Language (The Sign of Four)
This section explores the language used in the novel The Sign of Four by Sir Arthur Conan Doyle. The language used in The Sign of Four by Sir Arthur Conan Doyle plays a crucial role in developing the novel's atmosphere, characters, and themes. Doyle’s choice of language reflects the values and concerns of the Victorian era while contributing to the detective genre. Below are key aspects of the novel's language to consider.
Formal and Precise Language
Doyle writes in a formal style, typical of late Victorian literature. Characters, particularly Holmes, often speak in a controlled and articulate manner, reflecting their social class and education.
Holmes' speech is characterised by precision and clarity, which reflects his logical and scientific approach to problem-solving. For instance, when explaining his deductions, Holmes uses concise, analytical language to convey his thought processes:
“I never guess. It is a shocking habit—destructive to the logical faculty.”
The formality of the language also mirrors Victorian societal norms, where politeness, decorum, and propriety were essential, especially in professional and social interactions.
Use of Victorian Vernacular
The novel contains various terms and expressions that are typical of Victorian England, which root the story firmly in its historical context. Some of these terms, such as "the game is afoot" or "a formidable foe," are now associated with the detective genre, but were more common in Doyle's time.
Doyle uses colloquialisms when characters from lower social classes speak, in contrast to the more refined speech of the upper-class characters. For example, Jonathan Small and working-class figures like the cab drivers speak in a more straightforward, less polished manner, highlighting class distinctions.
Descriptive and Evocative Imagery
Doyle’s descriptions vividly bring the settings and characters to life. His use of imagery is especially notable in the detailed descriptions of London, as well as the darker, more exotic locations like India and the Andaman Islands.
London is described as a bustling, foggy city:
“The yellow fog swirls down the street, blotting out the houses and dulling the drab sky.”
This atmospheric language helps to create the classic image of Victorian London, full of mystery, gloom, and intrigue.
The exotic locations, such as the description of the Agra Fort and the Andaman Islands, evoke a sense of adventure and the unknown, tapping into Victorian fascination with the British Empire and its far-flung colonies.
Dialogue and Characterisation
Dialogue is essential in revealing character traits. Sherlock Holmes’ speech reflects his methodical, detached nature, often focusing on facts and logic rather than emotion:
“The emotional qualities are antagonistic to clear reasoning.”
In contrast, Dr Watson’s dialogue is more emotionally driven and personal. His narration, which frames the story, uses a more intimate and subjective tone, especially when he expresses his feelings for Miss Mary Morstan:
“A wondrous subtle thing is love.”
Doyle contrasts the highly intellectual Holmes with the more compassionate, human Watson, creating a balance between the two characters. This is emphasised through their differing ways of speaking.
Narrative Voice and First-Person Perspective
The novel is narrated by Dr John Watson, a first-person perspective that offers a subjective view of the events. This narration allows readers to connect emotionally with Watson and experience the mystery as he does.
Watson’s narration is also reliable, providing a clear and detailed account of the investigation. However, his lack of Holmes' deductive skills means that he, like the reader, is often left in the dark until Holmes explains his reasoning, adding to the suspense.
The personal nature of Watson’s narration allows for moments of introspection and reflection, particularly concerning his feelings towards Mary Morstan:
“I have never looked upon a face which gave a clearer promise of a refined and sensitive nature.”
Use of Suspense and Tension
Doyle builds suspense through the language he uses to describe key moments of the mystery. His use of short sentences and cliff-hangers heightens the tension, especially during moments of danger or revelation:
“There was no sound of a footfall. He had disappeared.”
The abruptness of this sentence leaves the reader in suspense, wondering what has happened.
Doyle also uses vivid and sometimes gruesome descriptions, particularly in the crime scenes, to heighten tension and engage the reader’s emotions. For example, the discovery of Bartholomew Sholto’s body is described in chilling detail:
“There, still dressed in his listless attitude, sat the man whom we had come to seek. His features were set, his limbs were rigid...with a ghastly, inscrutable smile upon his face.”
Use of Symbolism
Doyle employs symbolic language to deepen the themes of the novel. The Agra treasure, for example, symbolises greed, colonial exploitation, and the destructive power of wealth. The way characters obsess over the treasure reflects how greed corrupts their lives.
The use of light and dark imagery throughout the novel reinforces the themes of mystery and discovery. The gloomy streets of London, often shrouded in fog, symbolise the unknown, while moments of illumination (both literal and figurative) reflect the uncovering of truth.
Exoticism and Orientalism
Like many works of Victorian fiction, The Sign of Four reflects the era’s fascination with the "exotic" East. Doyle uses language that portrays India and its culture as mysterious and dangerous, reflecting the Orientalist view prevalent in the 19th century.
Terms like "barbaric," "savage," and "uncivilised" are used to describe Tonga and his actions, while the treasure is depicted as something foreign and forbidden. These descriptions reveal the Victorian tendency to romanticise and fear the "other" cultures of the British Empire.
Forensic and Scientific Language
Doyle incorporates scientific and forensic language, reflecting Holmes' methodical approach to solving mysteries. Holmes often uses technical terminology when describing his investigations:
“There is a distinct type of ash called Trichinopoly, with which I can usually identify a cigar.”
This emphasis on scientific precision reflects the growing importance of science and rationality in the Victorian era.
Holmes’ logical explanations are often accompanied by specific details related to chemistry, deduction, and forensic analysis, emphasising the use of modern science in detective work.
Gothic Elements
The novel contains Gothic elements, especially in its dark, suspenseful atmosphere and its exploration of crime and the supernatural. The language Doyle uses often evokes fear and horror, particularly in scenes involving murder or exotic locations.
Bartholomew Sholto’s death and the description of Tonga’s appearance and actions are reminiscent of the Gothic genre’s focus on grotesque and macabre details. The sense of dread created by these descriptions adds to the novel’s tension and mystery.
The language used in The Sign of Four is integral to the novel’s success as a detective story. Doyle combines formal Victorian English, descriptive imagery, and scientific language to create a rich, atmospheric text that reflects the concerns of its time while building suspense and character depth. From Holmes’ precise, logical speech to Watson’s more emotional narration, the language choices in the novel contribute to its lasting appeal and its place within the detective fiction genre.
