Dana Wise
Professor Benander
World Literature
24 February 2013
“The Adventure of the Speckled Band:” A Gothic Tale? Why?
Gothic can refer to elements as different as architecture, fashion, movies and literatures. Gothic architecture is represented by the pointed roofs, windows and archways; the ornate detailing of the windows archways, and gargoyles. Gothic fashion is represented with clothing that is reminiscent of centuries past mourning garb and make-up that is intense and dramatic. Gothic movie directors like Tim Burton have created a long list of gothic films such as Sweeny Todd, Dark Shadows, and Alice in Wonderland. Clifford J. Kurkowski explains in his essay The Gothic Phenomenon in The Castle of Otranto: A Critical Essay, that “the word Gothic can encompasses a wide range of definitions.” The gothic genre is easier to see with the eye since the aesthetics are more readily identifiable; however, Gothic literature is more difficult. What separates a gothic novel from other novels? How does the reader know when Gothic literature is presented?
Gothic literature is often recognized by the word chosen by the author. If the author presents a decaying building rather than an old house, then it is gothic. If there is a runner headed down a dark and foggy path opposed to a jog through the park, it is surely gothic. If thing are happening that seem mystical or supernatural, such as ghost appearing, moving or aging pictures, then it is a gothic story.
There are many gothic tropes, starting with deep emotional expression: anger, sorrow, fear, or shock, sometimes to the point of insanity. There is fear: fear of the unknown, of superstition, of oppression, of death, of loss of wealth and/or status, fear of darkness and the fear of science. There are sign of decay or neglect: decay of buildings, neglect of land, and decay of the living. All of these tropes are often represented in a Gothic novel, these are what give the novel it’s eerie, suspenseful and mysterious feeling, which will either propel the reader forward or push the reader away.
Gothic tropes also apply to many other genres, so it is hard to pin point at times. According to Chris Baldick, in The Oxford Book of Gothic Tales “the term ‘Gothic’ has become firmly established as the name for one sinister corner of modern Western imagination, but it seems to work by intuitive suggest rather that by agreed precision of reference.” (xi) So the gothic genre is often considered evil, but it is truly a genre that is hard to place limits upon. In Arthur Conan Doyle’s “The Adventure of the Speckled Band,” Doyle creates a world of suspense, by using many of the classic tropes; decaying buildings, oppression, and mysterious death. Doyle’s character Sherlock Holmes, shows how the power of observation, logic, and action can destroy the Gothic straw-man he sets up by using very traditional tropes of 19th century horror.
As in most gothic stories there is usually decay, and “The Adventure of the Speckled Band” is no different. The character Helen Stoner talks to Holmes about the structure of “the manor house…very old and only one wing is now inhabited.” (Doyle 268) This decay is due to years of neglect and misappropriation of the families funds by several generations of the Roylotts. A reader can consider the lost of status among the Roylott family a symbolic form of decay. As the story continues the reader will discover bits of decay of Dr. Roylott’s mind, for example: “he shut himself up in his house, and seldom came out save to indulge in ferocious quarrels with whoever might cross his path.” (Doyle 267) No previously prominent doctor would become a recluse or a person of such irrational behavior if not by means of psychological decay. “The Adventure of the Speckled Band” exhibits the decay present in most gothic story.
Another trope that a gothic novel cannot do without is oppression, especially the oppression of women. As is typical in a gothic tale her oppressor is a man, Helen Stoner livelihood depends on her step-father, Dr. Roylott’s, generosity. Stoner’s mother plays a part in her daughter’s oppression by leaving her estate to Roylott. She meaning the mother “she bequeathed Dr. Roylott entirely whilst we resided with him, with a provision that a certain annual sum should be allowed to each of us in the event of our marriage.”(Doyle 267) The oppression in the gothic novel is often related to the era. It demonstrates how although the woman is oppressed she often accepts it as the norm. A perfect example is Stoner response to Sherlock’s discovery of Roylott’s abuse “he is a hard man…and perhaps he hardly knows his own strength.” (Doyle 272) This statement is saying I must protect my oppressor. Doyle establishes this dependency to show the oppression which is prevalent in gothic novels.
