Conclusion

Author(s):  
James O'Brien

Sherlock Holmes and Professor Moriarty plunged over the Reichenbach Falls in The Final Problem (FINA), the twenty-sixth story. What we read about the post-Reichenbach Holmes is that he had “never been the same man afterwards” (Stashower 1999, 443). Actually the very first story written after Holmes and Moriarty went over the falls was The Hound of the Baskervilles (HOUN). It is the most famous Holmes tale, and it is always rated as the very best one too. The next three stories, The Empty House (EMPT), The Norwood Builder (NORW), and The Dancing Men (DANC) are all rated fairly well. So Conan Doyle gets to the halfway point quite strongly (DANC is the thirtieth story). But soon the quality drops off. The fifty-six Holmes short stories have been rated several times (Bigelow 1993, 130–138). It is revealing to compare the first thirty stories with the last thirty. Here are the results from the 1959 ratings done by readers of The Baker Street Journal. Eight of the ten stories on the “best” list are from the first half of the Canon. Only two later stories make the list. The “worst” list is just the reverse. Nine of the ten stories are from the second half; eight of the tales on the worst list are from the last twelve stories that Conan Doyle wrote, between 1921 and 1927. Even Conan Doyle himself agreed with this. In 1927, he listed his twelve favorite short stories and later added his next seven. Conan Doyle’s list has fifteen early stories and four late ones. . . . Arthur Conan Doyle’s Favorite Holmes Short Stories SPEC (10), REDH (4), DANC (30), FINA (26), SCAN (3), EMPT (28), FIVE (7), SECO (40), DEVI (43), PRIO (32), MUSG (20), REIG (21), SILV (15), BRUC (42), CROO (22), TWIS (8), GREE (24), RESI (23), NAVA (25) . . . When the four long stories are included, not much changes. Generally HOUN displaces The Speckled Band (SPEC) as number one. But the later stories still fare poorly. One of the second-half tales that is always rated high is The Bruce Partington Plans (BRUC).

Author(s):  
Arthur Conan Doyle

The Adventures of Sherlock Holmes is the series of short stories that made the fortunes of the Strand magazine, in which they were first published, and won immense popularity for Sherlock Holmes and Dr Watson. The detective is at the height of his powers and the volume is full of famous cases, including ‘The Red-Headed League’, ‘The Blue Carbuncle’, and ‘The Speckled Band’. Although Holmes gained a reputation for infallibility, Conan Doyle showed his own realism and feminism by having the great detective defeated by Irene Adler - the woman - in the very first story, ‘A Scandal in Bohemia’.


Lexicon ◽  
2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Adiba Qonita Zahroh

sidekick in literature is perceived as a supporter of a hero or a man-behind a hero. However, it does not always work that way. In Sherlock Holmes canon, there can be found a well-known dr. John Watson who acts differently as a sidekick for Sherlock Holmes as a protagonist of the stories. Throughout the canon, Watson does not merely act as a supporter or a man-behind who just follows Holmes’s moves. In many occasions, Watson contributes varied significant things in supporting Holmes through some roles he possesses. Moreover, what Watson contributes is found out to be influential to Holmes. Therefore, it can be seen that being a sidekick can do other things apart from following the hero all the time.Based on the facts about Watson’s contributions, this paper is conducted to examine the roles dr. John Watson as a sidekick. The data used in the research are 56 short stories and four novels of Sherlock Holmes bundled together in Sherlock Holmes canon. The method of collecting the data is executed through intensive reading, mapping out the roles of dr. John Watson found during the reading process, and analysing the collected data.Since the focus of this paper is about dr. John Watson’s roles and their influences towards Sherlock Holmes, objective theory is chosen to be employed. Related to the theory, this paper offers the explanation of intrinsic elements with focus on character element and sidekick character.


2020 ◽  
Vol 25 (3) ◽  
pp. 479-486
Author(s):  
Oxana V. Afanasyeva ◽  
Kamilla F. Gereikhanova

The article analyzes the receptions of A.С. Doyle’s masterpieces and the circle of novels “Fandorin” by Boris Akunin. Based on the analysis of the works “Azazel”, “Decorator”, “Scarpei Baskakovs”, “Prisoner of the Tower”, a number of conclusions are made about the specifics of B. Akunin’s intertextual strategy. It is shown that the intertextual dialogue between Akunin and Conan Doyle is carried out through character and narrative projections, in particular, structural stylization, the transposition of the plot on Russian soil, etc. The ambiguous role of Conan Doyle receptions, performing, firstly, the para-genre (detective) function of plot-semantic coding, secondly, the function of the transtextual riddle, the solution of which lies outside the work - in the Conan Doyle pretext, thirdly, the function of a parody imitation of the predecessor’s stylistic manner, including the specifics of Russian translations of short stories about Sherlock Holmes, is revealed.


JAMA ◽  
1966 ◽  
Vol 196 (1) ◽  
pp. 45-49 ◽  
Author(s):  
D. F. Musto
Keyword(s):  

2020 ◽  
Vol 1 (2) ◽  
pp. 189-202
Author(s):  
Laura Marcus

This article discusses Billy Wilder's 1970 film The Private Life of Sherlock Holmes, which, though not enthusiastically received by audiences at the time, has subsequently become a work highly valued by critics and cineastes. Radically cut from its original four-part structure by the studio, it has come to be perceived as a film about loss. This relates both to its themes – suppressed love, the vanished world of Holmes and Watson – and to the history of the film itself, whose missing episodes exist only in fragmentary form. The first part of the essay looks at the ways in which the film constructs an image of Sherlock Holmes (played by Robert Stephen), with a focus on the question of his sexuality, while the second part turns to the ways in which the film became an ‘obsession’ for one writer in particular, the novelist Jonathan Coe.


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