The Blazing World

by

Margaret Cavendish

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The Blazing World: Mood 1 key example

Definition of Mood
The mood of a piece of writing is its general atmosphere or emotional complexion—in short, the array of feelings the work evokes in the reader. Every aspect of a piece of writing... read full definition
The mood of a piece of writing is its general atmosphere or emotional complexion—in short, the array of feelings the work evokes in the reader. Every aspect... read full definition
The mood of a piece of writing is its general atmosphere or emotional complexion—in short, the array of feelings the work evokes... read full definition
Mood
Explanation and Analysis:

Throughout The Blazing World, the mood is largely informational, serious, and reflective, focusing on philosophical and political ideas and serious contemplation rather than deep emotion or detailed character building. Overall, the story has little plot or character development: it is focused on the ideas that the Empress explores in the Blazing World.  

In the first section of the story, the narration creates a mood of wonder for readers as they get to know the Blazing World. There are many detailed descriptions of the world and philosophical discussions that prompt readers to think philosophically about the world and follow Cavendish’s logic. Cavendish describes the Blazing World in extreme detail that is often lacking emotion, instead chronicling it with precision and detail. The diction is scientific and precise rather than flowery or emotive. This creates a serious and pensive mood. It is also argumentative and persuasive, as every element of the world conveys Cavendish’s deeper arguments, such as the debate with Fortune or the Empress’s discussions with the Blazing World’s scientists.

In the second section, the mood shifts to be more energetic and argumentative as Cavendish delves into further political arguments when following the Empress and her attempt to help the King of ESFI to gain absolute power. Yet, throughout the story, the mood is serious, informational, and reflective, focusing on Cavendish’s arguments and thought experiments rather than on the plot or the characters.