“A few minutes later we had reached the lodge gates, a maze o fantastic tracery in wrought iron, with weather bitten pillars on either side, blotched with lichens, and surmounted by the boars’ heads of Baskerville. The lodge was a ruin of black granite and bared ribs of rafters, but facing it was a new building, half constructed, the fruit of Sir Charles’s South African gold.” There is a contrast between the original Baskerville hall and a modern extension. “Surrounded by wrought iron gates” The gates are compared through a maze of fantastic tracery, which gives us the impression that the gates are particularly obscure and decorative. Yet the weather beaten pillars also give us the impression of sturdiness and the hall can withstand anything that comes up against it. The house is described as “glimmering like a ghost,” which produces a supernatural atmosphere that the building seems spectral. It appears as a mysterious place and is rather unwelcoming.
“Through the gateway we passed into the avenue where the wheels were again hushed amid the leaves, and the old trees shot their branches in a sombre tunnel over our heads.” A metaphor is used as the branches form a tunnel above them as they walk down the avenue and this makes them seem ensnared, surrounded and to some extent captured by the power of the hall.
“The avenue opened into a broad expanse “of turf and the house lay before us.” In the fading light I could see that the centre was a heavy block of buildings from which a porch is projected. The whole front was draped in ivy, with a patch clipped bare here and there were the window or a coat of arms broke through the dark veil. From this a central block rose with the twin towers, ancient crenulated, and piercing with many loopholes. The building seems quiet regal and important, as personification has been used to almost dress the hall. For example “a dark vale of ivy.” The architecture is set in darkness with dark blue, black columns of smoke, which makes the hall threatening sullen and quiet enigmatic.
“High, thin windows of old stained glass, the oak panelling, the stags’ heads, the coats-of-arms upon the wall, all dim and sombre in the subdued light of the central lamp.” Once inside we are literally enlighten by evidence of light. Yet it is still dull and sombre from a single lamp or growing angrily from a log fire again this is personification onomatopoeia is used to describe the clanging of the heavy door, the snapping of heavy log fire. The shadow is compared through simile to a black canopy above their head and again this makes him feel ambushed and surrounded.
“A square balustrade gallery ran round the top or the old hall, approached by a double stair. From this central point two long corridors extended the whole length of the building, from which all the bedrooms opened.” In contrast their bedrooms were much more, lively and rich in colour and produced a more welcoming and positive atmosphere but we are immediately thrown into darkness again when the dining room is described as another long chamber. They felt they were being watched by the Elizabethan figures in the painting and again refers to smoke and gloom. All combined to create a very intimidating and menacing environment.
Use of colour has been used to effect when describing the Dartmoor and this adds to the gentle but vivid atmosphere.” brown earth had become ruddy, the brick had changed to granite, and red cows grazed in well hedged fields where the lush grass and more luxuriant vegetation spoke of richer, if damper climate.” Green Square of field, grey boulders, yellow leaves, olive slopes, threads of gold, brown earth etc.
“Over the green squares of fields and low curves of woods there rose in the distance a grey, melancholy hill, with a crane jagged summit, dim and vague in the distance, like some fantastic landscape in a dream” The landscape seems majestic but not imposing. It seems to be dreamy and unrealistic “some fantastic landscape in a dream.” The landscape looks rough because of the “rough and jagged summit” It also seems to be quiet architectural as hinted by the shape of the wood. Overall we are given the impression that the landscape is imperial and splendid. “The low curve of a wood there rose in the distance.” But there is also an element of darkness “dim and vague in the distance” this gives the reader the impression that Dartmoor is a lonely and weary place.
“Rolling pasture lands curved upwards on either side of us and old gabled houses peeped out from amid the thick green foliage but behind the peaceful and sunlit countryside raised ever, dark against the evening sky, the long, gloomy, curve of the moor, broken by the jagged and sinister hills.” The atmosphere is quite tranquil and calm yet this is threatened by the sinister hills and the gloomy hills of the moor. The landscape is architectural “rolling pasture lands curved up on either side of us.” The place also seems to be poorly maintained “the thick green foliage” this gives the reader the impression the place is deserted. The evening skies make the landscape tranquil. The jagged sinister hills have connotations of mayhem.
