"The following passage comes from a tale of terror - Consider its effectiveness with particular reference to narrative power and atmosphere."

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“The following passage comes from a tale of terror.  Consider its effectiveness with particular reference to narrative power and atmosphere.”

Since this passage originates from a tale of terror, it will rely on certain techniques to attain a specific ambience based on that of fear and surprise.  In an attempt to achieve this “shock-factor” effectively, the author endeavours to develop an eerie atmosphere particularly focusing on a sense of foreboding due to a fear of both the unknown and of the supernatural; the intention of which was to continuously increase suspense and tension until the final climax of the passage.

One major component the author uses to help add a sense of foreboding is symbolism.  The boldly contrasting images of “the hands of Satan” and “deliverance…from Heaven”, which could be interpreted as symbolising a progressing conflict between a generalised good and evil, increases tension while also injecting a menacing sense of apprehension to the passage.  Symbolism and contrast are used twice more throughout to continue to add to the already mounting levels of unease and suspense.  The comfort given in the “three…lighted” candles, clashes boldly with an image of a “darkness” so “unsafe” it triggers the “poor girl” to send “her guardian” (and safety figure) out of the room, generating a paranormal string of events.  This combination of light and dark and good and evil could be looked at even more broadly as symbols of life and death, perhaps suggesting a metaphorical explanation for the unclear ending of the extract, and ultimately Rose.  The final division of symbolism and contrast is that of “shrieks” of sound and “death-like silence(s)”.  Striking transitions between the two help to effectively create a terrifying atmosphere, because in a novel where the narration is not omniscient and the reader cannot therefore be everywhere (in this case the enclosure of the “unhappy girl(’s)” room), we must focus our attention on other given information – sound – to help conjure an image of the unseen.

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As well as sound playing an important part within this passage, movement carries an equally significant role.  The frequent references to movement quickens the pace of the extract and attaches a sense of urgency, for example, Rose is described as having sprang from (her) bed” before having darted after” her uncle “to detain him”.  Another example of an intense period of urgency within the passage occurs soon after “the door…closed violently” which “divided the two rooms” leaving Rose isolated in one, an action to which Schalken responded by rush(ing) to the door”.    

Atmosphere is also built up ...

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