Weather In The Hound Of The Baskervilles

In Chapter 20 of Foster’s How To Read Literature Like A Professor, Foster states that “For about as long as anyone’s been writing anything, the season’s have stood for the same set of meaning. It’s hard-wired into us that spring has to do with childhood and youth, summer with adulthood and romance and fulfillment and passion, autumn with decline and middle age and tiredness

Throughout My Ántonia, by Willa Cather, the change of seasons is often mentioned and represents the hardships and beauties of the world. The summer and spring are examples of the beauties in the world since the citizens are able to work due to the long days. The spring is almost as important as the summer since it is the time of year when farmers begin to farm again after the winter. But, the winter is unforgiving. During the winter all of citizens are hiding in their nice warm houses trying to avoid the harsh cold. Due to the citizens’ perseverance and hard work their town is able to thrive.

For centuries, seasons have been understood to stand for the same set of meanings. Seasons are easily understood by the reader, and are easy for the writer to use; as Foster states, “Seasons can work magic on us, and writers can work magic with seasons” (Foster 192). The different seasons are a huge part of our lives; we live through each one every year, and we know how each of them impacts our lives. This closeness between people and nature allows us to be greatly impacted by the use of seasons in literature. In addition, Foster lays out the basic meanings of each season for us: autumn is harvest, decline, tiredness; winter is anger, hatred, cold, old age; summer is passion, love, happiness, beauty; and spring is childhood and youth. On the

For instance, Washington Irving, wrote in The Devil and Tom Walker, “One hot summer afternoon in the dog days, just as a terrible black thunder-gust as coming up, Tom sat in his counting house in his white linen cap and India silk morning gown.” Considering that the season, summer, can be referred to as growth and reflection, the reader can construe that Tom is about to experience change. The twelve months can also be related to the seasons; by its nature, the reader can recognize which months are in each season, due to their location. For instance, in The Raven, by Edgar Allen Poe, “Ah, distinctly I remember it was in the bleak December; and each separate dying ember wrought its ghost upon the floor.” Despite the fact that Edgar Allen Poe did not verbatimly mention one of the four seasons, the reader can obtain the same mood from

Season; noun, is defined as one of the four periods of the year beginning astronomically at an equinox or solstice, but geographically at different dates in different climates. The seasons plays a huge role in The Great Gatsby, by F. Scott Fitzgerald, a novel about a young wealthy man who has been trying to reunite with a woman who he deeply loves but, only to be reaching out for his death. Three seasons spring, summer, and autumn all have different meaning throughout the novel as it symbolizes the actions and tones of the characters, especially Mr.Gatsby. Spring represents sadness, depression, or love; Summer symbolizes anger, hatred, or fights/arguments; and Autumn indicates death,

Foster’s insights about seasons and weather in literature change the story’s interpretation by clarifying their purposes. Foster’s main idea in the chapter It’s More Than Just Rain or Snow is weather always has a purpose; for example, rain, which has an “association with Spring,” can allow a “character to be cleansed symbolically” and “can bring the world back to life.” This insight is clear in the short story as outside Mrs.Mallard’s room the “trees were all aquiver with the new spring life” and “the delicious breath of rain was in the air.” The rain and spring weather may be dismissed as merely setting, but Foster’s insights allow the deeper meaning behind the inclusion of rain and spring to be clarified. The rain and spring show how Mrs.Mallard was cleansed

In the beginning of the short story, as Brother reflects on Doodle’s life, the author uses personification and foreshadowing to create a mood of remorse. As he gazes out of the window into his backyard, Brother states that “the graveyard flowers were blooming. ...speaking softly the names of our dead” (Hurst 1). The flowers provide flashbacks of the past, and foreshadow a loss of life. The loneliness felt by Brother causes readers to consider how they would feel if their loved one was gone. As Brother observes the seasons, it is noted that “summer was dead but autumn had not yet been born” (Hurst 1). The personifications of the seasons as stages in the cycle of life and death creates an unsure and uncertain mood. The shift between seasons creates an idea of change and uncertainty of events to come. Hurst creates a mood of remorse through

Hurston shows her hope of love and achievements through it by stating “now on until death she was going to have flower dust and springtime sprinkled over everything” (Hurston 32). Even more so Hurston utilizes the the seasons to perfection. To show the mindset of the character and clump them with hope, fertility, barren, or blooming, through “wintertime,” “summertime,” and “springtime

The main season in the novel is the ’enemy’ of winter. Edith Wharton uses the climate to match the feelings of people in Starkfield, walking with a ’sluggish pulse’.

It is impossible to find a family that is problem free and does not go through its ups and downs. Seasons often marks a progress, here it not only sets the way for Doodles progress of becoming like a normal boy, but it is used as a way to show the growth of the sibling relationship between the two brothers. Seasons and weather play an important role in setting the tone and mood of the story. An example of the motif of seasons and weather is seen in the short story “The Scarlet Ibis” by James Hurst as doodles progress goes along with each season. This motif is used to develop the relationship between Doodle and his brother as evident through the clove of seasons, summer, and storms.

Stevenson suggests the sense of fear and cultural anxieties of late Victorian England through depiction of the unreal city, in particular, fog in the novella. "The fog has gripped London", and it "swirls" and "eddies through the gloomy neighborhoods", describing them seem "like a district of some city in a nightmare." Stevenson shape an eerie aura through portrayals of the "great chocolate-coloured pall lowered over heaven ... here it would be dark like the back-end of evening; and there would be a glow of a rich, lurid brown ... and here ... a haggard shaft of daylight would glance in between the swirling wreaths." The haggard and swirling fog and somber hues combine to form a murkiness that displays

In his expository essay, formally titled The Archetypes of Literature, renowned literary critic Northrop Frye depicts the spring phase cycle as an archetype of extremely significant value and defines it as a period primarily of romance but also one of revival and resurrection. The spring phase is a recurring natural cycle that takes place throughout the course of Jane Urquhart’s historical-fiction novel, The Stone Carvers, specifically near the latter part of the story in which a love affair between a hopeless wanderer, Tilman Becker, and an optimistic French chef, Monsieur Recouvrir is detailed and shared with the reader. As a child, Tilman suffered through wanderlust and due to his strong impulse to travel, he eventually left home permanently, and continued to adopted the behaviours and beliefs that came with being a roamer and living a nomadic lifestyle. The chief reason he was never quite able to attain or understand how to properly receive love, for the matter, relied mainly around

Frost lead to the belief that, “Two roads diverged in yellow wood” expresses indirectly that the season is Fall and makes the theme seems as if “he was falling apart”.

In the case of “Snow in Midsummer” we may notice a somewhat paradoxical view on

The title of the number welcomes us to relate the young lady, Margaret, in her freshness, faultlessness, and conviction of feeling, with the springtime. Hopkins' decision of the American word "fall" rather than the British "accumulate time" it interfaces the probability of pre-winter decrease with the scriptural Fall of man from style. That primordial scene of affliction started human mortality and enduring inquisitively, the life of a lively tyke, as Hopkins proposes approximates the insane condition of man before the