Pip sees that what “ought to be white” in Miss Havisham’s room “had lost its lustre, and was faded and yellow.” The room places its occupant:

In “The Yellow Wallpaper,” the narrator notes, “The windows are barred for little children, and there are rings and things in the walls.” The room reveals that she is treated as:

In Wuthering Heights, “the narrow windows are deeply set in the wall” and the corners are “defended with large jutting stones.” The house suggests lives shaped by:

In “The Fall of the House of Usher,” the mansion’s “vacant eye-like windows” and “few white trunks of decayed trees” make the house function chiefly as:

Jane Eyre calls Thornfield “a gentleman’s manor-house, not a nobleman’s seat.” The description locates Rochester in a world of:

Poe’s narrator rides through “a dull, dark, and soundless day” while “clouds hung oppressively low.” The accumulated details:

Bleak House opens, “Fog everywhere. Fog up the river...fog down the river.” The repeated setting detail creates a mood of:

In Jane Eyre, the red-room is “chill,” “silent,” and “solemn.” The piled adjectives make the room feel:

In Dracula, Jonathan notes, “The castle is on the very edge of a terrible precipice.” That detail chiefly intensifies the mood by making the place seem:

Wuthering Heights describes “gaunt thorns” stretching “as if craving alms of the sun.” The image makes the landscape feel:

Chopin moves Edna from Grand Isle society to the shore, where “the voice of the sea is seductive...whispering, clamoring, murmuring.” The shift marks a turn from:

Fitzgerald shifts from East Egg to “a valley of ashes...where ashes grow like wheat.” The movement marks a turn from:

Huck says, “Other places do seem so cramped up and smothery, but a raft don’t. You feel mighty free.” The move to the raft marks a shift toward:

In The Awakening, Edna’s “pigeon-house” “at once assumed the intimate character of a home.” The change of setting marks her movement toward:

On the heath in King Lear, Lear cries to the “poor naked wretches” who “bide the pelting of this pitiless storm.” The setting shift marks:

Hard Times describes Coketown as red brick that “would have been red if the smoke and ashes had allowed it.” The setting establishes a world where:

In The Scarlet Letter, the colony reserves ground for “a cemetery” and “the site of a prison.” The setting establishes a community first defined by:

Oliver Twist says the boys’ dining room was “a large stone hall, with a copper at one end.” The workhouse setting establishes a social world of:

Pride and Prejudice places Longbourn “only one mile from Meryton; a most convenient distance for the young ladies.” The setting establishes a world shaped by:

In Incidents in the Life of a Slave Girl, the hiding place is “only nine feet long and seven wide,” with its highest part “three feet high.” The setting establishes:

Grieving, Victor climbs where the “vast river of ice” winds among mountains with “aerial summits.” Placing his mourning there:

Arriving at Macbeth’s castle, Duncan says, “This castle hath a pleasant seat; the air / Nimbly and sweetly recommends itself.” The setting contrasts with:

Hamlet calls the sky a “majestical roof fretted with golden fire,” then “a foul and pestilent congregation of vapours.” The contrast shows:

Wordsworth’s speaker is “lonely as a cloud” before seeing “a host, of golden daffodils.” The setting places his inward state against:

In Great Expectations, Pip sees “the dark flat wilderness beyond the churchyard” as he begins to cry. The setting contrasts his fear with: