The law, it seems, can no longer protect Sherlock Holmes from anyone who wants to use the character freely wherever and however he likes. What a pity. Those of us who think there is a ‘real’ Holmes, the character created by Sir Arthur Conan Doyle in a few dozen short stories and four longer ones, may just have to lump it. Millions of people will soon think that the Cumberbatch version, or the noisy recent movies, are the real thing. I think fewer and fewer people actually read the stories. I noticed, on a recent celebrity version of University Challenge, featuring men and women in their 40s and 50s, that even the cleverest of the contestants had no deep knowledge of the Holmes stories, and couldn’t identify ‘The Speckled Band’ from a plot summary.
I for one actively dislike the TV modernisation of Holmes and Watson, in which Benedict Cumberbatch plays Holmes as a sort of detective Dr Who. In fact (I didn’t invent this thought, but wish I had) much of the BBC’s output now seems to be governed by a rule that everything must be more or less like ‘Dr Who’, even the news- postmodern, ironic, fashionably cool, omnisexual, omnicultural , so slick that slickness may even be the entire point. It uses a great idea without showing it any real respect.
How would the programme called ‘Sherlock’ cope if it were not based on the original idea of Holmes and Watson? Not to mention Mycroft and Moriarty and Mrs Hudson?
If there were no basic idea and memory to build on, would anyone care, or watch? I don’t know. Perhaps they would, but I doubt if it could have reached the near-cult standing it has attained with so many TV critics. When I forced myself to watch one episode, in which Irene Adler was transformed into a naked call-girl (I think this is what happened, it was hard to follow) , I immediately resolved to buy a boxed set of ITV’s 1980s portrayal of Holmes, in which Jeremy Brett got closer (I believe) than anyone else to portraying Conan Doyle’s invention.
But he did that by simply sticking as close to the stories as he could. I’ve been reading them since I was about 11 years old. Lately I’ve read many of them aloud to others. I have a treasured collection of the long stories, the a faded red John Murray edition, with an inscription from my brother, which he gave to me when I was 13, and various ancient stiff green Penguin editions of the short stories. I was recently given a lovely complete Holmes (after several of my other copies vanished) with many illustrations by Sidney Paget, who really invented the idea of the detective that most people have, particularly the deerstalker hat that Doyle never mentions. I think that ‘The Sign of Four’, with Toby the dog, and Jonathan Small, and the crazy Sholto brothers, is my favourite, the long hunt through Victorian South London as the night pales into dawn, the wit by which Holmes gets information out of people who don’t want to give it to them, the worryingly ambiguous choice given to Jonathan Small in the Agra Fort, all live in the mid as indelible moving pictures.
They’re full of the driest wit. Doyle often puts French or German epigrams into Holmes’s mouth and doesn’t bother to translate them . And Holmes has always struck me as something of a late-Victorian Cambridge atheist, a man of cold science and colder reason, dismissing religious sentiment as superstition and worse (there’s a strong undercurrent of this in ‘The Hound of the Baskervilles’).
I also have personal reasons for feeling especially fond of the Holmes canon. The story of ‘Silver Blaze’, which is reckoned by so many to be the best of all, and which contains the immortal remark about the incident of the dog in the night-time (now alas, overshadowed by a modern novel of that name in so many minds) is set largely in stables near Tavistock, on the edge of Dartmoor which are remarkably similar in position to the 18th century house (with large stable block) in which I spent my formative years at boarding school. We certainly believed that our school was the model for King’s Pyland.
By the way, can anyone solve this mystery? In an e-mail exchange shortly before he died, my brother and I puzzled over the journey Holmes and Dr Watson make to Tavistock by train.
We examined the Sidney Paget picture of their arrival, to see if we could see any resemblance to either of the Tavistock railway stations we remembered from our childhoods (both, outrageously, are now closed, and the North station, the obvious arrival point from Paddington, would have involved a change of Exeter which isn’t mentioned in the story) . (Come to that, at which of the Canterbury stations did Holmes and Watson crouch behind a pile of luggage as Moriarty’s special train ‘passed with a rattle and a roar, beating a blast of hot air into our faces’. I don’t recall an ‘open curve’ of line leading into either of the two Canterbury stations of today.
And we found that both of us had also always been puzzled by the following exchange :
‘And so it happened that an hour or so later I found myself in the corner of a first-class carriage flying along en route for Exeter, while Sherlock Holmes, with his sharp, eager face framed in his ear-flapped travelling-cap, dipped rapidly into the bundle of fresh papers which he had procured at Paddington. We had left Reading far behind us before he thrust the last one of them under the seat, and offered me his cigar-case.
