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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.
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.
Reception theory is a version of reader response literary theory that emphasizes each particular reader's reception or interpretation in making meaning from a literary text. Reception theory is generally referred to as audience reception in the analysis of communications models.
But he asserts this response is controlled by the text. For the "real" reader, he substitutes an implied reader, who is the reader a given literary work requires. Within various polarities created by the text, this "implied" reader makes expectations, meanings, and the unstated details of characters and settings through a "wandering viewpoint".
If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water.
He writes, "[a] thought to Donne was an experience; it modified his sensibility." Eliot's apparent appreciation of Donne's ability to unify intellectual thought and the sensation of feeling demonstrates that he believes dissociation of sensibility to be a hindrance in the progression of poetry.
Structure of feeling is a term coined by literary theorist Raymond Williams. Structure of feeling describes the totality of cultural complexities that artists draw from. The term structure of feeling seeks to describe a complex experience, since structures of feeling capture something formative and difficult to articulate in ordinary language.