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Mood is the general feeling or atmosphere that a piece of writing creates within the reader. Mood is produced most effectively through the use of setting, theme, voice and tone. Tone can indicate the narrator's mood, but the overall mood comes from the totality of the written work, even in first-person narratives .
The mood of a piece of literature is the feeling or atmosphere created by the work, or, said slightly differently, how the work makes the reader feel. Mood is produced most effectively through the use of setting, theme, voice and tone, while tone is how the author feels about something.
[1] [2] For Williams, a structure of feeling is “a kind of feeling and thinking which is indeed social and material, but each in an embryonic phase before it can become fully articulate and defined exchange”. [1] Structures of feeling are emergent. They eventually give way to a more generalized or defined form of feeling in general ...
Eliot uses Lady Macbeth's state of mind as an example of the successful objective correlative: "The artistic 'inevitability' lies in this complete adequacy of the external to the emotion….", as a contrast to Hamlet. According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him.
Reader-response theory recognizes the reader as an active agent who imparts "real existence" to the work and completes its meaning through interpretation. Reader-response criticism argues that literature should be viewed as a performing art in which each reader creates their own, possibly unique, text-related performance.
In this book, Naipaul discusses how the work of other writers has affected his writing. The book attracted criticism from those in British literary circles who thought that Naipaul gave uncharitable treatment to several notable authors, and in particular Anthony Powell and his novel sequence A Dance to the Music of Time, especially since Powell had been a friend of Naipaul's.
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[8] A writer explained how it brings a story gravitas: Hemingway said that only the tip of the iceberg showed in fiction—your reader will see only what is above the water—but the knowledge that you have about your character that never makes it into the story acts as the bulk of the iceberg. And that is what gives your story weight and gravitas.