Читать книгу The Technique of the Mystery Story - Carolyn Wells - Страница 31

The usual work, then, of a real detective does not demand the extraordinary powers of the fiction detective. But the plots selected by fiction writers for their stories are the cases that do demand it. And this, because it interests the reader's imagination, piques his curiosity and makes possible the solution of the problem.

The assertion of Sherlock Holmes founded on the aphorism that truth is stranger than fiction is in itself fiction.

"My dear fellow," said Sherlock Holmes, as we sat on either side of the fire in his lodgings at Baker Street, "life is infinitely stranger than anything which the mind of man can invent. We would not dare to conceive the things which are really mere commonplaces of existence. If we could fly out of that window hand in hand, hover over this great city, gently remove the roofs, and peep in at the queer things which are going on, the strange coincidences, the plannings, the cross-purposes, the wonderful chains of events, working through generations, and leading to the most outré results, it would make all fiction, with its conventionalities and foreseen conclusions, most stale and unprofitable."

"And yet I am not convinced of it," I answered. "The cases which come to light in the papers are, as a rule, bald enough, and vulgar enough. We have in our police reports realism pushed to its extreme limits, and yet the result is, it must be confessed, neither fascinating nor artistic."

"A certain selection and discretion must be used in producing a realistic effect," remarked Holmes. "This is wanting in the police report, where more stress is laid perhaps upon the platitudes of the magistrate than upon the details, which to an observer contain the vital essence of the whole matter."

The first-quoted remarks of Holmes are pure fiction and are introduced by the author to give an effect which he desires. But it is the truth that a certain selection and discretion must be used regarding plots, and it is this that makes or mars the interest of the Detective Story.

Poe's three masterpieces of detective fiction are perfectly conceived, constructed and completed, entirely in his imagination. But when he undertook "The Mystery of Marie Rôget" he worked upon a plot founded on fact; the story of a real murder of a real girl, with the result that there was no dénouement, and the editors of the magazine in which the story originally appeared, decided that it would be best to omit the latter half of the tale, and we are told that it was never printed in full. Though interesting in its statement of the problem, the solution never could be reached, and the story, as a Detective Story, was a failure.