I complete agree with the statement of the relentless physical danger to psychological distress within the character's mindset. The exposition starts with a medius res, functioning as a point of highlighting. "The wind did not just blow through the pass; it screamed" implies the physical danger of the nature of the atmosphere, acting as a way to not only provide limited information to the reader but also a sudden point of rising tension- leading the readers away from the dramatic irony. The hyperbole of "screamed" creates additional context for the reader to acknowledge the surrounding as whole. The danger is no longer just physical harm but instead lingers beyond describable terror, the wind is almost acting as a creature with an evil intention of constructing a dreadful and agony situation, the character is slowly being consumed into the darkness of the immortal atmosphere. With auditory imagery such as "silence" provide a broader perspectives of the situation and making a metaphoric connection between the characters and the readers. The rising tension slowly functions as a prolepsis, the psychological tension and the new creation of psychological paranoia. The ideology of thinking gradually contributes to the breakdown of the character's internal health. The terror is no longer a physical danger, but penetrating Silas internal mindset, lingering beyond simple agony. With a continuous of tense and dense object, the writer successfully create a juxtaposition. With simple object extends beyond their common description. This sharp contrast features as a hook, with different degrees of tension yet to come. The exposition functions as a rising tension while the development continue to add layers of tension to the already existing foundation. From the character's perspectives to a simple innocence looking rock, the sudden shifts of narrative (which the readers haven't been ready for) acts as an even greater fear. The entirety of the extract has a cyclical structure, leaving the readers in Inquisitive state of reasoning.