Sherlock Holmes Analysis
Random drabbles, heartfelt rambles, and the occasional splash of chaos from a teen with too many thoughts and not enough time.
All quoted material is from The Sherlock Holmes Canon by Arthur Conan Doyle, originally published between 1887 and 1927
Sherlock Holmes. This enigmatic character has been captivating readers across the world ever since his debut in 1887. Whether it's his enigmatic personality, razor sharp intellect, or his signature snarkiness, he has captured the minds and imaginations of people lifetimes apart, ensnaring them with tales full of mystery and intrigue; action and thrilling suspense. These tales are beautifully accented with insights into Victorian society, and surprisingly complex character studies, delving deep into the nature of friendship and loyalty, frequently exploring the intricacies of morality and the complexities of human nature. If nothing else, they are a wonderful source of intrigue and entertainment. Holmes himself may state that “life is infinitely stranger than anything which the mind of man could invent ”, however the many grotesque and stimulating adventures detailed in these books beg to differ.
This book review aims to explore the foundations of these stories and the characters that have become cornerstones of detective fiction, seeking to understand why they remain so beloved nearly a century later.
This is not the most in depth or nuanced analysis that I could hope for, due to time restrictions, however I hope it shall serve this purpose.
The entire collection of stories and novels, leading up to the supposed death of the famous detective in ‘The Final Problem’, and his return (prompted by immense public outcry, much to Doyle’s consternation, as he had grown quite weary of the character and the prospect of writing stories involving the detective) in ‘The Empty House’ centre around Dr John Watson, army medic turned biographer and, in the end, faithful companion and partner in—well, not crime per say (I suppose with the exception of the rather amusing escapade in *‘Charles Augustus Milverton’—*of Sherlock Holmes, the great London detective.
Set primarily in Victorian London, these tales are narrated by Watson and feature the duo solving a wide array of mysteries, with a high rate of success, much to the chagrin of Scotland Yard’s officers.
Each case highlights Holmes' extraordinary deductive reasoning and attention to detail, alongside Watson's steadfast support. The pair navigate crimes ranging from theft and blackmail to murder, often encountering complex characters and ethical dilemmas.
Some of my personal favourites include A Scandal in Bohemia (which reveals the human side of Holmes, showing he is far from an infallible paragon of deduction. Irene Adler, intelligent, resourceful, and cunning, stands out as one of the rare few to outwit him); The Three Garridebs (an…eccentric case that highlights Holmes' deep loyalty and affection for Watson); The Yellow Face (a surprising and heartwarming tale where Holmes’ deductions are proven incorrect in a way that subverts expectations, offering a progressive portrayal of people of colour for its time); and Charles Augustus Milverton (A strangely amusing narrative in which Holmes and Watson try their hand at crime—for a purely good cause, of course—only to witness poetic justice as a mysterious countess—one of Milverton’s victims—handle the situation quite effectively (as in she shoots him multiple times))
Through Holmes' sharp intellect and Watson's warm humanity, the stories explore themes of justice, morality, and human nature, whether it be through unravelling an international espionage plot, or solving a seemingly mundane domestic dispute, each case proves to be, in Holmes’ words, most singular.
Arthur Conan Doyle partly modelled Sherlock Holmes on Edgar Allan Poe’s detective, C. Auguste Dupin. Early fictional detectives often relied on luck or coincidence to solve crimes, but Doyle resolved that his detective would use reason, a logical mind, and scientific principles. Holmes, a man of science, is portrayed as a pioneer of forensic methods, even being introduced in the process of inventing a blood-detecting solution.
Holmes is meticulously calculating, accumulating evidence until he has enough to form a complete narrative of the crime. His investigative methods are often ahead of their time, predating the official practices of police forces in both America and Britain. He values fingerprints as evidence (check out The Adventure of the Norwood Builder),and uses handwritten notes to deduce a suspect’s identity, character, and social standing such as in The Adventure of the Reigate Squire, where he identifies both the writers of a note and their familial relationship through the idiosyncrasies of their handwriting.
