Reflection on Doyle’s use of disguise in his Sherlock Holmes series of stories for this academic exercise focuses on an analysis of “The Man with the Twisted Lip.” Within the following discourse, the analysis provides subjective views on the function of disguise as intended by the author for story development. Further, to the ensuing analysis exploration of the result of disguise as a literary operation in this story draws on a comparison of the Holmes’ and St. Claire use of physical alterations as a means of deception emerges, in part, as a less than subtle statement about Doyle’s contemporary view of the “other” side of the respectable Victorian era. In doing so, the use of the protagonists donning disguise to both hide and reveal information proves the crux of the author diligently creating this mystery. In the story, the protagonist St. Claire describes how his disguise allowed him finding a place among the lower class and accumulating alms for a debt he had no money to pay. “ (In addition, I) spent the time in begging in the City under my disguise. In ten days I had the money and had paid the debt” (Doyle 10). Analysis of “The Man with the Twisted Lip” investigates the use of disguise, appearance, and as a literary device for developing the character of Hugh Boone with comparison to Holmes’ character dressing “down” disguise fitting into the lower class of society as a contextual element necessary to the story.
Other Elements of Disguise
The disguises in “The Man” create a multilayered story and proves an effective motif for developing the central plot of this mystery. Duping Watson, Holmes’ false teeth and hair to the point he resolves to expose his identity proves engaging pulling the reader into one of the sub-layers this story unfolds. The fact this story emerges as a page turning mystery story nonetheless it also provides a disguise for Doyle clearly making a statement revealing the despicable situation of destitute poverty-stricken people populating much of 1890s London. Further, the story discloses the scandal of the opium trade, theft, kidnapping, and murder. Consequently, the story originally exposed the “other” side of London's socially acceptable society and stands as a literary social statement of the state of this national capital and as a piece of literary disguise; he succeeds blending fact, social commentary, with well-structured fiction.
Appearances
Throughout the story of “The Man” the references to appearances as connected to disguise begins early in the story. Particular to the opening is the rescue of Watson of his friend Isa Whitney from the clutches of the opium den in response to the pleadings of the addict’s wife. There, once Watson finds his friend, he finds his resolve shaken by the appearance of Holmes – thoroughly disguised as an old man also seemingly succumbed to the “other” world the opium in the lit bowls takes the user. Their conversation brings the idea of how Holmes’ disguise creates a false reality – as much so as the false reality created by smoking the opium. Watson, explaining his presence in such an unlikely place to his friend Holmes, “I came to find a friend” (Doyle 2) is an automatic admission but Holmes’ response, “And I to find an enemy” (Doyle 2) gives the reader an immediate understanding of the disguise.
Already a given for any familiar with Holmes’ use of mind altering substances throughout the Doyle series on the sleuth, it becomes apparent his disguise may inadvertently cause the disarmed Watson assuming the cause of the presence of his old companion in such a place. The remark Holmes makes fixes this idea. “I suppose, Watson,” said he, “that you imagine that I have added opium-smoking to cocaine injections, and all the other little weaknesses on which you have favoured me with your medical views” (Doyle 2). [Sic] Additionally, Holmes’ reference to his need for the disguise allows Doyle telling the reader more of the dangers Holmes’ invoke in pursuit of the truths his investigations would ferret out for society’s judgment.
The reader now hears of Mr. St. Clair and the mission Holmes’ pursues in attempting locating the missing man. This succeeds telling the reader a more in depth looks at the plot and working of the mind of Holmes’ method for attaining his goal finding the St. Clair protagonist. Here the role of disguise clearly connects to “appearances” as embraced by both Holmes and St. Clair but for entirely different purposes. The use of disguise in this story exemplifies the different types of appearances that result in a well-written story. Disguise frames both Holmes’ and, St. Clair’s action in the story as appearances constitute the vehicle of the two protagonists’ roles in the tale.
Acting the beggar, St. Clair’s disguise further provides opportunity for taking advantage of the poverty burdened London inhabitants so that he uses their presence further disguising his own intentions as a beggar among them. From this act of duplicity, the disguise becomes a weapon becoming an inner turmoil St. Clair develops as his true self, suspects the actions of the disguised self, existing in this “other” realm of London society. The emotional burden plaguing St. Clair therefore becomes a psychological outcome clearly connected to the role self continues acting in the “other” reality eventually finds him playing this disguised part in his own homeland.
The numerous experiences St. John collects in life as a one-time actor, and a news reporter provides the underpinnings of this beggar disguise existing in a state of tenuous but clearly believable reality to the point Holmes’ own genius cannot detect the deception. So much so does the St. Clair deception proves fruitful hiding him Holmes declares his quarry dead.
Thus, the outcome of the St. Clair deception proves a means to escape detection, creating an alternative reality by his appearance, and creates a dichotomy of reality of self. This proves similar to those addicted to the opium dens losing their identities in the false dream-state reality and cannot be lost that somehow Doyle intended this relationship stand recognizable and significant to the story.
The distinct use of disguise in this particular story as the discourse of this academic exercise reveals as already suggested how the author clearly and intentionally wanted to use the literary mystery genre as a disguise for writing about a social issue he recognized. In the St. Clair character, this particularly stands abundantly clear because this protagonist sets out using the “other” or under layer of London society.
He does so as his cover so he freely walks among them, hidden in plain sight amid them through his cleverly assembled disguise both physically and through the dialogue of the people, he also employs. Doyle’s use of the mystery taking a subtle but nonetheless unhidden point of view of what had to exist as an otherwise unpopular stance in the Victorian society of London shows the assumption people applied to the appearances of fellow citizens in assigning him or her to the well-defined class system of the era.
Retrospect of the discourse in this scholastic endeavor seeking the context of the disguises fundamental to the story of “The Man” does indeed reveal numerous layers of nuances working together creating the weaving of the actors of the tale. From the onset, led by a tip from the wife of the quarry Holmes seeks, his intention using a disguise in locating the missing St. Clair sets the momentum of the story. Nothing is clear, nothing is sure. Even the narrative quality of the text connecting St. Claire’s position leads the reader into discovery while St. Claire maintains his deceitful impersonation of those of the “other” realm of London society to the point he hides from all who would believe they could tell the difference.
The sum of this previous dialogue analyzing the depth of the Doyle use of disguise for this one story looks at the brilliant accomplishment that draws characterization, descriptive, and empirical overtures created in the text that makes this an engagingly entertaining, thought provoking, and clearly intellectually based piece of literature as a learning exercise. The focus on disguise, the intention examining its use in the text as a connection to the plot, motif, and the story itself proves an exercise demanding critical thought about the genius of a gifted creative mind in developing, writing, and successfully engaging readers in a story such as “The Man” decades down the line
Disguise in this academic attention to its connection to the story development. This explains itself when analyzed as a function used through its alignment with the text again, established a new understanding of writing technique through incorporating such ideas as offered as an example of how Doyle used the concept of “disguise” so differently between Holmes and St. Clair.
Works Cited
Doyle, Arthur Conan. The Man with the Twisted Lip. England: George Newnes Ltd. 1892 Print
