47 pages • 1 hour read
G. K. ChestertonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Father Brown and Flambeau visit an old friend of Flambeau’s, a romantic poet named Leonard Quinton, who has developed an obsession with Eastern cultures and fallen into opium addiction. They are greeted by his doctor, Dr. James Harris, and Mr. Quinton’s brother-in-law Mr. Atkinson, whom the doctor dislikes. Father Brown notices that Quinton has many Eastern knick-knacks, including a crooked knife inlaid with colorful jewels. He finds the colors exquisite but the shape wrong and even malevolent, like an implement of torture rather than a “hearty and straightforward” weapon. He argues that this instrument is emblematic of all Asian cultures, claiming that even the letters of Asian languages and the shapes in Turkish rugs are indefinably but deliberately “mean and bad.” They then see a man lying on the sofa, whom Dr. Harris says is the Indian man Quinton keeps as a companion. When Flambeau asks if the man wants anything, the man repeatedly says, “I want nothing” (87). Father Brown finds this oddly prideful, noting that Christians recognize that they want something. They meet Mrs. Quinton, and Dr. Harris gives Quinton his “sleeping draught”—a euphemism for a dose of opium. Mr. Atkinson appears again to talk to Quinton, but the latter only says that he is “writing a song about peacocks” (89).
The doctor then stops Mr. Atkinson and accuses him of doing something to Quinton—he can see Quinton through the window and thinks that he is lying in bed in an unnatural position. Father Brown and Flambeau then enter Quinton’s room and find him dead. On his desk is a paper on which Quinton has written that although he died by his own hand, he was nonetheless murdered. Father Brown then notices that the paper on which the note was written is a different shape from the other papers. Father Brown tells Mrs. Quinton what has happened, and Dr. Harris suspects that Quinton’s Indian companion might have been responsible. Father Brown, remembering the wrong shape of the paper, begins to suspect that Quinton was indeed murdered. Flambeau is confused by this and does not understand what the shape has to do with whether Quinton died by suicide or was murdered. Father Brown reminds him that the upper left corner of the sheet had been snipped off, and he asks Flambeau to consider what might have been written on that snipped-off corner. He notes that Quinton had been writing a romance about hypnotism and wizardry when he died. Dr. Harris enters and hands Father Brown a document that he has requested and then leaves to turn in for the night. Father Brown reads the letter. In it, Dr. Harris confesses that he killed Mr. Quinton because he was in love with his wife.
A staunch atheist, Dr. Harris accepts no morality other than that of reason applied in the pursuit of happiness, and he believed that it was logical that Mrs. Quinton would be happier with him than with her husband, with his opium addiction and his unusual hobbies and interests. When he saw Quinton’s unfinished manuscript sitting on the desk, with the words “I die by my own hand, yet I die murdered” written in Quinton’s highly distinctive handwriting at the top of a page (96), he realized his opportunity. The problem was that the statement began with a quotation mark. Dr. Harris’s solution was to snip off the corner containing the quotation mark before cutting off the rest of the page so that the snippet of manuscript would appear to be a suicide note—leading everyone to assume that Quinton’s Indian friend hypnotized him into killing himself (exactly the plot of Quinton’s unfinished manuscript). However, upon killing Quinton with the sleeping draught, Dr. Harris started experiencing remorse and wanted to tell someone what he had done, not understanding why. Father Brown then puts the letter in his pocket as the police arrive.
Flambeau goes sailing in the Norfolk rivers while on vacation. He recalls his old fame as a thief and his association with many important people, even receiving a letter from the French Prince Saradine, who had invited him to visit his home in Norfolk, Reed House, after his retirement. Prince Saradine was a prominent figure in Italy who famously had an affair with a married woman, supposedly leading to the husband’s suicide. After living in Vienna for years, Prince Saradine began traveling. Flambeau decides to visit the prince, with Father Brown joining him. At Reed House, they meet Prince Saradine’s loyal servant, Mr. Paul, and the Italian housekeeper, Mrs. Anthony. They learn about Prince Saradine’s younger brother, Captain Stephen Saradine, who spent much of his brother’s fortune. When Flambeau tells Mrs. Anthony that he is unsure which Saradine brother is the good one and which one is the bad one, Mrs. Anthony says that it is hard to decide. When Father Brown asks for clarification, she then angrily says that there is no good Saradine brother and that they both have great moral faults: Stephen used money wastefully, but Prince Saradine also gave it to him freely and carelessly.
