|
|
4:53 a.m. - 2023-03-03 The story follows the pattern of its predecessor A SCANDAL IN BOHEMIA, being bracketed by scenes at 221B Baker Street, where the mystery is presented and later explained in detail. We are given more information about Holmes, Watson, and their relationship. "I was always oppressed with a sense of my own stupidity in my dealings with Sherlock Holmes," Watson tells us, but other than his mild criticisms of Watson's "embellishments" in recounting some of their adventures, Holmes shows no particular disdain for his less gifted companion. On the contrary, when Watson offers to withdraw, having interrupted the interview with Wilson, Holmes urges him to stay and requests his presence during the following investigation. "My practice is never very absorbing," Watson admits, as we find him more than willing to postpone time with his patients in order to take part in a new adventure. Holmes's confidence in Watson is obvious when he arms himself with no more than a riding crop, relying on Watson's ability with a revolver, although we know from earlier stories (THE SIGN OF THE FOUR) that Holmes is an excellent shot. Holmes, we are told, is not only a musician but also a composer, and is able to lose himself in musical reverie once he has satisfied that he has completed all necessary preparations for the final confrontation. When not engaged on a case, Holmes's principal concern is the need to escape from ennui: "My life is spent in on long effort to escape from the commonplaces of existence." The supporting cast includes some rather interesting characters, beginning with Mr Jabez Wilson, "a very stout, florid-faced gentleman with flaming red hair" which is, of course, central to the case. We learn later that the criminals seized upon Wilson's only unique characteristic--other than, perhaps, his easy gullibility--to build their conspiracy. The pawnbroker is ungenerously described as "an average, commonplace British tradesman, obese, pompous, and slow" with "small, fat-encircled eyes" and "not over-bright." The mastermind in the conspiracy is John Clay, first introduced to us under the alias "Vincent Spaulding," who has taken a job at the pawn shop for half-pay despite his obvious high intelligence. Clay, according to Holmes, is the fourth smartest man in London--I suggest Moriarty, Holmes himself, and his brother Mycroft as the first three--and the third most daring: a murderer, thief, smasher, and forger. "Though we meet signs of him at every turn," Holmes tells us, "we never know where to find the man." This description foreshadows the later description of Moriarty as "The Napoleon of Crime" in THE FINAL PROBLEM, and suggests Doyle toying with the idea of a super criminal this early in the canon. Clay is also blessed with a delightful arrogance, stemming in part from having a royal ancestor, and from time spent at Eton and Oxford. "I beg that you will not touch me with your filthy hands," he tells the police, and "have the goodness, also, when you address me, always to say 'sir' and 'please.' Sadly, we never see the charming Mr Clay again. The recipient of these aristocratic commands, Peter Jones of Scotland Yard, is ironically amused by them. Though somewhat dismissive of Holmes's cerebral approach, Jones shows him due respect, suggesting a change in attitude on the part of the London police following Holmes's earlier triumphs. Holmes gives Jones a mixed review, calling him "not a bad fellow, though an absolute imbecile in his profession," though allowing that Jones is "as brave as a bulldog and as tenacious as a lobster.
|