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But the open garden, when once we were in it how it turned a glad new face to welcome us, glad as of old when the sunlight raked and searched it, new with the unfamiliar night-aspect that yet welcomed us as guests to a hall where the horns blew up to a new, strange banquet! Was this the same grass, could these be the same familiar flower-beds, alleys, clumps of verdure, patches of sward?
=Emotional Contrast in Setting.= Frequently, however, emotional similarity between the setting and the characters is less serviceable, for the sake of emphasis, than emotional contrast. In the following passage from Mr. Kipling's "Without Benefit of Clergy," the serene and perfect happiness of Holden and Ameera is emphasized by contrast with the night-aspect of the plague-infested city:
Frequently, however, emotional similarity between the setting and the characters is less serviceable, for the sake of emphasis, than emotional contrast. In the following passage from Mr. Kipling's "Without Benefit of Clergy," the serene and perfect happiness of Holden and Ameera is emphasized by contrast with the night-aspect of the plague-infested city:
On the pavement of the boulevard she looked up and down; there were people at little tables by the door; there were people all over the broad expanse of the asphalt; there was a profusion of light and a pervasion of sound; and everywhere, though the establishment at which they had been dining was not in the thick of the fray, the tokens of a great traffic of pleasure, that night-aspect of Paris which represents it as a huge market for sensations.
But the open garden, when once we were in it how it turned a glad new face to welcome us, glad as of old when the sunlight raked and searched it, new with the unfamiliar night-aspect that yet welcomed us as guests to a hall where the horns blew up to a new, strange banquet! Was this the same grass, could these be the same familiar flower-beds, alleys, clumps of verdure, patches of sward?
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