Setting Analysis of a Study in Emerald

 Om Thakar

 Professor Macquarrie 

English 1120 4 April 2024 

Setting Analysis of A Study in Emerald

 The setting within literature serves as a component for establishing tone and characters with backgrounds. Mainly, the setting serves as the primary place where the narrative unfolds. In essence, the setting functions as a catalyst for contextualizing the text, and characters and their motives. In addition, a setting contributes to the cultivation of a mood that is in line with the narrative trajectory (Rhode). For example, a dark and stormy night may evoke feelings of unease among readers, as opposed to a sunny shoreline. The setting of a narrative also holds symbolic potential capable of conveying deeper motives and concepts. It functions as a vessel through which themes or ideas can be represented. The role of setting in literature is the multifaceted contributions for providing context, atmosphere, and narrative layers with symbolic significance (Rhode). This essay is an analysis of the setting in the short story: A Study in Emerald and how it advanced the plot. Throughout the story, the setting is an alternate realm where the Lovecraftian deities reign supreme. The story starts within a chemical lab, where the protagonist encounters their flatmate, who is a lot like Sherlock Holmes. This initial encounter in the lab not only serves as the introduction to the principal characters but also symbolizes their friendship. The setting represents two chemical compounds making a novel substance. It is a metaphor which symbolizes the emergence of a collaboration of people with contrasting backgrounds, just like Thakar 2 making a new substance. The country of Albion where the protagonists currently live serves as a symbolic representation that mirrors Western perception of people hailing from the Middle East and the East in general. Both Sherlock and the narrator exhibit a disparaging attitude towards the populace of Afghanistan, characterizing them as savages: "The gods and men of Afghanistan were savages, unwilling to be ruled from Whitehall or Berlin or even from Moscow". Next, in the narrative, it is revealed that the leaders of the global order are ancient gods. Specific references to a ruler in the Middle East, so it is up to speculation as to why an ancient order sent soldiers to Afghanistan. References are also made, highlighting their resistance to external governance, which is rebellion by definition. This narrative element serves as a symbol reflecting the general population in the military campaigns waged against Afghanistan in the mid-2000s, a period closely aligned with the publication of this short story in 2003 (The Internet Speculative Fiction Database, n.d.). The secondary setting in the story is their residence located on Baker Street. While Watson utilizes his designated area for routine daily activities, Sherlock uses his space for target practice and arranging meetings. The portrayal of their domestic environment not only helps the story move forward but also helps the reader engage through its role as a home for the characters. It serves as the pivotal point of interactions between characters such as those between the house and Lestrade, who meet that morning for briefing before embarking on the crime scene. Despite Sherlock’s restlessness and the meetings, both he and Watson derive comfort from the semblance of stability provided by their abode, particularly in the aftermath of pursuing criminals. The home as a setting emerges as a sanctuary where characters find solace and a sense of identity. (Taylor). This dynamic is evident in the interactions of the characters within the house. The housekeeper’s demeanour is the embodiment of a hostess, extending harmful hospitality and Thakar 3 attending to the needs of the boys with nurturing care. Similarly, Lestrade is embraced as a member of the household, his presence welcomed with open arms and was provided food as an expression of love. Such gestures signify the setting as a sanctuary of belonging amidst the tumultuous backdrop of an alternate universe. In this realm of shifting realities, the contact of their home serves as the anchor, providing stability and family amidst the uncertainty that happens in their lives. After the meeting, the characters explored the crime scene involving the Prince, an encounter that Watson finds challenging to encapsulate in mere words, deeming any attempt will not do it justice, as if he were the one that orchestrated the crime. Initially, his attention is diverted from the body to the hue of the blood, which is green. The focal point of the setting lies in the significance attributed to the body, its connection to loyal lineage serving as a central theme. Upon the revelation of royal involvement in the murder, the story visits the Queen’s palace. In the text, It was described with emphasis on