Charles Dickens develops a detailed characterisation of the Signalman to give
awareness of the supernaturalism and the peculiar unfolding of the story. ‘His attitude
was one of such expectation and watchfulness’. This creates an element of tension
because the reader is puzzled as to what to expect to happen. The tale develops a
detailed description allowing you to picture the image for yourself. ‘He was a dark
sallow man, with a dark beard and rather heavy eyebrows.’ By picturing this nebulous
figure in you mind you can sense the paranormal atmosphere the author has developed. ‘there was something in the man that daunted me.’ Supplying limited information about why the man was daunting provokes uneasy curiosity. When the Signalman describes the vision he saw the author uses violent vocabulary to enhance the fear. ‘and it was the action of the arm gesticulating, with utmost passion and vehemence.’ This injects the story with some urgency after the build up of inquisitive and mystified vocabulary. The Signalman tells his story introducing ghosts into the story. ‘It WAS there. Both times? He repeated firmly: Both times’ Short and sharp sentences provide tension and more build up of fear. The signalman’s actions are described with clever vocabulary. ‘firmly, ruminating, oppressed, feverish distress and wiping the palms of his hands’ The reader can feel the signalman’s strain and anxiety through the use of the author’s descriptive vocabulary. This aids the inevitable build up of fear arousing from the linguistic stress on supernaturalism and the development of the signalman’s peculiar character. The author adopts the technique of rhetorical questioning. ‘but how long might he remain so in this state of mind?’ This makes the reader think about what could happen for themselves. ‘Below there! Look out! Look out! For God’s sake clear the way!’ The structure of the short sentences gives an idea of the tension reaching its brink, and steers the story to a mystifying conclusion.
In the ‘Red Room’ by H.G. Wells the setting plays a vital part to the story providing supernaturalism and trepidation. ‘before the fire’ and ‘said the man with the withered arm’ are some early descriptions. The man has no name, just a withered arm that immediately provokes mysterious views of his role in this peculiar setting. The author’s choice of vocabulary is important to create a sense of spiritualism. ‘the old people were trying to enhance the spiritual terrors of the house by their droning insistence.’ The subtle use of old people and descriptions of them and their actions sets an odd and unpredictable setting. ‘in the queer old mirror at the end of the room.’ The idea of a queer mirror distorts reflection of normal life, laying down a foundation of uncertainty. Characterisation is an intrinsic part of setting the scene. ‘lower lip, half averted, hung pale and pink from his decaying yellow teeth.’ The sordid vocabulary adds to the general sense of supernaturalism. The author uses the pronoun their repeatedly, ‘their house’ this gives a reassuring atmosphere. The author adds touches to the story to add an extra feeling of anxiety. ‘I caught a momentary glimpse of his eyes, small bright and inflamed.’ The old people are almost part of the setting as ‘The Red Room’ opens, adding more of an eerie build up.
The narrator is the main character; the first sentence sparks immediate assumptions to make about him. ‘It would take a very tangible ghost too scare me.’ The oxymoron helps emphasise his bold and courageous character. It is the narrative voice of reason. ‘This night of all nights!’ Is repeated to build up fear and tension and echo in the readers mind. The author’s choice of vocabulary highlights a clear contrast in feelings of the narrator. Using words like ‘fire and comfort’ at the beginning, then when he by himself the author offers us prompts to our senses using word like ‘chilly, echoing passage, hastily’ and ‘pallid silence’. The sensory atmosphere and the narrative character’s hesitation and loss of confidence relates to the contrast from the comfort of people to the absence of sound. The character proves to be less bold than he made out. ‘odd, I said, did I do that myself in a flash of absentmindedness?’ He verbalises the situation, adding his own voice to the mystical and silent atmosphere. His need for companionship emphasises solitude, enhancing fear.
When the Red room is entered there is an importance portrayed of the contrast and symbolism of light. ‘walked out into the moonlight carrying a candle’ His deprivation of light causes him to make his own light with the use of the candles. By barricading the natural darkness he has shown an aggressive gesture and added a sense of mystery. It seems that the unnatural light he has produces enhances the shadows. ‘lit a candle, and placed where the shadows lain deepest.’ There is a unreal, remoter darkness beyond imagination that relies on natural light. He physically fills the darkness with a halo of light he can recognise. Fear is provided with language stressing on the character being scared. ‘I cried, with a queer high note getting into my voice’, and ‘speaking with a half hysterical facetiousness.’ The author has provided us with a major contrast in the character’s feelings and a contrast in the setting. Using vocabulary to enhance the contrasts denotes fear.
In a world of candles, steam trains and superstition; a world peopled by characters who seem at one with darkness and supernaturalism- the atmosphere of anxiety and fear is not difficult to achieve. Dickens and Wells draw on psychology of fear in their stories of mystery and horror. ‘The Signalman’ and ‘The Red Room’ both create a build up of fear and anticipation with use of language. ‘The Red Room’ relies upon the contrast of scene and character to give fear but ‘The Signalman’ uses techniques to create uneasy curiosity.
