Complete Sherlock Holmes, Volume II (Barnes & Noble Classics Series) (132 page)

It was not a very tempting offer, and even I, poor as I was, hesitated to accept it. It was not merely the small sum offered, but it was the long delay, for this book might open a road for me. I was heartsick, however, at repeated disappointments, and I felt that perhaps it was true wisdom to make sure of publicity, however late. Therefore I accepted, and the book became Beeton’s Christmas Annual of 1887.

It was in consequence of a publishers’ dinner, at which I was a guest, that I wrote
The Sign of the Four,
in which Holmes made his second appearance. But thereafter for a time he was laid on the shelf, for, encouraged by the kind reception which “Micah Clarke” had received from the critics, I now determined upon an even bolder and more ambitious flight.

Hence came my two books.
The White Company,
written in 1889, and
Sir Nigel,
written fourteen years later. Of the two I consider the latter the better book, but I have no hesitation in saying that the two of them taken together did thoroughly achieve my purpose, that they made an accurate picture of that great age, and that, as a single piece of work, they form the most complete, satisfying, and ambitious thing that I have ever done. All things find their level, but I believe that if I had never touched Holmes, who has tended to obscure my higher work, my position in literature would at the present moment be a more commanding one. *The work needed much research and I have still got my notebooks full of all sorts of lore. I cultivate a simple style and avoid long words so far as possible, and it may be that this surface of ease has sometimes caused the reader to underrate the amount of real research which lies in all my historical novels. It is not a matter which troubles me, however, for I have always felt that justice is done in the end, and that the real merit of any work is never permanently lost.

I remember that as I wrote the last words of
The White Company
I felt a wave of exultation and, with a cry of “That’s done it!” I hurled my inky pen across the room, where it left a black smudge upon the duck‘s-egg wall paper. I knew in my heart that the book would live and that it would illuminate our national traditions. Now that it has passed through fifty editions I suppose I may say with all modesty that my forecast has proved to be correct. This was the last book which I wrote in my days of doctoring at Southsea, and marks an epoch in my life, so I can now hark back to some other phases of my last years at Bush Villa
^gf
before I broke away into a new existence.

A number of monthly magazines were coming out at that time, notable among which was the
Strand
then, as now, under the very able editorship of Greenhough Smith. Considering these various journals with their disconnected stories, it had struck me that a single character running through a series, if only it engaged the attention of the reader, would bind that reader to that particular magazine.

Looking round for my central character, I felt that Sherlock Holmes, whom I had already handled in two little books, would easily lend himself to a succession of short stories. These I began in the long hours of waiting in my consulting room. Smith liked them from the first, and encouraged me to go ahead with them
^ge
.

It was at this time that I definitely saw how foolish I was to waste my literary earnings in keeping up an oculist’s room in Wimpole Street, and I determined with a wild rush of joy to cut the painter
^gg
and to trust forever to my power of writing. So I settled down with a stout heart to do some literary work worthy of the name. The difficulty of the Holmes work was that every story really needed as clear-cut and original a plot as a longish book would do. One cannot without effort spin plots at such a rate. They are apt to become thin or to break. I was determined, now that I had no longer the excuse of absolute pecuniary pressure, never again to write anything which was not as good as I could possibly make it, and therefore I would not write a Holmes story without a worthy plot and without a problem which interested my own mind, for that is the first requisite before you can interest anyone else. If I have been able to sustain this character for a long time, and if the public find, as they will find, that the last story is as good as the first, it is entirely due to the fact that I never, or hardly ever, forced a story. Some have thought there was a falling off in the stories, and the criticism was neatly expressed by a Cornish boatman who said to me, “I think, sir, when Holmes fell over that cliff, he may not have killed himself, but all the same he was never quite the same man afterwards.”