Prince Saradine arrives, and Father Brown notes his somewhat performative air of aristocratic distinction. He has the feeling that he has seen this man before, but he attributes it to the many mirrors scattered around the drawing room, which make it appear as if several Prince Saradines stand before him. Flambeau goes fishing while Prince Saradine and Father Brown enjoy the library at Reed House. Later, when Father Brown is talking to Prince Saradine, the prince learns that a man has arrived in a boat with several other men. A young Italian man appears, introducing himself as Antonelli and having one of his men, Marco, open a large black box to reveal dueling swords. Antonelli reveals that Prince Saradine had an affair with Antonelli’s mother and that the two threw Antonelli’s father off a cliff when the young Antonelli was only an infant. He is now seeking revenge and wishes to kill Prince Saradine in a duel—a more noble death than the one Prince Saradine had given his father. They begin the duel. Father Brown talks to Mrs. Anthony and, seeing her eyes, realizes that she is Antonelli’s mother. She faints, and Mr. Paul goes to save his master by getting help from the police. Father Brown panics and worries that the police will not arrive in time to save one of the dueling men from dying. Antonelli kills Prince Saradine shortly before the police arrive, upsetting Father Brown. Delighted at having gotten his revenge, Antonelli says that he has completed his task and wishes only to be hanged for his crime. Later, Mr. Paul and Mrs. Anthony are eating a fine dinner at the dining table as if they own the house, and Flambeau is shocked to find them enjoying a meal when their master is dead. However, Mr. Paul reveals that he is Prince Saradine and that the dead man is his brother, Stephen. Father Brown tells Flambeau that he wants to leave, and they do. As they sail away, Father Brown explains to Flambeau what happened. Prince Saradine had two enemies: Antonelli and his brother. Stephen knew about the prince’s murder of Antonelli’s father and could prove it in court. For a decade, he blackmailed his brother, extracting money in exchange for his silence. Meanwhile, Antonelli continued to pursue the prince, forcing him to constantly move around the world. The prince knew that he could not continue to hide from Antonelli and satisfy his brother’s demands, so he gave his brother what he wanted, allowing him to take possession of the Norfolk house and the title of Prince Saradine, while he agreed to pose as the prince’s butler. When Antonelli found them, he killed the man he believed was the prince, thus condemning himself to execution and ridding the true prince of both his enemies at once.
In the village of Bohun Beacon, the once prestigious Bohun family is now dwindling like many old aristocratic families. One early morning, Wilfred Bohun, who is an Anglican Reverend, confronts his brother, Colonel Norman Bohun, over his blasphemy and sinfulness, threatening that the Presbyterian blacksmith, Simeon Barnes, would be willing and able to attack him for it. Wilfred then goes into the church. He is surprised when the cobbler, who is an atheist, enters the church and tells him that his brother is dead. Outside, they find Colonel Bohun with his head smashed and a small hammer near the body.
Those nearby wonder if Barnes did it. Father Brown arrives, as does Barnes. After the doctor confirms that the corpse is Colonel Bohun’s, Barnes proclaims that the colonel died a sinner but that he was not the one who killed him. The doctor wonders why the killer used such a small hammer when he could have used a large one and wonders if a woman—such as Barnes’s wife—might have done it. However, Father Brown says that a woman could not have smashed the colonel’s head with such force. Wilfred then accuses a man whom the villagers refer to as “Mad Joe” of killing the colonel. He says that the colonel was mocking Mad Joe when he confronted him earlier. He also claims to have seen Mad Joe alone in the church earlier, which made him think that he might have been there to pray before committing the murder. Barnes then says that he believes that whoever killed Colonel Bohun was doing God’s work: The hammer was God’s instrument to bring Colonel Bohun to justice for his sins. Many of the others find this ridiculous, but Barnes insists. Father Brown then leads Wilfred up to the high parapet of the church, where no one can hear them, and says that he knows Wilfred killed the colonel, wanting to punish him for his sins. He did so by dropping a hammer onto his head from this very parapet. Father Brown notes that it is dangerous to pray from high places, as the high vantage point gives one the illusion of moral superiority. He believes, however, that Wilfred is not irredeemable: Wilfred did not accuse Barnes or Barnes’s wife of the crime even when the villagers were ready to believe that they were guilty. Instead, he accused Mad Joe, whose mental incapacity meant that he would not suffer. For this reason, Father Brown says that he will keep his knowledge to himself, allowing Wilfred the chance to save his soul by voluntarily confessing. As soon as Wilfred comes down from the parapet, he turns himself in to the police.
The third section adds layers to the narrative by forcing Father Brown and Flambeau to confront figures and events from their pasts. Flambeau is re-introduced to two men from his past in Paris and must, with Father Brown, solve the cases revolving around these men. In this story and throughout this section of the book, the characters from the past are usually estranged or not quite familiar to the detective or assistant. The stories in this section also present plot twists meant to surprise the reader or change their understanding of the character: the reveal of Dr. Harris as Leonard Quinton’s murderer who was in love with his wife in “The Wrong Shape”; the reveals of Mr. Paul as the real Prince Saradine and Mrs. Anthony as Mrs. Antonelli, young Antonelli’s mother, in “The Sins of Prince Saradine”; and the reveal of Reverend Wilfred Bohun as his brother’s murderer in “The Hammer of God.” These twists challenge not only the readers but also the characters within the stories, illustrating The Contrast Between Appearances and Reality.
