The Riddle of the Frozen Flame — Story, Setting & Ideas
Edition facts
The source record for The Riddle of the Frozen Flame — Story, Setting & Ideas measures this digital text at 68,177 words, 4 hr 57 min estimated reading time, and 6 detected text sections.
The text analysis averages about 14.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Detective and mystery stories,” connecting these edition facts with the source record’s subject description.
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- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
II. The Frozen Flames
III. Sunshine and Shadow
V. The Spectre at the Feast
VI. A Shot in the Dark
VII. The Watcher in the Shadow
IX. The Second Victim
XI. The Secret of the Flames
XII. "As a Thief in the Night--"
XIII. A Gruesome Discovery
XIV. The Spin of the Wheel
XV. A Startling Disclosure
XVIII. Possible Excitement
XIX. What Took Place at "The Pig and Whistle"
XXI. Questions--and Answers
XXII. A New Departure
XXV. The Web of Circumstance
XXVI. Justice--and Justification
XXVII. The Solving of the Riddle
XXVIII. "Toward Morning ..."
The Riddle of the Frozen Flame
Mr. Maverick Narkom, Superintendent of Scotland Yard, sat before the litter of papers upon his desk. His brow was puckered, his fat face red with anxiety, and there was about him the air of one who has reached the end of his tether.
He faced the man opposite, and fairly ground his teeth upon his lower lip.
"Dash it, Cleek!" he said for the thirty-third time, "I don't know what to make of it, I don't, indeed! The thing's at a deadlock. Hammond reports to me this morning that another bank in Hendon--a little one-horse affair--has been broken into. That makes the third this week, and as usual every piece of gold is gone. Not a bank note touched, not a bond even fingered. And the thief--or thieves--made as clean a get-away as you ever laid your eyes on! I tell you, man, it's enough to send an average person daft! The whole of Scotland Yard's been on the thing, and we haven't traced 'em yet! What do you make of it, old chap?"
"As pretty a kettle of fish as I ever came across," responded Cleek, with an enigmatic smile. "And I can't help having a sneaking admiration for the person who's engineering the whole thing. How he must laugh at the state of the old Yard, with never a clue to settle down upon, never a thread to pick up and unravel! All of which is unbusinesslike of me, I've no doubt. But, cheer up, man, I've a piece of news which ought to help matters on a bit. Just came from the War Office, you know."
Mr. Narkom mopped his forehead eagerly. The action was one which Cleek knew showed that every nerve was tense.
"Well, out with it, old chap! Anything to cast some light on the inexplicable thing. What did you learn at the War Office?"
"A good many things--after I had unravelled several hundred yards of red tape to get at 'em," said Cleek, still smiling. "Chief among them was this: Much English gold has been discovered in Belgium, Mr. Narkom, in connection with several big electrical firms engaged upon work out there. The Secret Service wired over that fact, and I got it first hand. Now it strikes me there must be some connection between the two things. These bank robberies point in one direction, and that is, that the gold is not for use in this country. Now let's hear the full account of this latest outrage. I'm all ears, as the donkey said to the ostrich. Fire away."
Mr. Narkom "fired away" forthwith. He was a bland, round little man, rather too fat for one's conceptions of what a policeman ought to be, yet with that lightness of foot that so many stout people seem to possess.
Cleek presented a keen contrast to him. His broad-shouldered, well-groomed person would have adorned any company. His head was well-set upon his neck, and his features at this moment were small and inclined to be aquiline. He had closely set ears that lay well back against his head, and his hands were slim and exceedingly well-kept. Of his age--well that, like himself, was an enigma. To-day he might have been anything between thirty-five and forty--to-morrow probably he would be looking nineteen. That was part of the peculiar birthright of the man, that and a mobility of feature which enabled him to alter his face completely in the passing of a second, a gift which at least one notorious criminal of history also possessed.
