The mood throughout “The Moving Finger” is primarily somber, with an underlying tension that builds throughout the story. The short story is narrated in first person by the unnamed narrator who disagrees with Claydon’s alterations and possession of the portrait. He retells the story to the reader, foreshadowing along the way that the Grancys’ happiness will not last. The underlying tension and somber mood in the last three sections reveal the story’s themes of grief and obsession.
In the first two sections of “The Moving Finger,” the mood is pleasant and inspired, yet there is an underlying tension that unnerves readers. The narrator fondly recalls his happy days with Mr. and Mrs. Grancy in sweeping descriptions with figurative language. However, Wharton begins the story with Mrs. Grancy’s death, creating tension from the beginning, as readers know that Mr. Grancy’s new happiness will not last. The story begins:
The news of Mrs. Grancy’s death came to me with the shock of an immense blunder—one of fate’s most irretrievable acts of vandalism.
In the latter half of the story, the tone turns somber and tense as the narrator watches Mr. Grancy’s downfall. The narrator does not believe that Mrs. Grancy’s spirit is in the painting, but he fails to convince his friend, even up to his death:
“[...]But I wouldn’t believe it at first!” I caught his hands in mine. “For God’s sake don’t believe it now!” I adjured him. He shook his head gently. “It’s too late,” he said. “I might have known that she knew.” “But, Grancy, listen to me,” I began; and then I stopped. What could I say that would convince him?
Here, the narrator attempts to convince Grancy on his deathbed that the portrait is not actually foretelling his death and is not alive, but Mr. Grancy cannot be persuaded. This hopeless moment creates a tense and critical mood. Through the narrator, readers can be critical of Mr. Grancy and Claydon’s decisions. Importantly, this tense mood signifies that there is something fundamentally wrong about altering the portrait. It serves to objectify Mrs. Grancy and illustrate how the men control her and her image. The tense and critical mood relays Wharton’s social criticism.
The mood throughout “The Moving Finger” is primarily somber, with an underlying tension that builds throughout the story. The short story is narrated in first person by the unnamed narrator who disagrees with Claydon’s alterations and possession of the portrait. He retells the story to the reader, foreshadowing along the way that the Grancys’ happiness will not last. The underlying tension and somber mood in the last three sections reveal the story’s themes of grief and obsession.
In the first two sections of “The Moving Finger,” the mood is pleasant and inspired, yet there is an underlying tension that unnerves readers. The narrator fondly recalls his happy days with Mr. and Mrs. Grancy in sweeping descriptions with figurative language. However, Wharton begins the story with Mrs. Grancy’s death, creating tension from the beginning, as readers know that Mr. Grancy’s new happiness will not last. The story begins:
The news of Mrs. Grancy’s death came to me with the shock of an immense blunder—one of fate’s most irretrievable acts of vandalism.
In the latter half of the story, the tone turns somber and tense as the narrator watches Mr. Grancy’s downfall. The narrator does not believe that Mrs. Grancy’s spirit is in the painting, but he fails to convince his friend, even up to his death:
“[...]But I wouldn’t believe it at first!” I caught his hands in mine. “For God’s sake don’t believe it now!” I adjured him. He shook his head gently. “It’s too late,” he said. “I might have known that she knew.” “But, Grancy, listen to me,” I began; and then I stopped. What could I say that would convince him?
Here, the narrator attempts to convince Grancy on his deathbed that the portrait is not actually foretelling his death and is not alive, but Mr. Grancy cannot be persuaded. This hopeless moment creates a tense and critical mood. Through the narrator, readers can be critical of Mr. Grancy and Claydon’s decisions. Importantly, this tense mood signifies that there is something fundamentally wrong about altering the portrait. It serves to objectify Mrs. Grancy and illustrate how the men control her and her image. The tense and critical mood relays Wharton’s social criticism.