its great doors. A door serves the dual function of keeping spaces separate yet connected (Riaubienė). This symbolizes the relationship between royalty and its subjects; An entity both distinct and intertwined, separate yet connected. Within the context of European literature, doors often symbolize transitions or great transitions. In this narrative, the passage through the doors of the palace signifies changes or transition (Riaubienė). This symbolism finds reinforcement in the subsequent events, particularly the transformative encounter between Watson and the Queen, where the Queen heals Watson by altering him physically, underscoring the passage through the great doors. The subsequent setting unfolds within the opera house, frequented by the deceased prince, setting the stage for the unfolding drama. The play, comprising 3 plays, introduces an element of disguise by the recurring presence of actors pretending to be different people with Thakar 4 each entrance and exit of the theatrical door. This metaphorically signifies the transitions and the potential for change (Riaubienė). Furthermore, the settings throughout the story serve as indicators of the inverted nature of the alternate reality. Notably, the culmination of the plays delves into the origins of the Old Ones, dating back seven centuries. In the play, the hero extends a welcome to the Old Ones and kills the priest, this is symbolic of a society where allegiance to these Old Ones supersedes all loyalties. It is suggested that the populace, unwittingly susceptible to the power of stories rooted in historical events, this internalizes and accepts the ideological constructs of the manipulations orchestrated by the Old Ones. Another setting in the story is also the new world. It was described as a great place with opportunity. In this text, it is symbolic of a new start away from the old ones, hence the wording: new world and old ones. While talking to the actor backstage Sherlock mentions the New World and how amazing it would be. Later, in the text, it is revealed that the real killer was the actor and that he escaped. It was also later revealed that he was killed by Restorationists. Another notable setting in the story is the New World, portrayed as a realm with promising opportunities. With the framework, this serves as a symbolic representation of a fresh beginning, distinct from the influence and constraints imposed by the Old Ones, New World, and Old Ones. Notable during a backstage conversation with an actor, Sherlock mentions the New World, emphasizing its allure as a world of possibilities and transformations. As the story unfolds more the true perpetrator of the murder is revealed to be the actor who manages to evade apprehension. However, it is later disclosed that the actor met his demise at the hands of the Restorationists, thereby resolving the lingering mystery surrounding the crime. In conclusion, the settings within a story serve as elements that not only provide a backdrop for the narrative but also actively contribute to its progression and depth. By examining Thakar 5 the characters and how they interact with each other, and their surroundings, readers gain valuable insights into their inner workings and motivations. Settings can function as powerful symbols offering foreshadowing or allegorical representations of key themes and dynamics. The pervasive symbolism within the settings enriches the storytelling, guiding readers into a deeper understanding of the characters and their underlying intentions. From the chemical lab where they meet to the Queen’s palace symbolizing transitions and power dynamics. In essence, the settings in A Study in Emerald serve as more than backdrops; they are integral parts of the story, woven into the text to deepen characterization, convey themes, and propel the plot towards its climactic resolution. Each set carries layers of meaning waiting to be unravelled. Thakar 6 

Works Cited 

Ambrosio, Giovanna. Language, Symbolization, and Psychosis. First edition., Routledge, an imprint of Taylor and Francis, 2018, https://doi.org/10.4324/9780429476570. Albuquerque, Rafael, et al. A Study in Emerald. Dark Horse Books, 2018. Martin, Rebecca. “Gender and Emotion Stereotypes in Children’s Television.” Journal of Broadcasting & Electronic Media, vol. 61, no. 3, 2017, pp. 499–517, https://doi.org/10.1080/08838151.2017.1344667. Rhode, Robert D. Setting in the American Short Story of Local Color, 1865–1900. Walter de Gruyter GmbH & Co KG, 2019. Riaubienė, Edita. “DOOR MEANINGS AND SYMBOLISM IN EUROPEAN TRADITION.” Journal of Architecture and Urbanism, vol. 31, no. 3, 2007, pp. 149–56, https://doi.org/10.3846/13921630.2007.10697101. Taylor, Helen. Refugees and the Meaning of Home. Springer, 2015. The Internet Speculative Fiction Database. “Title: A Study in Emerald.” Www.isfdb.org, www.isfdb.org/cgi-bin/title.cgi?277621. Accessed 2 Apr. 2024.