I was weary, however, of inventing plots and I set myself now to do some work which would certainly be less renumerative but would be more ambitious from a literary point of view. I had long been attracted by the epoch of Louis XIV and by those Huguenots who were the French equivalents of our Puritans. I had a good knowledge of the memoirs of that date, and many notes already prepared, so that it did not take me long to write
The Refugees.

Yet it was still the Sherlock Holmes stories for which the public clamoured, and these from time to time I endeavoured to supply. At last, after I had done two series of them, I saw that I was in danger of having my hand forced, and of being entirely identified with what I regarded as a lower stratum of literary achievement. Therefore, as a sign of my resolution, I determined to end the life of my hero. The idea was in my mind when I went with my wife for a short holiday in Switzerland, in the course of which we walked down the Lauterbrunnen Valley. I saw there the wonderful falls of Reichenbach, a terrible place, and that, I thought, would make a worthy tomb for poor Sherlock, even if I buried my banking account along with him. So there I laid him, fully determined that he should stay there—as indeed for some twenty years he did.

I was amazed at the concern expressed by the public. They say that a man is never properly appreciated until he is dead, and the general protest against my summary execution of Holmes taught me how many and how numerous were his friends. “You brute” was the beginning of the letter of remonstrance which one lady sent me, and I expect she spoke for others beside herself. I heard of many who wept. I fear I was utterly callous myself.

 

James Barrie is one of my oldest literary friends, and I knew him within a year or two of the time when we both came to London. He and I had one most unfortunate venture together. The facts were that he had promised Mr D‘Oyly Carte that he would provide the libretto of a light opera for the Savoy. I was brought into the matter because Barrie’s health failed on account of some family bereavement. I had an urgent telegram from him. I found him worried because he had bound himself by contract, and he felt in his present state unable to go forward with it. There were to be two acts, and he had written the first one, and had the rough scenario of the second. Would I come in with him and help him to complete it as part author? I did my best and wrote the lyrics for the second act, and much of the dialogue, but it had to take the predestined shape. The result was not good, and on the first night I felt inclined, like Charles Lamb, to hiss it from my box. The opera,
Jane Annie,
was one of the few failures in Barrie’s brilliant career. We were well abused by the critics, but Barrie took it all in the bravest spirit, and I still retain the comic verses of consolation which I received from him next morning.

There followed a parody on Holmes, written on the flyleaves of one one of his books. It ran thus:

In bringing to a close the adventures of my friend Sherlock Holmes I am perforce reminded that he never, save on the occasion which, as you will now hear, brought his singular career to an end, consented to act in any mystery which was concerned with persons who made a livelihood by their pen. “I am not particular about the people I mix among for business purposes,” he would say, “but at literary characters I draw the line.”

We were in our rooms in Baker Street one evening. I was (I remember) by the centre table writing out “The Adventure of the Man Without a Cork Leg” (which had so puzzled the Royal Society and all the other scientific bodies of Europe), and Holmes was amusing himself with a little revolver practice.

It was his custom of a summer evening to fire round my head, just shaving my face, until he had made a photograph of me on the opposite wall, and it is a slight proof of his skill that many of these portraits in pistol shots are considered admirable likenesses.

I happened to look out of the window, and, perceiving two gentlemen advancing rapidly along Baker Street, asked him who they were. He immediately lit his pipe, and, twisting himself on a chair into a figure 8, replied:

“They are two collaborators in comic opera, and their play has not been a triumph.”

I sprang from my chair to the ceiling in amazement, and he then explained:

“My dear Watson, they are obviously men who follow some low calling. That much even you should be able to read in their faces. Those little pieces of blue paper which they fling angrily from them are Durrant’s Press Notices. Of these they have obviously hundreds about their person (see how their pockets bulge). They would not dance on them if they were pleasant reading.”

I again sprang to the ceiling (which is much dented) and shouted: “Amazing! But they may be mere authors.”

“No,” said Holmes, “for mere authors only get one press notice a week. Only criminals, dramatists, and actors get them by the hundred.”

“Then they may be actors.”

