Kitabı oku: «The Technique of the Mystery Story», sayfa 5
5. The Interest of the Detective Story
Poe says, in speaking of the writer's plan:
"A skillful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents such incidents—he then combines such events as may best aid him in establishing this preconceived effect. If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no word written, of which the tendency direct or indirect, is not to the one pre-established design. And by such means, with such care and skill, a picture is at length painted which leaves in the mind of him who contemplates it with a kindred art, a sense of the fullest satisfaction."
The interest of the Detective Story depends entirely on its rousing the reader's curiosity. Every detail of its plan must sustain and heighten an intense determination to know the solution of the riddle; and as this curiosity becomes keener, and this determination more inflexible, so much more necessary is it that the explanation shall be adequate and satisfactory.
But this result cannot be achieved if the author undertakes his work in the spirit shown by the authors of "The Wrecker", Robert Louis Stevenson and Lloyd Osbourne, when they say:
"We had long been at once attracted and repelled by that very modern form of the police novel or mystery story, which consists in beginning your yarn anywhere but at the beginning, and finishing it anywhere but at the end; attracted by its peculiar interest when done, and the peculiar difficulties that attend its execution; repelled by that appearance of insincerity and shallowness of tone, which seems its inevitable drawback. For the mind of the reader, always bent to pick up clews, receives no impression of reality or life, rather of an airless, elaborate mechanism; and the book remains enthralling, but insignificant, like a game of chess, not a work of human art. It seemed the cause might lie partly in the abrupt attack; and that if the tale were gradually approached, some of the characters introduced (as it were) beforehand, and the book started in the tone of a novel of manners and experience briefly treated, this defect might be lessened and our mystery seem to inhere in life."
The technique of the Mystery Story does not permit it to be a novel of manners, and yet the manners must not be neglected. If a Detective Story is to be literature, what may be called its manners must be looked after quite as carefully as its plot, though by no means with such conspicuous result. Intrinsic merit must be the real basis of its interest.
It is the care and artistic conscience that count, notwithstanding the ideas expressed in "The Wrecker".
Mr. Julian Hawthorne truly says,
"You cannot make a riddle story by beginning it and then trusting to luck to bring it to an end. You must know all about the end and the middle before thinking, even, of the beginning; the beginning of a riddle story, unlike those of other stories and of other enterprises, is not half the battle; it is next to being quite unimportant, and, moreover, it is always easy. The unexplained corpse lies weltering in its gore in the first paragraph; the inexplicable cipher presents its enigma at the turning of the opening page. The writer who is secure in the knowledge that he has got a good thing coming, and has arranged the manner and details of its coming, cannot go far wrong with his exordium; he wants to get into action at once, and that is his best assurance that he will do it in the right way. But O! what a labor and sweat it is; what a planning and trimming; what a remodeling, curtailing, interlining; what despairs succeeded by new lights, what heroic expedients tried at the last moment, and dismissed the moment after; what wastepaper baskets full of futilities, and what gallant commencements all over again! Did the reader know, or remotely suspect, what terrific struggles the writer of a really good detective story had sustained, he would regard the final product with a new wonder and respect, and read it all over once more to find out how the troubles occurred. But he will search in vain; there are no signs of them left; no, not so much as a scar. The tale moves along as smoothly and inevitably as oiled machinery; obviously, it could not have been arranged otherwise than it is; and the wise reader is convinced that he could have done the thing himself without half trying. At that, the weary writer smiles a bitter smile; but it is one of the spurns that patient merit of the unworthy takes. Nobody, except him who has tried it, will ever know how hard it is to write a really good detective story. The man or woman who can do it can also write a good play (according to modern ideas of plays), and possesses force of character, individuality, and mental ability. He or she must combine the intuition of the artist with the talent of the master mechanic, but will seldom be a poet, and will generally care more for things and events than for fellow creatures."
Mr. Julian Hawthorne also discusses this question of interest as maintained by the inverse order of narration.
"… One charge, at least, does lie against the door of the riddle-story writer; and that is, that he is not sincere; he makes his mysteries backward, and knows the answer to his riddle before he states its terms. He deliberately supplies his reader, also, with all manner of false scents, well knowing them to be such; and concocts various seeming artless and innocent remarks and allusions, which in reality are diabolically artful, and would deceive the very elect. All this, I say, must be conceded; but it is not unfair; the very object, ostensibly, of the riddle story is to prompt you to sharpen your wits; and as you are yourself the real detective in the case, so you must regard your author as the real criminal whom you are to detect."
