angel! For thou art
As glorious to this night, being o’er my head,
As is a winged messenger of heaven
Unto the white, upturnèd, wondering eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy-puffing clouds
And sails upon the bosom of the air.

Juliet

O Romeo, Romeo! Wherefore art though Romeo?
Deny they father and refuse they name.
Or, if thou wilt not, be but sworn my love,
And I’ll no longer be a Capulet.

Modern

Romeo

(to himself) She speaks. Speak again, bright angel! For tonight you are as glorious, there up above me, as a winged messenger of heaven who makes mortals fall onto their backs to gaze up with awestruck eyes as he strides across the lazy clouds and sails through the air.

Juliet

O Romeo, Romeo! Why must you be Romeo? Deny your father and give up your name. Or, if you won’t change your name, just swear your love to me and I’ll give up being a Capulet.

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