Elizabeth's Wedding With Victor

It is common throughout the novel that the existing weather reflects, and sharply influences, Victor’s mood(s). For example, the atmosphere surrounding the hut is cold and harsh when the creature concludes his tale and asks Victor to construct his companion. This creates meaning in the text because much like these inhospitable conditions, Victor’s heart is cold-blooded and calloused when it comes to the creature. Shelley’s reason behind the freezing cold temperature is not only to foreshadow Victor’s response, but to demonstrate the absence of color (warmth) and human sentimentality. In similar fashion, the pleasant weather in the valley of Chamounix is able to alleviate some of the guilt-ridden weight placed upon Victor’s shoulders from the outcome of Justine’s trial. With clear skies as their background, the pinnacles of the mountains and graceful flow of the waterfalls are effective in establishing a sense of fearlessness within Victor; the power of the topography

For instance, the panes were scarlet, a deep blood colour. The "bloody" red room thus becomes a place of ending not only due to the westward location, but also because of its color. Poe describes the last, black room as the dreadful endpoint, the room the guests fear just as they fear death. The room is feared by the guests because it reminds them of death, which is why no one enters the room. The room is involved in all of the main scenes throughout the course ofthe story. For example, this is the room Prince Prospero and his guests die from the Red Death and also where the clock is located. The reader sees how important the rooms are throughout the story and its main contribution to the theme.

Elizabeth is consistently the glue that holds the Frankenstein family together in hard times, specifically after the death of Victor’s mother. When she passed, Elizabeth, “veiled her own grief, and… forgot even her own regret in her endeavors to make us forget,” (Shelley, 24). What followed after Elizabeth taking over the household, was a life full of sacrifice for Victor that inevitably led her to becoming the sacrifice herself.

"The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon the carpet of the same material and hue. ... The panes were scarlet—a deep blood color.... There was no light of any kind... but in the western or black chamber the effect of the firelight that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme,” (“The Masque” 342). Poe brilliantly uses color to achieve the desired mood. The color black often represents melancholy or death. Scarlet, of course, exhibits the color of blood. Poe exploits the use of these two colors, black and scarlet, to create a feeling of macabre.

The word sadness immediately stands out in the title indicating opposite feelings normally associated with wedding dresses. To continue, the words “sad story” are repeated in lines 27 and 28 (Galvin). Galvin also repeats the word closet in line 4, 11, 14, 20, and 29; alone and forgotten in the darkness of a closet emphasizes the unique perspective of abandonment as opposed to a treasured item. From there, Galvin repetitively makes additional word choices that emphasize the sad, lonely, and abandoned feelings used wedding dresses experience. Galvin makes word choices such as starless, hopeless, darkness, hollow, dump, gone, and disappear. These words all connotate a dark, lonely, and abandoned feeling. Moreover, Galvin incorporates the words yellow, smoke, and flames. Packed away wedding dresses turn an ugly yellow while the lucky wedding dresses go up in smoke and flames; neither scenario are connected to the traditional view of a keepsake. To further the unique tone Galvin associates with wedding dresses, he integrates words such as weeping, longing, and waiting. The connotation of Galvin’s word choices elicit a deep yearning for a better outcome that will unfortunately never come for his abandoned wedding

An inspiring actress once said, “Weddings are important because they celebrate life and possibility”(Anne Hathaway). Weddings can either be a girl's most important day, or the most surprising. According to the Elizabethan era, they were a bit more surprising. In this era, these weddings were arranged with ceremonies, certain customs, and receptions. All while the bride was required to meet the standards of women in that society.

The lighting of the picture is very natural and comforting. The artist painted the setting to be a bright sunny day. The execution of a person should be a sad,

In "Masque of the Red Death", there are several differently colored rooms, which at first glance are simply several disparate pigments. After looking at the story as a whole, it is clear that these specific room colors each mean something other than itself. Spoken in "Masque of the Red Death" about two of the seven rooms is, "That at the eastern extremity was hung, for example, in blue...The seventh apartment was closely shrouded in black..." (Masque 5). The author, between discussing these opposing rooms, mentions the other rooms and their colors, also. Each of these rooms symbolizes the seven stages of life. The blue room represents birth and new life, as it is at the east where the sun rises beginning each new day. Meanwhile, the black room is the farthest west where the sun sets, ending the day. This black room embodies death, which is uncoincidentally where everyone dies in "Masque of the Red

7. The setting is used as a reflection of the woman's inner emotions. The sun shines and birds sing with no sign of gloom because she is not actually mourning as she thinks to herself. The lack of sorrow from the woman cause the setting to seem even more lovely to her as she realizes she is feeling joy. The details used by the writer portray a sense of well being and positivity. The woman reaches out towards the window as if her joy is tangible, this is a vey important

A subtle use of symbolism occurs when the mother uses the iron. The iron is described to have never made direct contact with the ironing board this is because a piece of clothing in the way acting as a barrier. This is the same in relation to the narrator and Emily, the mother can never show Emily the love she wants and needs because over time so man barriers has come between them. In addition to the iron, another use of symbolism occurs at the convalescent home that Emily is brought to after she gets ill. This in turn represents the mother’s inability to properly take care of her daughter. The balcony that the girls stand on is an emotional representation of the distance that has now surfaced from the lack

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

There are many references to darkness, blackness and the moon which create an exciting and romantic atmosphere keeping the reader in suspense. The first lines which include powerful metaphors such as "The wind was a torrent of darkness" and "The moon was a ghostly galleon" entice you to read on. Words such as 'ghostly', 'hell', 'blood' and 'death' suggest a sense of danger. This is stereotypical because no fairytale story of love and separation is complete without a hint of danger. 'The Highwayman' contains a lot of repetition e.g. "

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

The wine cask and the scrawling of blood indicate the rise in tensions between the two classes. "The time was to come, when that wine too would be spilled on the street-stones, and when the stain of it would be red upon many there" (Dickens 33). This statement foreshadows the upcoming struggle and the vengeance of the peasantry. The liquid smears on the peasants' hands, feet, and faces foreshadow the approaching chaos.