You mark my words," I retorted with asperity, "you had better give up making such a thundering idiot of yourself. There'll be more wedding to-morrow than ever you'll take the first part in." A prophecy which, by the way, came true.
Before a week was over they laid her beside her husband in our little churchyard on the thyme-covered hill—the churchyard where they had kept their love-trysts.
Thus was accomplished John Charrington's wedding.
This is when the main character declares a prophecy that he must fulfill even after his death. This is what allows for romance and horror to come together, when an undying love comes against death itself. This shows that through the horrific events they will continue their marriage and love together. (John & May) The narrator comes to the understanding of the events.
Religion
As they passed out the ringers stooped—there were six of them—and then, on the ears expecting the gay wedding peal, came the slow tolling of the passing bell.
A thrill of horror at so foolish a jest from the ringers passed through us all. But the ringers themselves dropped the ropes and fled like rabbits out into the sunlight. The bride shuddered, and grey shadows came about her mouth, but the bridegroom led her on down the path where the people stood with the handfuls of rice; but the handfuls were never thrown, and the wedding-bells never rang. In vain the ringers were urged to remedy their mistake: they protested with many whispered expletives that they would see themselves further first.
In a hush like the hush in the chamber of death the bridal pair passed into their carriage and its door slammed behind them.
The church is a setting for both when the narrator hears the superstition in the graveyard which comes to be true in the end and where the wedding occurs. This is used to show an isolated place where things may go wrong as the use of religious items are used.It shows evil uprising from the purity/innocence of the church
Ghost
As we stood, her father and I, half mad with the horror and mystery of it, a boy came up the avenue—a telegraph boy. They brought the orange envelope to me. I tore it open.
"Mr. Charrington was thrown from the dogcart on his way to the station at half-past one. Killed on the spot!"
And he was married to May Forster in our parish church at half-past three, in presence of half the parish.
"I shall be married, dead or alive!"
What had passed in that carriage on the homeward drive? No one knows—no one will ever know. Oh, May! oh, my dear!
Before a week was over they laid her beside her husband in our little churchyard on the thyme-covered hill—the churchyard where they had kept their love-trysts.
Thus was accomplished John Charrington's wedding.
The ghost of John is used in the text in John Charrington's Wedding for it to not longer be a Romance between both him and May but a horror story that portrays unrealistic and mysterious events. This allows for the narrator to solve his mission on what had happened earlier when he did not show up at the train like he was meant to.
Mystery
I was at the station at half-past two. I felt rather annoyed with John. It seemed a sort of slight to the beautiful girl who loved him, that he should come as it were out of breath, and with the dust of travel upon him, to take her hand, which some of us would have given the best years of our lives to take.
But when the three o'clock train glided in, and glided out again having brought no passengers to our little station, I was more than annoyed. There was no other train for thirty-five minutes; I calculated that, with much hurry, we might just get to the church in time for the ceremony; but, oh, what a fool to miss that first train! What other man could have done it?
That thirty-five minutes seemed a year, as I wandered round the station reading the advertisements and the time-tables, and the company's bye-laws, and getting more and more angry with John Charrington. This confidence in his own power of getting everything he wanted the minute he wanted it was leading him too far. I hate waiting. Every one does, but I believe I hate it more than any one else. The three thirty-five was late, of course.
I ground my pipe between my teeth and stamped with impatience as I watched the signals. Click. The signal went down. Five minutes later I flung myself into the carriage that I had brought for John.
"Drive to the church!" I said, as some one shut the door. "Mr. Charrington hasn't come by this train."
This is when the narrator/protagonist is working to solve the mission. This is the time when the normal routines that the characters had begins to change. This needs to occur to allow the understanding of the supernatural event that comes next. It works to be the uprising of the plot that comes at the wedding.
Colours
To the minute, sir; must have missed you somehow, and, I say, sir," lowering his voice, "I never see Mr. John the least bit so afore, but my opinion is he's been drinking pretty free. His clothes was all dusty and his face like a sheet. I tell you I didn't like the looks of him at all, and the folks inside are saying all sorts of things. You'll see, something's gone very wrong with Mr. John, and he's tried liquor. He looked like a ghost, and in he went with his eyes straight before him, with never a look or a word for none of us; him that was always such a gentleman!"
I had never heard Byles make so long a speech. The crowd in the churchyard were talking in whispers and getting ready rice and slippers to throw at the bride and bridegroom. The ringers were ready with their hands on the ropes to ring out the merry peal as the bride and bridegroom should come out.
A murmur from the church announced them; out they came. Byles was right. John Charrington did not look himself. There was dust on his coat, his hair was disarranged. He seemed to have been in some row, for there was a black mark above his eyebrow. He was deathly pale. But his pallor was not greater than that of the bride, who might have been carved in ivory—dress, veil, orange blossoms, face and all.
The narrator uses descriptive colours to demonstrate the scenerie and characters. It is what demonstrates the evil in the character or the innocence and purity of another. This allows for the narrator to find answers. Here, he is noticing things not being usual. May is white and pale demonstrating her innocence and beauty throughout the play. John shows that once he comes to the church he has black colours darker shades that portrays the evil that has taken over his personality and physical appearance.
Supernatural
I had the door open in a minute, and this is what I saw—
No sign of John Charrington; and of May, his wife, only a huddled heap of white satin lying half on the floor of the carriage and half on the seat.
"I drove straight here, sir," said the coachman, as the bride's father lifted her out; "and I'll swear no one got out of the carriage."
We carried her into the house in her bridal dress and drew back her veil. I saw her face. Shall I ever forget it? White, white and drawn with agony and horror, bearing such a look of terror as I have never seen since except in dreams. And her hair, her radiant blonde hair, I tell you it was white like snow.
As we stood, her father and I, half mad with the horror and mystery of it, a boy came up the avenue—a telegraph boy. They brought the orange envelope to me. I tore it open.
"Mr. Charrington was thrown from the dogcart on his way to the station at half-past one. Killed on the spot!"
The supernatural event that occurs in John Charrington's Wedding is essential for solving mystery of John's different physical and personality traits. It's the explanation that the narrator finds that ties all of the story together and brings the short story to a conclusion. As John is now missing without any explanation other the narrator finding out he was a ghost all along
