There were crimson roses on the bench; they looked like splashes of blood.
The judge was an old man; so old, he seemed to have outlived time and change and death. His parrot-face and parrot-voice were dry, like his old, heavily-veined hands. His scarlet robe clashed harshly with the crimson of the roses. He had sat for three days in the stuffy court, but he showed no sign of fatigue.
He did not look at the prisoner as he gathered his notes into a neat sheaf and turned to address the jury, but the prisoner looked at him. Her eyes, like dark smudges under the heavy square brows, seemed equally without fear and without hope. They waited.
“Members of the jury—”
Strong Poison by Dorothy Sayers.
1) Look at the dramatic tension created by Sayers’ succinct use of paragraphs. Each paragraph is like a cinematic ‘scene’ and increases the sense of urgency and conflict in the courtroom. The different lengths of paragraphs give the opening a rhythm and add a theatrical aspect to the setting.
2) Remember a new paragraph is required whenever the topic or focus is shifted. However, the paragraphs still share a theme which is developed as the narrative moves along. The focus on different versions of ‘red’ reminds the reader of the grotesque aspects of the setting. In fact, the setting feels theatrical and almost peopled by actors playing out their assigned roles. Innocence and criminality are almost indistinguishable in this exacting space.
3) Look at the powerful semicolon used in the opening single-sentence paragraph. It joins two independent clauses together adding lurid intensity to the setting. This works effectively as we are in a courtroom and the trial must be for a serious crime as there is a jury. We suspect therefore that the emphasis on the colour red is symbolic of some terrible crime, most likely murder, yet connected to passion too, hence the ‘romantic’ crimson roses.
4) The use of repeated, unusual metaphors ( the ‘parrot’ ) to describe the judge reveals his long experience. He knows the law. He is the law! The judge is not fazed by the length of the trial, nor is he concerned by the thoughts of the female defendant. It feels as if the woman is courageous and even defiant, yet doomed: hence the ‘dark smudges’ unless a rescuer appears.
5) The semicolon separating the repetition of the ‘old’ age of the judge gives the latter a nearly mythical ( archetypal) power. This judge we suspect has the power to change the female defendant’s life forever- even to end her life if she is pronounced guilty. And the judge appears both professionally indifferent, yet secretly hostile to this woman whose courage may go against her.