While decay and oppression serves its purpose what is most frightening is the fear of the unknown. Be it phantom or superstition or simple a misunderstanding, the unknown is an undeniable gothic trope. Baldick states in his “Introduction,” “The conservative tendency of such tales lies in their dedication to overcoming modern skepticism on behalf of an older belief which has been foolishly abandoned. Gothic fiction, on the other hand, usually shows no such respect for the wisdom of the past, and indeed tends to portray former ages as prison of delusion.” (xv) That being said Doyle is able to deliver these illusions of the unknown, however, by ever using Sherlock Holmes he is able to unveil the unknown as in “The Adventure of the Speckled Band.”
When Helen Stoner visit Sherlock Holmes, observes how demeanor, noticing that she is shivering, believing it from the cold but later finds out that it was due to fear. Doyle writes “she was indeed in a pitiable state of agitation, her face all drawn and grey, with restless, frightened eyes, like those of some hunted animal.” (265) which allow you to see how Doyle demonstrates Holmes power of observation. Doyle goes on to express how observation is important when solving a mystery. The death of Julia Stoner was caused by Dr. Roylott and his fear of being poor again. If the women were to marry he would lose two-third of his current income. Holmes discovers this after viewing the will of the late Mrs. Roylott.
After realizing that Dr. Roylott is a murder and examining the manor. Holmes discovers how the strange adjustment that had been made to Julia’s bedroom allowed the doctor to execute his plan: the useless ventilator, the inoperable bell-rope and the bed that was bolted to the floor. These all became a straight pathway for the speckled band, “a swamp adder…the deadliest snake in India.” (285) Holmes was willing to stay in the deadly bedroom to prove his hypothesis.
Helen’s oppressor had appeared to be supportive of the marriages of his step daughters, yet he was overcome with an oppression of his past experience of being poor. When he went to visit Holmes it was his madness that stated differently. Corinna Wagner states in “the dream of a Transparent Body: Identity, Science and the Gothic Essay” that “even in utter silence, then the face speaks.” (83) This quote means that even if you are saying one thing your body maybe saying another.  So with Holmes power of observation he was able to pickup on this, uses logical thinking and with willingness to spring into action he was able to save the damsel from her oppressor. Although in earlier gothic literature the oppressed would have either had to die, go insane or die, but in Doyle story it is the oppressor who was insane and dies.
“The Adventure of the Speckled Band” proves that although it is filled with tradition tropes it also varies from earlier gothic literature, proving again that there is a lot of gray when it comes to Gothic writings. According to a quote by Richard Gray feature in “the Dream of a Transparent Body” “one of the most persistent fantasies held by the human intellect: the desire to develop a kind of penetrating interior vision that would infallibly reveal the psychological constitution of any human being.” This quote is related to the Gothic genre because just like humans trying to understand other humans and make sense of each other, humans are trying to make sense of Gothic literature. Gothic literature is and has been defined and analyzed to find the true meaning but just like humans it will not fit into a box. Gothic literature continues to grow and evolve in meaning just as its writers grow and evolve as people.

Works Cited
Baldick, Chris. “Introduction.” The Oxford Book of Gothic Tales. Ed. Chris Baldick. Oxford: Oxford University Press, 2009. xi-xxiii. Print.
Doyle, Arthur Conan. “The Adventure of the Speckled Band.” The Oxford Book of Gothic Tales. Ed. Chris Baldick. Oxford: Oxford University Press, 2009. 264-285. Print.
Kurkowski, Clifford J. “The Gothic Phenomenon in The Castle of Otranto: A Critical Essay.” LitGoth.com. n.d. Web. 15 Feb. 2013.
Wagner, Corinna. “The Dream of a Transparent Body: Identity, Science and the Gothic Novel.” Gothic Studies. 14.1 (2012): 74-92. Print