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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.
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 .
In Indian aesthetics, a rasa (Sanskrit: रस) literally means "juice, essence or taste". [1] [2] It is a concept in Indian arts denoting the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience, but cannot be described. [2]
In writer and painter Henry Miller's 11 commandments of writing, he advises, "Keep human! See people, go places, drink if you feel like it." See people, go places, drink if you feel like it."
Structure of feeling is a term coined by literary theorist Raymond Williams. [1] In The Great Gatsby, Nick Carraway expresses several different feelings towards the Roaring Twenties, simultaneously romanticizing, admiring, envying, pitying, and resenting the rich of New York. The novel investigates this structure of feeling.
He was of Jewish origin. [8] David Merrill Markson was born in Albany, New York, on December 20, 1927. [5] [9]Educated at Union College and Columbia University, Markson began his writing career as a journalist and book editor, periodically taking up work as a college instructor at Columbia University, Long Island University, and The New School.
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.
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.