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Arthur Conan DoyleA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Sarcasm refers to mocking remarks in which a character says one thing but means another, and these comments may be either humorous or hurtful. Throughout the story, Sir Arthur Conan Doyle uses sarcasm to show Sherlock Holmes’s courage, confidence, and eccentricity. Most people would be shaken if a towering, violent man suddenly burst into their home and twisted solid steel into knots. Holmes, on the other hand, responds with amusement. After Dr. Grimesby Roylott delivers his warning and storms out of the Baker Street flat, Holmes laughs and quips, “He seems a very amiable person” (149). Holmes’s ability to crack witticisms moments after receiving threats of bodily harm shows his fortitude and unconventional personality. Indeed, he pursues the investigation with even greater eagerness than before. Holmes demonstrates his penchant for sarcasm again when he explains how Mrs. Stoner’s will confirms Dr. Roylott’s motive: “[I]f both girls had married, this beauty would have had a mere pittance” (149), with “beauty” being a reference to Roylott. Of course, the doctor’s physical appearance is as repugnant as his morals. His adversary’s inhumanity does not intimidate the detective, and his choice of words makes that clear. Sarcasm signals that Holmes remains confident in his ability to prevent the disaster that threatens Helen Stoner.
Lastly, Holmes uses sarcasm during his and Watson’s nighttime trek across the desolate grounds of Stoke Moran. The sudden appearance of one of Dr. Roylott’s vicious pets startles both gentlemen: “His hand closed like a vice upon my wrist in his agitation. Then he broke into a low laugh and put his lips to my ear. ‘It is a nice household,’ he murmured. ‘That is the baboon’” (154). His sarcastic remark reassures Watson and marks a return to business as usual after their momentary fright. Whatever dangers come the detective’s way, he faces them down with dauntless courage and a clever quip.
Imagery consists of descriptive language that appeals to the reader’s senses. Dr. Watson’s narration contains many examples of rich, vivid descriptions that appeal to the reader’s imagination, develop settings and themes, and establish mood. Doyle uses refreshing visual and olfactory imagery to add interest to the setting during a brief lull in the plot while also reminding the reader of the stakes that will soon intensify the action. Watson provides his impression of the countryside during the train ride to Stoke Moran:
It was a perfect day, with a bright sun and a few fleecy clouds in the heavens. The trees and wayside hedges were just throwing out their first green shoots, and the air was full of the pleasant smell of the moist earth. To me at least there was a strange contrast between the sweet promise of the spring and this sinister quest upon which we were engaged (149).
Even this idyllic spring day and the sights and sounds of new life cannot distract the narrator from the deadly dangers that lie ahead. Watson soon applies his gift for description to a far more ominous scene, the manor of Stoke Moran:
The building was of grey, lichen-blotched stone, with a high central portion and two curving wings, like the claws of a crab, thrown out on each side. In one of these wings the windows were broken and blocked with wooden boards, while the roof was partly caved in, a picture of ruin (150).
These visual details create a foreboding atmosphere and help the reader picture an important setting. This is significant because the manor plays a key role in the theme of the decline of power and status. By vividly describing the building’s decayed state, Doyle emphasizes how far Dr. Grimesby Roylott and his family have fallen.
In literature, suspense refers to a tense state of anxiety or uncertainty regarding what will happen next in a story. Doyle uses suspense to engage his readers and generate curiosity about the story’s resolution. Early in the story, Doyle creates suspense through Helen’s account of the night her sister died: “A vague feeling of impending misfortune impressed me […] It was a wild night. The wind was howling outside, and the rain was beating and splashing against the windows” (145). These ominous descriptions of the dark, stormy night build a sense of unease and anticipation. The suspense returns with a vengeance as the story’s climax approaches. Watson describes his agitation as he and Holmes sit in Julia’s room, waiting for Dr. Roylott to spring his plot:
How shall I ever forget that dreadful vigil? [...] Far away we could hear the deep tones of the parish clock, which boomed out every quarter of an hour. How long they seemed, those quarters! Twelve struck, and one and two and three, and still we sat waiting silently for whatever might befall (154).
The tense atmosphere as the two men wait in silence and the emphasis on time draw out the suspense before Holmes springs into action at the climax. These moments of suspense make the readers more anxious to know what the speckled band is and increase their satisfaction when this question is finally answered.
Irony stems from the juxtaposition of expectations and reality. Doyle’s use of irony intensifies the suspense of the climax and heightens the resolution’s impact. As Watson sits with Holmes in the darkness of Julia’s old room, he suddenly hears “a very gentle, soothing sound, like that of a small jet of steam escaping continually from a kettle” (155). The noise is only “gentle” and “soothing” (155) to Watson because he has yet to identify the source. The same sound sends Holmes lunging at the bell-pull with his cane. Comparing a venomous serpent to something as comfortingly domestic as a tea kettle is, of course, deeply ironic. Indeed, short of physically striking Watson, the snake could hardly have reversed his expectations more. Watson’s ironic description of the sound gives the readers another clue to ponder while they wait in suspense for the big reveal of the speckled band’s identity. The story’s ironic resolution leaves the reader with a satisfying sense of poetic justice: The murderer was killed by his own murder weapon.
By Arthur Conan Doyle