Holmes is no stranger to cryptography either, as he is seen solving several ciphers in The Adventure of the Gloria Scott, and most notably, The Adventure of the Dancing Men (wherein he goes as far as to lure in the criminal using their own cipher via messages)
Holmes' methods (or rather, the basis for his methods) could be summarised by the aphorism Natura non facit saltum, meaning “nature does nothing in jumps.” This reflects his approach to crime-solving, each step in his reasoning is a logical progression, rooted in cause and effect. By seeing a crime as a story with a beginning, middle, and end, Holmes meticulously deconstructs each element to reveal the truth; each step of that narrative leads to the conclusion. He reasons backwards, looking at the crime, the conclusion, and attempting to parse each step that led to it.
As mentioned previously, before Holmes, detectives in fiction often relied on chance, intuition, and coincidence to solve crimes. Characters like Edgar Allan Poe's C. Auguste Dupin laid the groundwork for intellectual detective figures, but Holmes took the concept further, elevating reason, scientific inquiry, and observation to the forefront of criminal investigation. His scientific rigour, and reliance on cold logic have set the stage for innumerable other works of fiction based on these stories. In fact, Sherlock Holmes is the second most portrayed character in literature and film (after Count Dracula), and is technically the most portrayed human character.
Holmes' original portrayal as a genius in his field, nearly bordering on the superhuman, has laid the groundwork of the “Great Detective” archetype. His analytical approach, aloof personality, and tendency to be somewhat detached from emotions and his occasional disregard of social
norms influenced not only future detectives but also the way crime-solving characters are presented across genres, both in literature and in popular media.
Furthermore, the Sherlock Holmes stories are widely credited with being the first to incorporate forensic science into detective fiction, a trend that is still followed today (such as in shows like CSI or Dexter)
This is not to mention the wealth of adaptations that have followed the tales, from Basil Rathbone’s early film portrayals, Jeremy Brett’s portrayal in the TV series The Adventures of Sherlock Holmes, to Benedict Cumberbatch's modern version in Sherlock. (There has also been an excellent Soviet adaptation, and even a Disney movie adaptation).
Beyond traditional adaptations, the character's influence extends to various global interpretations; the character of Gregory House in the medical drama House MD is also heavily inspired by Holmes (geddit? House. Holmes), while his fellow doctor, James Wilson, draws parallels to John Watson.
The dichotomy between rationality and emotion is often expressed in these stories. Holmes is depicted as a paragon of cold logic and possesses a clinical demeanour when handling cases (note, this does not mean he treats all his clients with brusqueness or extreme coldness. This is something modern adaptations such as BBC’s Sherlock have heavily leant on, possibly to amplify the eccentricity of behaviour that would’ve communicated well in the Victorian period, but likely wouldn’t have had the same effect on modern audiences. In actuality, Holmes mostly interacted with his clients with an overwhelming sense of…well, politeness (albeit occasionally with a bit of impatience)). This is in contrast to his companion, Watson. A doctor and a man of empathy, he is often moved by the personal stories of the people involved in the cases, and his responses are often guided by moral and emotional considerations.
This dynamic between the two characters creates an interesting tension: Holmes' rationality often clashes with Watson's emotional responses, but at the same time, their partnership demonstrates that both elements, logic and emotion, are necessary in navigating the complexities of human nature and society.
Holmes himself displays this dichotomy; while astoundingly aloof and stoic, his occasional moments of admiration for Watson’s loyalty and affection, or his deeper, almost begrudging respect for certain individuals, suggest that beneath his rational exterior, there is a nuanced understanding of human emotion. This tension between rationality and emotion possibly echoes broader debates in society during the Victorian era, where scientific rationalism and a growing understanding of human psychology began to challenge traditional notions of morality, emotion, and spirituality.