He sat now, playing with the silver-topped cane between his knees, his head slightly to one side, his whole manner one of polite and tolerant interest. But Mr. Narkom knew that this same manner marked an intensity of concentration which was positively unique. Without more ado he plunged into the details of his story.
The opening chapter of The Riddle of the Frozen Flame establishes a brisk, conversational tone through the dialogue between Superintendent Maverick Narkom and the detective Hamilton Cleek. Narkom's speech is peppered with exclamations like "Dash it, Cleek!" and colloquial phrases such as "as pretty a kettle of fish," which immediately signal a familiar, almost bantering relationship. Cleek's responses are measured and enigmatic, hinting at hidden knowledge. The narrative voice shifts between this rapid-fire exchange and more descriptive, interior passages, as when the accused Sir Nigel reflects on his predicament: "Murderer! They were calling him a murderer!" The prose here becomes fragmented and emotional, marked by short exclamatory sentences and rhetorical questions, creating a stark contrast with the earlier detective-work banter.
Dialogue as a Driver of Pace
The excerpts reveal that dialogue is the primary engine of pacing in this novel. In Chapter I, the back-and-forth between Narkom and Cleek is rapid, with short lines and interruptions: "'Dash it, Cleek!' he said for the thirty-third time." This technique accelerates the scene, conveying urgency and frustration. Later, when Sir Nigel is imprisoned, his conversation with 'Toinette is similarly clipped, but the tone shifts to anguish: "'Nigel! My poor, poor Nigel!' / 'Little 'Toinette!'" The dialogue here is laden with emotion, slowing the pace as the characters dwell on their plight. The author uses dialogue not only to advance the plot but also to modulate tempo—quickening during investigative exchanges and decelerating during personal confrontations.
Shifts in Narrative Voice
The narrative voice alternates between an omniscient, slightly ironic tone and a close third-person perspective that plunges into characters' thoughts. In the opening, the narrator describes Narkom with a touch of humor: "His brow was puckered, his fat face red with anxiety." This external view gives way to Sir Nigel's interior monologue, rendered in free indirect discourse: "The liars! The fools! Calling him a murderer, were they?" Here, the narrator adopts the character's indignation, using exclamations and rhetorical questions. The voice also shifts to a more detached, reportorial style during procedural moments, such as the description of the cell: "the narrow room with its tiny barred window too high for a man to reach." These shifts in narrative distance create a dynamic reading experience, moving from objective observation to subjective turmoil.
Recurring Motifs and Structural Repetition
Certain phrases and structural patterns recur, reinforcing themes of entrapment and injustice. The word "liars" appears in Sir Nigel's thoughts, echoing the earlier accusation of "a tissue of lies" against Borkins. The motif of the revolver and bullet is repeated: "the revolver-shot and the cruel little bullet" and later "There was the revolver and there the bullet." This repetition hammers home the circumstantial evidence that traps the protagonist. Structurally, the narrative often returns to the image of the cell—described first as a place of "momentary peace" and later as a space where Sir Nigel "pace[s] up and down." This cyclical return to confinement mirrors the character's psychological state and the plot's sense of deadlock, a technique that builds tension through reiteration rather than forward motion.
Readers attentive to language will notice how the Hanshews use punctuation—dashes, exclamation points, and ellipses—to convey hesitation, urgency, and emotional breaks. The novel's pace is not uniform; it accelerates through dialogue and decelerates during introspective passages. Pay attention to how the narrative voice shifts between sardonic observation and raw interiority, as these changes often signal key turning points in the investigation or in a character's mindset.
There’s something about the way The Riddle of the Frozen Flame slows its breath just before the reveal—like waiting for a friend to finish a thought. It reminded me of that quiet patience in Four Max Carrados Detective Stories — Edition Insights, where each clue feels less like a puzzle and more like a shared secret. I think of that feeling often, long after the last page settles.
Wyatt Davis
3 weeks agoMadison Rivera
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