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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 .
[16] [10] [17] As an example, the literary work Bhagavata Purana deploys rasa, presenting the bhakti of Krishna in aesthetic terms. The rasa it presents is an emotional relish, a mood called Sthayi Bhava. This development towards a relishable state is created through emotional conditions which are called Vibhavas, Anubhavas and Sanchari Bhavas.
Of his iceberg theory, she claims, it "is also a glacier waterfall, infused with movement by his multi-focal aesthetic". [11] Furthermore, she believes that Hemingway's iceberg theory "demanded that the reader feel the whole story" and that the reader is meant to "fill the gaps left by his omissions with their feelings".
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.
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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.
Among the most famous sentimental novels in English are Samuel Richardson's Pamela, or Virtue Rewarded (1740), Oliver Goldsmith's Vicar of Wakefield (1766), Laurence Sterne's Tristram Shandy (1759–1767) and A Sentimental Journey (1768), Henry Brooke's The Fool of Quality (1765–1770), Henry Mackenzie's The Man of Feeling (1771) and Maria Edgeworth's Castle Rackrent (1800).