A rather interesting anecdote is when Holmes berates Watson on the charge of sensationalism, as evidenced by the following quote from The Adventure of the Abbey Grange:
“I fancy that every one of his (here Holmes is referring to officer Hopkins) cases has found its way into your collection, and I must admit, Watson, that you have some power of selection which atones for much which I deplore in your narratives. Your fatal habit of looking at everything from the point of view of a story instead of as a scientific exercise has ruined what might have been an instructive and even classical series of demonstrations. You slur over work of the utmost finesse and delicacy in order to dwell upon sensational details which may excite, but cannot possibly instruct, the reader”
However, in The Adventure of the Blanched Soldier, Holmes concedes to the necessity of…well, humanity, being present in the cases that Watson chronicles, since, after all, it is this sense of humanity that allows readers to connect with and empathise with the victims, (and perhaps even the perpetrators).
(Here is the quote: “Perhaps I have rather invited this persecution, since I have often had occasion to point out to him how superficial are his own accounts and to accuse him of pandering to popular taste instead of confining himself rigidly to fact and figures. "Try it yourself, Holmes!" he has retorted, and I am compelled to admit that, having taken my pen in my hand, I do begin to realise that the matter must be presented in such a way as may interest the reader.”)
The stories offer an intriguing exploration of how these themes interact in a complex world, with Holmes’ methodical approach working in tandem with Watson’s sheer humanity.
The stories paint a picture of life in the late Victorian period, from broader, more cerebral topics, to the intricacies of daily life. They act as a time capsule, capturing not only the era’s societal norms and anxieties, but also smaller details,such as domestic habits, modes of transportation, and even the language used in dialogue.
The Enlightenment Ideals:
Holmes' scientific methods seemingly mirror the rise of the Enlightenment ideals in Victorian London, with rationalism, logic and the scientific method being used to solve public issues (ie, crime). His methods, often juxtaposed with the more traditional, albeit flawed, methods used by Scotland Yard, paint him as an ideal of Victorian rationalism and progress.
The tension between scientific reasoning and older superstitions or traditional beliefs (seen in cases involving the supernatural or other unexplained phenomena) serves as a commentary on the society's struggle to reconcile the new with the old.
(Note from Aavni: Do check out Arthur Conan Doyle’s ironic involvement in the Cottingley Fairies hoax)
Morality and Justice:
Victorian society was extremely concerned with upholding perceived moral values.
However, in the stories, the portrayal of criminals and their motivations often hints at broader moral questions, such as social alienation or desperation, reflecting Victorian anxieties about social decay and the challenges of maintaining morality in a rapidly changing society.
As mentioned before, Holmes can often be seen working outside conventional moral boundaries, such as in The Adventure of Charles Augustus Milverton, where he and Watson burgle a house in an attempt to secure justice.
*
Women in a male-dominated society:*
While the stories are often critiqued for the lack of fully realised female characters, a closer examination reveals a spectrum of complex portrayals of women in a male-dominated society. Irene Adler (from A Scandal in Bohemia) remains one of the most iconic examples, outwitting Holmes and embodying intelligence and independence that defy Victorian gender norms, however her death is casually mentioned in passing, a product of the era’s tendency to relegate women’s triumphs to fleeting moments. Kitty Winter famously enacted justice upon the deplorable Baron Adelbert Gruner by pouring acid on his face, while Violet Hunter is portrayed as an intelligent and resourceful woman, willing to take control of her circumstances despite societal constraints, and was an active participant in the resolution of the case. Even in The Adventure of the Sussex Vampire, the mother emerges as a protector of her child, trapped by familial constraints.
Nevertheless, Doyle’s portrayal of women is uneven. Many female characters are relegated to passive roles, confined by Victorian stereotypes of gullibility or fragility. Female subjects are often subject to backgrounding (such as Elsie in The Adventure of the Dancing Men). These limitations mirror Victorian societal constraints, after all, Doyle was a man of his time.