“We passed over a narrow granite bridge and skirted a noisy stream, which gusts swiftly down, foaming and roaring amid the grey boulders. Both roads and stream wound up through a valley dense with scrub oak and fir.” Onomatopoeia has been used to describe the noisy stream, gush, fumy and roaring. The word “roaring” has connotations of beastliness. “Both roads and stream wound up through a valley dense with scrub oak and fir” give the reader an illusion and makes the place look mysterious.
“Yellow leaves carpeted the lane and fluttered down upon us as we passed.” Metaphors are used to show that the yellow leaves carpet the roads emphasise comfort, cushion smooth pathways, quiet magical in its vibrant colour.
“In front of us rose the huge expanse of the moor, mottled with gnarled and craggy Cairns and tors. A cold wind swept down from it and set us shivering.” The moors represent hell. “Mottled with gnarled and craggy cairns and tors.” This makes the moors sound like a beast, an evil beast, trapped in the moors. The cold wind represents the desertion of the moors. It also makes the place look ghostly, enough to leave chill down your spine and make you shiver.
Overall Dartmoor has a contrast in landscape, in some areas there is a sense of delight but there is also a dark side to Dartmoor, which is portrayed by the mysterious atmosphere, Conan Doyle has created. The moors contrast with Baskerville hall and both have similar atmospheres. This is because Baskerville hall is situated in the heart of Dartmoor.
Setting also has a relative importance in a dialogue driven text as the atmosphere created can have a powerful impact on the characters themselves. In chapter six for example, Holmes and Watson respond very differently to the tranquil plain of Dartmoor, and the imposing nature of Baskerville hall the fact that we learn about events from Watson. From the first person already gives a personal edge to the novel and makes it seem quiet authentic he also admires Holmes. And at times his reaction to him can be comical. Their journey across Dartmoor was described as “swift and pleasant.” Holmes is described as “tall and austere” which emphasises his serious rigid character. He recalls a conversation between Dr. Mortimer and the driver. Where it is discovered tat a convict has escaped from princess town that is known as the Nottingham murderer. This conjures a menacing atmosphere and their life could be in danger. We learn about the beauty of Dartmoor from Dr. Watson. So it could be said that his positive description was biased to a certain degree. Even so, the comparison between the moor and the hall itself is almost similar. The fact that Holmes accompanies Watson. Watson’s character has been basically stable and consistent through out the story, but the moment he left Holmes from the platform and travels further and further away from him, towards a hostile and menacing environment. His mood has changed. He feels venerable and afraid “for half an hour I waited for him “with every nerve on its alert” and “I found myself weary and yet awake, tossing restlessly from side to side, seeking for the sleep which would not come”
Every novel establishes a sense of place or setting, although its importance varies. This is one of the most vital tasks of the novelist, who needs to give the reader a sense of where they are right from start. The setting provides the reader with vital information about the social and historic background of the text. It can also give the reader an insight into the situation. The immediate signal to the reader the importance of the place and setting to this novel. “Setting” and “background” are rather in adequate terms of reference for what they describe, since they suggest something rather static or detached. The setting gives geographical and physical context to the event in the plot. Setting can also give a moral context to the event in the plot. For example, the contrast directly with the ordered, secure, moral world of 221B Bakers Street, London. Setting does not just indicate place, but also the condition associated with it, in particular the atmosphere and weather conditions. The weather then mirrors the mood of the characters. This is an example of the way setting can play an active part in a novel. It is quiet good to start a novel by setting it in a very sedate London because readers feel secure, which makes the impact of been thrown into the countryside stronger. Reader is caught unaware and trusted into the atmosphere of gloom. The book is structured by setting the conclusion in London, so that the atmosphere is stored to that of calm and tranquil state.
