Showing posts with label background information. Show all posts
Showing posts with label background information. Show all posts

Saturday, January 18, 2014

Characterization in Sherlock Holmes

Characterization

            Even people who have never read the Sherlock Holmes stories often know something
about his character.  If nothing else, they will associate the line, “Elementary, my dear Watson,” with him, although the literary Holmes never actually put these words together – only his film counterparts say them.  Although Conan Doyle named Holmes for one of his favorite authors, Oliver Wendell Holmes, he imagined Dr. Joseph Bell’s appearance for his hero: around six feet tall, with a thin “razor-like” face, a large nose, like a hawk, and small, sharp eyes.  Interestingly, Conan Doyle said the pictures of Holmes usually depict him as handsomer than he imagined him himself.  Holmes wears dressing gowns inside and a cape with a deerstalker hat outside, and he usually appears with a pipe or a magnifying glass in his hand. 
            Entirely unemotional, Holmes remains aloof, coolly rational, and arrogant.  He is often irritable and he possesses several idiosyncrasies that try the patience of even his longsuffering best friend, Watson.  He clutters his rooms with paperwork from his cases and paraphernalia from his numerous scientific experiments.  Watson complains that he keeps his cigars in the coalscuttle, his tobacco in one of his slippers, and his unanswered letters transfixed to the mantle with a jackknife.  He can play the violin well when he wishes to, but Holmes more often scrapes annoyingly and tunelessly on the strings.  He uses the walls of his home for target practice.  Moody and plagued by boredom when no case demands his attention, he injects a 7% solution of cocaine, a habit that his concerned friend finally helps him break.  
            Holmes possesses exceptional gifts and an encyclopedic knowledge of some areas, but remains willingly ignorant of many others, declaring he would rather not clutter his mind with facts that cannot help him solve his cases, even whether or not the earth travels around the sun.  He is respectful and polite to women, but he insists he would never let himself fall in love and marry, as Watson does.  In some ways Holmes resembles a Romantic hero, standing apart from society and even breaking its laws on occasion to obtain the clues he desires.  He will even allow a proven criminal to go free, insisting that he is not, after all, a policeman.  Holmes also can give the impression that his motives for solving his cases have less to do with combating crime or doing good than with amusing himself or impressing others.  
            In “The Hound of the Baskervilles,” when he finds what he supposes is the dead body of
his client, he cries out in rage and grief – at the black mark now on his reputation: “In order to have my case well rounded and complete,” he exclaims to Watson, “ I have thrown away the life of my client.  It is the greatest blow which has befallen me in my career.”  Interestingly, when Joseph Bell learned of his former student’s claim that he was the great detective’s inspiration, he admitted to only a slight resemblance, writing back to Doyle, “You are yourself Sherlock Holmes.”   Conan Doyle confessed, “…A man cannot spin a character out of his own inner consciousness and make it really life-like unless he has some possibilities of that character within him – which is a dangerous admission for one who has drawn so many villains as I.”
            In appearance at least, Conan Doyle seemed to share more with Dr. John Watson, whom he named after a friend, Dr. James Elmwood Watson, than he did with Holmes.  Like Doyle, Watson is a large, athletic man, wearing a bushy mustache.  Like Doyle, Watson studied medicine at Edinburgh University, and he served his country during wartime also.  He loves sports and has an eye for an attractive lady, and like Doyle, he marries more than once.  Watson is as even-tempered and genial as Holmes is moody and aloof.  Their temperaments make them opposites, but the most striking contrast between Holmes and Watson comes when they work together on a case.  Watson consistently fails when he tries to use his friend’s methods of deduction, and he often complains about how foolish Holmes makes him feel.  In “The Hound of the Baskervilles” Holmes tells Watson, “It may be that you are not yourself luminous, but you are a conductor of light.  Some people without possessing genius have a remarkable power of stimulating it.”  Yet Watson recognizes that for all his friend’s arrogance, Holmes needs him, and not just to record his history. 

            In “The Adventure of the Creeping Man” Watson notes, “He was a man of habits, narrow and concentrated habits, and I had become one of them.  As an institution I was like the violin, the shag tobacco, the old black pipe, the index books, and others perhaps less excusable.  When it was a case of active work and a comrade was needed upon whose nerve he could place some reliance, my role was obvious.  But apart from this I had uses.  I was a whetstone for his mind.  I stimulated him.  He liked to think aloud in my presence.  …If I irritated him by a certain methodical slowness in my mentality, that irritation served only to make his own flame-like intuitions and impressions flash up the more vividly and swiftly.  Such was my humble role in our alliance.”  Watson clearly foils Holmes; he is certainly less brilliant, less able, less confident.  But he might be more human, as Doyle himself suggested.

Characteristics of a Detective Story

Characteristics of a Detective Story

C. Hugh Holman’s A Handbook to Literature defines a detective story as “a novel or
short story in which a crime, usually a murder – the identity of the perpetrator unknown –
is solved by a detective through a logical assembling and interpretation of palpable
evidence, known as clues.”

            The first detective stories were written by Edgar Allan Poe, and Conan Doyle acknowledged their influence on his writing.  A good detective story generally follows six “unwritten rules.”  

First, the crime must be significant, worthy of the attention it receives.  Most stories involve murder, though Conan Doyle tied the majority of his crimes to greed and theft. 

Second, the detective must be in some way a memorable character.  He or she must be very intelligent, of course, unusually clever and observant, but also quirky, possessing perhaps some odd idiosyncrasies that distinguish him or her.  Kojak’s lollipop, Columbo’s crumpled raincoat, James Bond’s unruffled cool and high-tech gadgets, all of these things make the hero somehow distinct.  

Third, along with an exceptional detective, there must be an outstanding opponent, a criminal clever enough to be a match for the hero.  Solving the crime can’t be too easy. 

Fourth, because a large part of the attraction of a detective story is the opportunity for the reader to try to figure out the solution along with the detective, all suspects of the crime must be introduced early in the story, and

Fifth, all clues the detective discovers must be made available to the reader also. 


Finally, at the end of the story, the solution must seem obvious, logical, possible.  The crime must not have resulted from accident or supernatural intervention, and the detective must be able to explain all aspects of the case in a reasonable way.  A fine detective story should meet each one of these standards.