*Race, the Empire, and Social Anxiety:
*Doyle’s treatment of race and foreign characters often reflects the imperialist attitudes of his time.
Most cases, particularly those involving international intrigue, lean on stereotypes that underscore Victorian fears of the "Other.”
However, Doyle also offers occasional moments of progressive subversion. The Adventure of the Yellow Face is a prime example, exploring a mother’s fears and struggles to protect her mixed race child while attempting to integrate her into white Victorian society. This tale, with its unexpectedly heartwarming conclusion, offers a rare critique of racial prejudice.
It’s only natural that people, with their unique backgrounds, perspectives, and thinking processes, all living in entirely different contexts and worldviews, derive their own meanings from a piece of media. The process may be likened to holding up a jewel to the light and watching its facets shimmer and reflect, casting patterns of light onto nearby surfaces. Those patterns would depend on the angle you're holding it at with reference to the light, how your mind interprets those patterns, any objects in the path of the jewel or the light, and a thousand other little divergences. No matter the variances in the patterns that can be produced, all of them are still produced by that one jewel. And different people may find one pattern more beautiful than the other, but that is solely their preference.
Isn’t that the point of storytelling? To explore, to imagine. To dive into other worlds, to find beauty in the outre and singular, to look at things from different perspectives? Storytelling is an experiment in imagination;to find a world, a character, a message important to you, and make it your own.
Simply put, one’s interpretation might not be the same as someone else’s, and that’s expected. Works like the Sherlock Holmes stories offer a wealth of complexities that can shift depending on context, historical understanding, and individual experiences.
In the case of these stories, interpretations of character relationships and motivations are bound to differ.
After all, that’s the magic of storytelling; the narrative never ends.
In that vein, I must caution that what I have, and especially what I will be presenting here is simply one way of reading the text. It’s shaped by my own perspective and interests, and I invite others to explore their own interpretations as well.
The stories are told from Dr. Watson’s point of view. This allows readers to relate to Holmes from a more grounded perspective. Watson acts as a stand-in for the reader, someone who is constantly in awe of Holmes’ abilities.
Many adaptations of the stories paint Watson as a comical sidekick, a mere mortal constantly being sidelined by Holmes’ supernatural abilities. However, the original stories paint a different picture. Watson is constantly shown as a competitive, intelligent man, who instead of being completely dumbfounded by Holmes’ methods (although he often is shown to be as such), often marvels at the sheer simplicity of the matter when explained by the detective. As a former army surgeon, he brings his own expertise and bravery to the table, frequently assisting Holmes in ways that go beyond mere documentation. He has also been shown to attempt to implement Holmes’ methods of deduction and thought (with varying degrees of success).
Holmes, in turn, holds Watson in high regard, frequently entrusting him with sensitive information and relying on his support during dangerous situations. Their dynamic is a partnership built on mutual respect, loyalty, and trust. Their bond extends beyond professional collaboration, reflecting a deep camaraderie that underscores many of the stories.
The following analysis explores themes of identity and sexuality as they relate to Victorian literature and historical context. This discussion is intended to be academic and respectful, aiming to offer a nuanced perspective on the subject. If you find such topics uncomfortable or offensive, you are advised to approach this section with discretion.
I chose this topic because I find the complexities of identity and subtext in Victorian literature fascinating. My goal is to explore the historical and literary nuances in a respectful and professional way, however, I am aware it barely scratches the surface of the subject. Regardless, If there's anything in my analysis that needs adjustment, I welcome your feedback.
One of the challenges I encountered while analysing the relationship between Holmes and Watson was parsing whether the affectionate terms of endearment the two use were intentionally meant as subtext for a romantic relationship. On one hand, Victorian friendships between men often carried a deep emotional intimacy, and such language could simply reflect the norms of the time. On the other hand, modern readers may interpret these interactions as potential indicators of romantic or dare I say sexual undertones.