“No, actors would come in a carriage.”

“Can you tell me anything else about them?”

“A great deal. From the mud on the boots of the tall one I perceive that he comes from South Norwood. The other is obviously a Scotch author.”

“How can you tell that?”

“He is carrying in his pocket a book called (I clearly see) ‘Auld Licht Something.’ Would anyone but the author be likely to carry about a book with such a title?”

I had to confess that this was improbable.

It was now evident that the two men (if such they can be called) were seeking our lodgings. I have said (often) that Holmes seldom gave way to emotion of any kind, but he now turned livid with passion. Presently this gave place to a strange look of triumph.

“Watson,” he said, “that big fellow has for years taken the credit for my most remarkable doings, but at last I have him—at last!”

Up I went to the ceiling, and when I returned the strangers were in the room.

“I perceive, gentlemen,” said Mr. Sherlock Holmes, “that you are at present afflicted by an extraordinary novelty.”

The handsomer of our visitors asked in amazement how he knew this, but the big one only scowled.

“You forget that you wear a ring on your fourth finger,” replied Mr. Holmes calmly.

I was about to jump to the ceiling when the big brute interposed.

“That tommyrot is all very well for the public, Holmes,” said he, “but you can drop it before me. And, Watson, if you go up to the ceiling again I shall make you stay there.”

Here I observed a curious phenomenon. My friend Sherlock Holmes shrank. He became small before my eyes. I looked longingly at the ceiling, but dared not.

“Let us cut out the first four pages,” said the big man, “and proceed to business. I want to know why—”

“Allow me,” said Mr. Holmes, with some of his old courage. “You want to know why the public does not go to your opera.”

“Exactly,” said the other ironically, “as you perceive by my shirt stud.” He added more gravely: “And as you can only find out in one way I must insist on your witnessing an entire performance of the piece.”

It was an anxious moment for me. I shuddered, for I knew that if Holmes went I should have to go with him. But my friend had a heart of gold. “Never!” he cried fiercely. “I will do anything for you save that.”

“Your continued existence depends on it,” said the big man menacingly.

“I would rather melt into air,” replied Holmes proudly, taking another chair. “But I can tell you why the public don’t go to your piece without sitting the thing out myself.”

“Why?”

“Because,” replied Holmes calmly, “they prefer to stay away.”

A dead silence followed that extraordinary remark. For a moment the two intruders gazed with awe upon the man who had unravelled their mystery so wonderfully. Then, drawing their knives—

Holmes grew less and less, until nothing was left save a ring of smoke which slowly circled to the ceiling.

The last words of great men are often noteworthy. These were the last words of Sherlock Holmes: “Fool, fool! I have kept you in luxury for years. By my help you have ridden extensively in cabs where no author was ever seen before.
Henceforth you will ride in buses!”

The brute sank into a chair aghast. The other author did not turn a hair.

This parody, the best of all the numerous parodies, may be taken as an example, not only of the author’s wit, but of his debonair courage, for it was written immediately after our joint failure, which at the moment was a bitter thought for both of us. There is, indeed, nothing more miserable than a theatrical failure, for you feel how many others who have backed you have been affected. It was, I am glad to say, my only experience of it, and I have no doubt that Barrie could say the same.

Before I leave the subject of the many impersonations of Holmes, I may say that all of them, and all the drawings, are very unlike my own original idea of the man. I saw him as very tall—“over six feet, but so excessively lean that he seemed considerably taller,” said A
Study in Scarlet.
He had, as I imagined him, a thin razorlike face, with a great hawk‘s-bill of a nose, and two small eyes, set close together on either side of it. Such was my conception. It chanced, however, that poor Arthur Paget, who, before his premature death, drew all the original pictures, had a younger brother whose name, I think, was Harold, who served him as a model. The handsome Harold took the place of the more powerful but uglier Sherlock, and, perhaps from the point of view of my lady readers, it was as well. The stage has followed the type set up by the pictures.