It is safe to say that Poe's conception of the interest-element in the Detective Story, as illustrated by his three great tales, "The Murders in the Rue Morgue," "The Purloined Letter," and "The Mystery of Marie Rôget," was that the great point was not the fascination of the mystery itself but the interest the reader would take in following the successive steps of reasoning by which the crime was ferreted out. The reader is thus turned into an analytical observer who not only delights in the mental ingenuity exhibited by the detective, but actually joins with him in working out the intricacies of a problem which, though at first seemingly insoluble, is at length mastered entirely. Thus his admiration for the "investigator" is happily coupled with his own delight in unraveling the skein which the author has woven expressly for the purpose, as Poe himself expresses it when he admits all the merits of the device, but modestly disclaims that his ingenious stories have real greatness. He speaks thus about them:
"They owe most of their popularity to being something in a new key. I do not mean to say that they are not ingenious—but people think them more ingenious than they are—on account of their method and air of method. In the 'Murders in the Rue Morgue,' for instance, where is the ingenuity of unraveling a web which you yourself (the author) have woven for the express purpose of unraveling? The reader is made to confound the ingenuity of the supposititious Dupin with that of the writer of the story."
Of course the ingenuity of the author and that of his character are identical, as they are in the case of Conan Doyle and Sherlock Holmes.
Doctor Doyle admits frankly his indebtedness to Poe, and though he claims another prototype than Dupin for his detective, yet he makes this acknowledgment:
"Edgar Allan Poe, who, in his carelessly prodigal fashion, threw out the seeds from which so many of our present forms of literature have sprung, was the father of the detective tale, and covered its limits so completely that I fail to see how his followers can find any fresh ground which they can confidently call their own. For the secret of the thinness and also of the intensity of the detective story is that the writer is left with only one quality, that of intellectual acuteness, with which to endow his hearer. Everything else is outside the picture and weakens the effect. The problem and its solution must form the theme, and the character drawing is limited and subordinate. On this narrow path the writer must walk, and he sees the footmarks of Poe always in front of him. He is happy if he ever finds the means of breaking away and striking out on some little side-track of his own."
6. A Summing Up
To sum up, then, we must agree that for devotees the Detective Story sets a stirring mental exercise, with just enough of the complex background of life to distinguish it from a problem in mathematics. Whatever thrills of horror are excited come by way of the intellect, never starting directly in the emotions. The reader divests himself of sympathy, and applies to every situation the dry light of reason. It is only when one's reason is baffled, leaving the murder unexplained or the ghost at large, that one feels privileged to shudder. And such a shudder is remarkably different from a start that is unthinking. The Detective Story applies reason to some of the big half-mysteries of human conduct; and the result for the ordinary reader is not dissimilar to that felt by the philosopher when trying to square with his poor apparatus the secrets of Nature and Providence.
Chapter
7
THE DETECTIVE
The Real Detective and His Work
Fictive Detective Material
The Transcendent Detective
Pioneer Detectives of Fiction
Recent Detectives of Fiction
The Scientific Detective of Fiction
The New Psychology in Detective Stories
Other Types
The all-important character of the Detective Story is, of course, the Detective. He is not only the Star Performer, but the reason for the Detective Story itself. What Mr. Hawthorne calls the Transcendent Detective is the detective of fiction. Such a one is made, not born.
As Mr. Vance Thompson puts it:
"Readers who pant breathlessly after Sherlock Holmes and his like should give thanks to Edgar Allan Poe; when he invented Dupin in the 'Murders in the Rue Morgue,' he created once for all the type of the detective in fiction. In all the years it has not changed very much. Sherlock Holmes still sits in his dark, superheated chamber; he is drugged with tobacco and opium; he maintains the 'profound silence' that distinguished Poe's cold analyst; indeed, one may be sure that the type will live for another eighty years."
1. The Real Detective and His Work
But we have already agreed that this fiction detective has little or nothing to do with the real detective. When M. Goron, one of the greatest of French detectives, was asked concerning this, he replied:
"I dare say I have read nearly all the detective stories, those of Poe and Gaboriau, and 'Sir Doyle's' clever tales. Like every one else I love to follow the twists and turns that lead to the end of these apparently inexplicable problems. It is a good intellectual sport—like playing chess. But do not imagine for a moment," and M. Goron was emphatic, "that it has anything at all to do with practical police work. Nothing at all. It is not by such subtle, opium-bred guesswork and fine-drawn deduction that criminals are detected."
