The Winter Imagery - “The Courtship of Mr Lyon”
The winter imagery incarnates hostile conditions: “Outside her kitchen window, the hedgerow glistened as if the snow possessed a light of its own; when the sky darkened towards evening, an unearthly, reflected pallor remained behind upon the winter's landscape, while still the soft flakes floated down. This lovely girl, whose skin possesses that same, inner light so you would have thought she, too, was made all of snow, pauses in her chores in the mean kitchen to look out at the country road. Nothing has passed that way all day; the road is white and unmarked as a spilled bolt of bridal satin…The snow brought down all the telephone wires; he couldn't have called, even with the best of news. The roads are bad. I hope he'll be safe.” The omnipresent snow establishes life-threatening draftiness. Besides, the snow undesirably impacts that roads’ and the telephone’s usability. The adverseness of the snow is a pointer that Beauty’s father’s probabilities of appearing at their domicile in time are restricted.
The Imagery of the Snow Child - “The Snow Child”
Angela Carter explicates, “As soon as he (The Count) completed her description, there she stood, beside the road, white skin, red mouth, black hair and stark naked; she was the child of his desire.” The child’s assorted colors are congruous with the Count’s aspirations. The definitive colors render the child the Count’s outstanding dream figure.