In this section, Father Brown’s rationalism comes increasingly into conflict with his willingness to believe in the supernatural. In “The Sins of Prince Saradine,” he becomes panicked and uneasy when Antonelli kills Prince Saradine before Flambeau and Mr. Paul return with the police, as the world itself seems to change its dimensions in order to prevent the police from arriving in time to prevent the murder. Even after the mystery is solved, he remains uneasy and is happy when he and Flambeau can leave Norfolk. He is also disturbed by the Asian artifacts in Quinton’s house in “The Wrong Shape,” showing his racist misperception of objects with origins in non-Christian cultures. This shows that Father Brown is flawed and human and can experience both rational and irrational fear.
This section offers a clearer view of Flambeau’s past: He was once friends with Quinton before he fell into opium addiction, and he was invited by the French Prince Saradine to his home in Norfolk when he was in the prime of his thieving years. Flambeau’s re-encounter with these men shows how much he has changed, now working with the law rather than against it. As he discovers that Quinton was murdered by his doctor and that the real Prince Saradine hid and allowed his brother and enemy to kill each other, Flambeau is able to put those parts of his past behind him and move forward in his new life as an assistant detective.
Stories in this section highlight The Duality of Human Nature. In “The Wrong Shape,” Dr. Harris likes to think of himself as a man of science who follows and understands nature. He prides himself on rejecting any law other than that of logic, and his internal logic leads him to believe that Mrs. Quinton would be happier with him than with Mr. Quinton. When he kills Quinton, however, he begins to feel empathy and remorse for the first time. Because he does not believe in morality or conscience, he finds his guilt hard to understand, but through Father Brown’s instruction, he eventually understands that what he did was wrong and turns himself in. This shows the complexity of the conscience, and Dr. Harris’s thought process shows the separation of science and reason from morality. In “The Sins of Prince Saradine,” the real Prince Saradine’s disregard for the harm he has done to the Antonelli family by starting an affair with Mrs. Antonelli/Anthony, his cowardice in hiding from Antonelli, and his nonchalance at Stephen’s death show that he prioritizes his own gain and security over the lives of others. Stephen’s greed and carelessness lead to his death at the hands of Antonelli, and Antonelli’s vengefulness leads him to be imprisoned and likely hanged for murder. In “The Hammer of God,” Colonel Bohun’s immoral behavior enrages Wilfred, driving him to commit murder. These events show the faulty and corrupt nature of human morality and the need for moral guidance in combatting the darkness within oneself.
Despite his unease with the Asian artifacts in Quinton’s house, Father Brown uses The Psychological Approach to Solving Crimes to realize that Quinton’s death was not a suicide. His psychological insight allows him to see the reason for Saradine disguising himself as a manservant and having his brother pose as him to avoid being killed by Antonelli himself. He also recognizes Wilfred’s motive for killing his brother Norman as a sense of righteous anger, with Wilfred’s righteous anger transforming into a murderous rage in which he wants to give his brother God’s judgment early, using his small hammer as a “hammer of God.” The Contrast Between Appearance and Reality is significant in showing how Dr. Harris used Quinton’s note to make his murder of him look like a suicide. In addition, the real Prince Saradine uses disguises and name changes to hide the truth, and Barnes is the first person suspected of killing Colonel Bohun because of his devout Puritanism when it was the colonel’s brother, Wilfred, who killed him.
The hammer of God appears in the short story “The Hammer of God” as a symbol of the human moral arrogance that masquerades as God’s divine and righteous wrath. Wilfred uses it against his blasphemous brother, believing that he is enacting God’s judgment. Father Brown leads him up to the church parapet—the location from which he dropped the hammer on his brother’s head—and shows him how this elevated vantage point has misled him into believing himself an infallible arbiter of justice. This story illustrates The Duality of Human Nature, showing that good, righteous men can be driven to commit murder through vengefulness and self-righteousness.
The third section uses foreshadowing in “The Sins of Prince Saradine,” with the Italian housekeeper’s English name, Mrs. Anthony, foreshadowing the reveal that she is truly Mrs. Antonelli, the mother of the young Antonelli.
By G. K. Chesterton
Appearance Versus Reality
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British Literature
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Class
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Class
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Colonialism & Postcolonialism
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Good & Evil
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Guilt
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Revenge
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