M. Goron's theory is that in thief-taking, as in everything else, system is of prime importance; and after that the most effective auxiliary of the detective is Chance. Almost always it is by a lucky hazard that the shrewd criminal is brought down. For instance, the taking of Magne; it was tragically absurd—for the farce ended in the basket of wet sawdust under the guillotine.
In fact, detectives of real life invariably scorn the transcendent detective of fiction, and, in his turn, the story-book detective scoffs at the methods of the Central Office men.
Mr. Arthur C. Train, in "Courts Criminal and The Camorra," thus mildly satirizes our detective of fiction and sets him quite apart from the genuine article:
"The sanctified tradition that a detective was an agile person with a variety of side whiskers no longer obtains even in light literature, and the most imaginative of us is frankly aware of the fact that a detective is just a common man earning (or pretending to earn) a common living by common and obvious means. Yet in spite of ourselves we are accustomed to attribute superhuman acuteness and a lightning-like rapidity of intellect to this vague and romantic class of fellow-citizens. The ordinary work of a detective, however, requires neither of these qualities. Honesty and obedience are his chief requirements, and if he have intelligence as well, so much the better, provided it be of the variety known as horse sense. A genuine candidate for the job of Sherlock Holmes would find little competition. In the first place, the usual work of a detective does not demand any extraordinary powers of deduction at all.
"There are a very large number of persons who go into the detective business for the same reason that others enter the ministry—they can't make a living at anything else. Provided he has squint eyes and a dark complexion, almost anybody feels that he is qualified to unravel the tangled threads of crime.
"The real detective is the one who, taking up the solution of a crime or other mystery, brings to bear upon it unusual powers of observation and deduction and an exceptional resourcefulness in acting upon his conclusions. Frankly, I have known very few such, although for some ten years I have made use of a large number of so-called detectives in both public and private matters. As I recall the long line of cases were these men have rendered service of great value, almost every one resolves itself into a successful piece of mere spying or trailing. Little ingenuity or powers of reason were required. Of course, there are a thousand tricks that an experienced man acquires as a matter of course, but which at first sight seem almost like inspiration.
"There is no more reason to look for superiority of intelligence or mental alertness among detectives of the ordinary class than there is to expect it from clerks, stationary engineers, plumbers, or firemen. While comparisons are invidious, I should be inclined to say that the ordinary chauffeur was probably a brighter man than the average detective. This is not to be taken in derogation of the latter, but as a compliment to the former. There is more reason why he should be.
"The telephone is the modern detective's chief ally, and he relies upon rapidity more than upon deduction. Under present conditions it is easier to overtake a crook than to reason out what he will probably do. In fact, the old-fashioned 'deductive detective' is largely a man of the past. The most useless operator in the world is the one who is 'wedded to his own theory' of the case—the man who asks no questions and relies only on himself. Interject a new element into a case and such a man is all at sea. In the meantime the criminal has made his 'get away.'
"In the story-books your detective scans with eagle eye the surface of the floor for microscopic evidences of crime. His mind leaps from a cigar ash to a piece of banana peel and thence to what the family had for dinner. His brain is working all the time. His gray matter dwarfs almost to insignificance that of Daniel Webster or the Hon. Benjamin F. Butler. It is, of course, all quite wonderful and most excellent reading, and the old-style sleuth really thought he could do it! Nowadays, while the fake detective is snooping around the back piazza with a telescope, the real one is getting the 'dope' from the village blacksmith or barber (if there is any except on Saturday nights) or the girl that slings the pie at the station. These folk have something to go on. They may not be highly intelligent, but they know the country, and, what is more important, they know the people. All the brains in the world cannot make up for the lack of an elementary knowledge of the place and the characters themselves. It stands to reason that no strange detective could form as good an opinion as to which of the members of your household would be most likely to steal a piece of jewelry as you could yourself. Yet the old-fashioned Sherlock knew and knows it all.
"There is no mystery about such work, except what the detective himself sees fit to enshroud it with. Most of us do detective work all the time without being conscious of it. Simply because the matter concerns the theft of a pearl, or the betraying of a business or professional secret, or the disappearance of a friend, the opinion of a stranger becomes no more valuable. And the chances are equal that the stranger will make a bungle of it.