"We are going well," said he, looking out the window and glancing at his watch. "Our rate at present is fifty-three and a half miles an hour."
"I have not observed the quarter-mile posts," said I.
"Nor have I. But the telegraph posts upon this line are sixty yards apart, and the calculation is a simple one.”
Are they? Not any more. Is it? I’ve tried to do it many ways round, and it certainly didn’t seem to be simple, as sixty doesn’t seem to me to go neatly into 1,760, or any of the sub-divisions of the English mile. Is this a joke, a mistake, or something else (there are, famously, errors and contradictions in the Holmes canon, though I’m not such an enthusiast that I can recall what they are)?
But oh, for the Holmesian world of steam expresses from Paddington, long, detailed crime reports in vast closely-printed newspapers, flaring lamps, mysterious butlers, Napoleons of Crime, defrocked clergymen, telegraph wires swooping past the train window, station-masters, rude noblemen, Baker Street irregulars, and the rest.
It is a refreshing, absorbing place in which the weary soul can hide from the cares of the day (I seem to remember that George Orwell’s Gordon Comstock, in ‘Keep the Aspidistra Flying’ could by the end of his period of penury and failure read almost nothing except Sherlock Holmes, hunched in his dismal lodgings).
There will always be, to a 20th century person, a fairytale quality about Victorian and Edwardian London, an experience we just missed but saw traces of, that vast ( and largely) peaceful wilderness lent a romance by the dingy fogginess of the days and the deeper mystery of the nights. The railway line from Liverpool Street out through the old East End used (until the 1970s or so) to give a pretty worrying idea of what that London had actually been like. Nowadays it’s been cleaned up beyond recognition. British towns and cities, even in my childhood, had more or less clear borderlines of class and wealth beyond which you didn’t venture unless you were in the mood for surprises which, even if mild, might not always be pleasant. It’s noticeable how many of Holmes’s best stories begin with a dash southwards into what Joseph Conrad (in ‘the Secret Agent’ ) so memorably called the noisy, dirty, dangerous night of South London’.
But it is not just in dank streets that evil lurks. Who can forget this passage (again arising from a train journey) in ‘the Copper Beeches’ : ‘All over the countryside, away to the rolling hills around Aldershot, the little red and grey roofs of the farm-steadings peeped out from amid the light green of the new foliage.
"Are they not fresh and beautiful?" I cried with all the enthusiasm of a man fresh from the fogs of Baker Street.
But Holmes shook his head gravely.
"Do you know, Watson," said he, "that it is one of the curses of a mind with a turn like mine that I must look at everything with reference to my own special subject. You look at these scattered houses, and you are impressed by their beauty. I look at them, and the only thought which comes to me is a feeling of their isolation and of the impunity with which crime may be committed there."
"Good heavens!" I cried. "Who would associate crime with these dear old homesteads?"
"They always fill me with a certain horror. It is my belief, Watson, founded upon my experience, that the lowest and vilest alleys in London do not present a more dreadful record of sin than does the smiling and beautiful countryside. “ ’
The later stories, it is true, are plainly written to meet the demands of magazine editors, themselves pestered for more by a hungry public. All writers of popular fiction eventually face this crisis, from which Doyle (who much preferred his now unjustly-neglected historical fiction) sough to escape by killing Holmes, and was then forced to resurrect him (he was, as they say, never the same again).
It is surprising how often Holmes fails to save those who seek his help. Very often, the clue lies in the distant past and far away - the American west, or in some West Virginia coal-mining valley, or an Australian goldfield. Doyle was a romantic, really, and also very drily funny. The Brigadier Gerard stories are believed by many to have provided some inspiration for George Macdonald Fraser’s Flashman, though Gerard was a courageous idiot rather than a clever poltroon. Everyone has forgotten the Professor Challenger stories – including a full-length book ‘The Lost World’ which just happens to describe an inaccessible plateau in a remote part of South America where dinosaurs and pterodactyls survive (ring a bell?). The moment when Challenger releases a pterodactyl in a London lecture hall is one of my favourite Doyle. moments.
Others are to be found in the ‘Conan Doyle Stories’, now hard to obtain, small delights such as The Lost Special, the Croxley Master, the Terror of Blue John Gap and the Horror of the Heights, not to mention the absolutely horrible story of Lady Sannox.
If you’ve read all this, then the Holmes stories live even more colourfully in your mind. You begin, just begin, to enter into the imagination of one of the greatest of all Victorians. Those of us who still read, rather than leave our literature to the TV , will always have this (and Jeremy Brett) to fall back on. But it is a shame about everyone else. TV first imitates, then devours , then recreates in its own image.