Moreover, in the Victorian era, societal views on sexuality were vastly different from today. Ideas of gender identity and sexuality are fluid, and have changed and shifted with the societal contexts they’re in (for example, the concept of ‘Romantic friendships’). Simply put, it is a rather difficult, not to say, a moot point to try to apply modern labels and terms to historical figures, and by extension, characters living in historical time periods; doing so risks misinterpreting the cultural landscape of the time.
However, the ambiguity of Holmes’ relationship with Watson, has made the topic an exceedingly interesting one (for me atleast) to analyse.
One possible noteworthy influence on Holmes’ character is Oscar Wilde, a queer icon of the nineteenth century; a man who, incidentally, apparently left an “indelible impression” on Doyle when they met at a dinner party in August 1889 (at Langham Hotel, to discuss their works-in-progress; The Sign of Four (Doyle’s) and The Picture of Dorian Gray (Wilde’s)).
The bohemian detective, notable for his disinterest in both women and social norms, may have been influenced by Doyle’s social circle (the British literary circle of the time being rather close-knit; Bram Stoker, author of ‘Dracula’ (yet another Victorian book that is often debated over with regard to queerness and queer subtext) appears to have known Wilde as well)
Unfortunately, due to word limits, time constraints, and all the other wonderful forces that haunt the aspiring writer, I would not be able to state every single instance that warrants further discussion regarding queer subtext.
However, I shall endeavour to highlight a few:
The Adventure of the Three Students:
“It was in the year '95 that a combination of events, into which I need not enter, caused Mr Sherlock Holmes and myself to spend some weeks in one of our great University towns, and it was during this time that the small but instructive adventure which I am about to relate befell us. It will be obvious that any details which would help the reader to exactly identify the college or the criminal would be injudicious and offensive. So painful a scandal may well be allowed to die out.”
The year 1895 remains notable here; the year that news of the infamous Oscar Wilde trials spread throughout England. Becoming rather a sensationalised media scandal, the trials led to increased scrutiny; every aspect of male social behaviour was fraught with suspicion, and the attitude towards same-sex relationships grew harsher.
Many individuals retreated into secrecy, or even fled London, fearful of exposure.
Perhaps the “combination of events” stated here refer to this turbulent period.
And, in both The Devil’s Foot and The Three Garridebs\,* Holmes is shown to possess a deep sense of affection and loyalty, nay, in Watson’s words, love, for the doctor. As mentioned in previous sections, the reverse is true as well.
The point is, nearly every instance in which glimmers of Holmes’ humanity or “the softer human emotions” are allowed to peek through, have usually centred around his affection for his companion, Watson.
Hopefully, in the future, I may be able to compile all the instances that I refer to; perhaps as a personal project, and delve into the nitty-gritty of subtext in Victorian literature.
However, for the sake of brevity, I must end the analysis here.
Once again, I must reiterate that in literature, subtext is often a tool for reflection. Whether or not Doyle consciously or intentionally embedded queer themes in his portrayal of Holmes and Watson, the stories invite readers to engage with these themes through their own lenses.
***Quote from The Three Garridebs:
“ Then my friend’s wiry arms were round me, and he was leading me to a chair. “You’re not hurt, Watson? For God’s sake, say that you are not hurt!” It was worth a wound—it was worth many wounds—to know the depth of loyalty and love which lay behind that cold mask. The clear, hard eyes were dimmed for a moment, and the firm lips were shaking. For the one and only time I caught a glimpse of a great heart as well as of a great brain. All my years of humble but single-minded service culminated in that moment of revelation. “It’s nothing, Holmes. It’s a mere scratch.” He had ripped up my trousers with his pocketknife. “You are right,” he cried with an immense sigh of relief. “It is quite superficial.” His face set like flint as he glared at our prisoner, who was sitting up with a dazed face. “By the Lord, it is as well for you. If you had killed Watson, you would not have got out of this room alive. Now, sir, what have you to say for yourself?” “