"The national detective agency with its thousands of employees who have, most of them, grown up and received their training in its service, is a powerful organization, highly centralized, and having an immense sinking fund of special knowledge and past experience.
"This is the product of decades of patient labor and minute record. The agency which offers you the services of a Sherlock Holmes is a fraud, but you can accept as genuine a proposition to run down any man whose picture you may be able to identify in the gallery. The day of the impersonator is over. The detective of this generation is a hard-headed business man with a stout pair of legs."
Thus, the reader will observe that there are just a few more real detectives still left in the business—if you can find them. Incidentally, they one and all take off their hats to Scotland Yard. They will tell you that the Englishman may be slow (fancy an American Inspector of Police wearing gray suede gloves and brewing himself a dish of tea in his office at four o'clock!), but that once he goes after a crook he is bound to get him—it is merely a question of time. I may add that in the opinion of the heads of the big agencies the percentage of ability in the New York Detective Bureau is high—one of them going so far as to claim that fifty percent of the men have real detective ability—that is to say "brains." That is rather a higher average than one finds among clergymen and lawyers, yet it may be so.
Mr. John Wilson Murray, one of the noted detectives, says simply in his "Memoirs of a Great Detective":
"There is no magic about the detective business. A detective walking along the street does not suddenly hear a mysterious voice whisper 'Banker John Jones has just been robbed of $1,000,000.' He does not turn the corner and come upon a perfect stranger, and then, because the stranger has a twisted cigar in his mouth, suddenly pounce upon him and exclaim: 'Aha, villain that you are! give back to Banker Jones the $1,000,000 you stole ten minutes ago!' The detective business is of no such foolish and impossible character. Detectives are not clairvoyants, or infallible prophets, or supernatural seers. They possess no uncanny powers and no mantle of mysterious wonder-working. I remember a few years ago I was subpoenaed before a grand jury in the City of New York to testify on a matter pertaining to a prisoner, whose record I knew here in Canada. The foreman of that jury was a man prominent in New York's business life. When I was called he looked at me and suddenly said:
"'Inspector Murray, what crimes have been committed within the past hour in New York, and who committed them?'
"'I have not the slightest idea,' I replied.
"'Oh, ho! So you cannot go out and put your hands on every man who has committed a crime? You are a detective, yet cannot do that?' he said.
"'I am not that kind of detective,' I replied. 'When I get a guilty man it usually is by hard work or good luck, and often by both.'
"'Thank the Lord we've found a detective who is not greater than God,' he said.
"As a matter of fact the detective business is a plain ordinary business, just like a lawyer's business, a doctor's business, a railway manager's business. It has its own peculiarities because it deals with crime, with the distorted, imperfect, diseased members of the social body, just as a surgeon's business deals with the distorted, imperfect, diseased members of the physical body. But it is not an abnormal or phenomenal or incomprehensible business. There is nothing done in it, nothing accomplished by any detective, that is not the result of conscientious work, the exercise of human intelligence, an efficient system of organization and intercommunication, and good luck. A good detective must be quick to think, keen to analyse, persistent, resourceful, courageous. But the best detective in the world is a human being, neither half-devil nor half-god, but just a man with the attributes or associates that make him successful in his occupation.
"The best detective, therefore, is a man who instinctively detects the truth, lost though it may be in a maze of lies. By instinct he is a detective. He is born to it; his business is his natural bent. It would be a platitude to say the best detectives are born, not made. They are both born and made for the business. The man who, by temperament and make-up, is an ideal detective, must go through the hard years of steady work, must apply himself, and study and toil in making himself what he is born to he. Sandow was born to be a strong man, but, if he had not developed himself by hard work, he would not have become the strongest man of his time. As a detective advances in his business he will find that the more he studies and works, the stronger his powers of intuition, of divination, of analysis become. A very simple broad illustration will prove this. If a detective is chasing a criminal from country to country, and has learned, by study of the extradition treaties, that a certain country offers a better haven than another, he may save himself many a weary mile by going to the country where his common sense tells him his man is more likely to be. A mechanical knowledge of the use of tools, a knowledge of the effects of poisons, a knowledge of the ways of banking, of the habits of life of the various classes, in various callings, a knowledge of crooks, and, above all, a knowledge of human nature, in whatsoever way manifest, are invaluable elements of the equipment of a good detective."
