The Collected Works of R. Austin Freeman (Illustrated Edition). R. Austin Freeman
as to how Thorndyke goes to work. His methods are rather different from those of the detectives of the Sherlock Holmes school. They are more technical and more specialized. He is an investigator of crime but he is not a detective. The technique of Scotland Yard would be neither suitable nor possible to him. He is a medico-legal expert, and his methods are those of medico-legal science. In the investigation of a crime there are two entirely different methods of approach. One consists in the careful and laborious examination of a vast mass of small and commonplace detail: inquiring into the movements of suspected and other persons; interrogating witnesses and checking their statements particularly as to times and places; tracing missing persons, and so forth—the aim being to accumulate a great body of circumstantial evidence which will ultimately disclose the solution of the problem. It is an admirable method, as the success of our police proves, and it is used with brilliant effect by at least one of our contemporary detective writers. But it is essentially a police method.
The other method consists in the search for some fact of high evidential value which can be demonstrated by physical methods and which constitutes conclusive proof of some important point. This method also is used by the police in suitable cases. Finger-prints are examples of this kind of evidence, and another instance is furnished by the Gutteridge murder. Here the microscopical examination of a cartridge-case proved conclusively that the murder had been committed with a particular revolver; a fact which incriminated the owner of that revolver and led to his conviction.
This is Thorndyke's procedure. It consists in the interrogation of things rather than persons; of the ascertainment of physical facts which can be made visible to eyes other than his own. And the facts which he seeks tend to be those which are apparent only to the trained eye of the medical practitioner.
I feel that I ought to say a few words about Thorndyke's two satellites, Jervis and Polton. As to the former, he is just the traditional narrator proper to this type of story. Some of my readers have complained that Dr. Jervis is rather slow in the uptake. But that is precisely his function. He is the expert misunderstander. His job is to observe and record all the facts, and to fail completely to perceive their significance. Thereby he gives the reader all the necessary information, and he affords Thorndyke the opportunity to expound its bearing on the case.
Polton is in a slightly different category. Although he is not drawn from any real person, he is associated in my mind with two actual individuals. One is a Mr. Pollard, who was the laboratory assistant in the hospital museum when I was a student, and who gave me many a valuable tip in matters of technique, and who, I hope, is still to the good. The other was a watch-and clock-maker of the name of Parsons—familiarly known as Uncle Parsons—who had premises in a basement near the Royal Exchange, and who was a man of boundless ingenuity and technical resource. Both of these I regard as collateral relatives, so to speak, of Nathaniel Polton. But his personality is not like either. His crinkly countenance is strictly his own copyright.
To return to Thorndyke, his rather technical methods have, for the purposes of fiction, advantages and disadvantages. The advantage is that his facts are demonstrably true, and often they are intrinsically interesting. The disadvantage is that they are frequently not matters of common knowledge, so that the reader may fail to recognize them or grasp their significance until they are explained. But this is the case with all classes of fiction. There is no type of character or story that can be made sympathetic and acceptable to every kind of reader. The personal equation affects the reading as well as the writing of a story.
Novels
THE RED THUMB MARK
My Learned Brother
"Conflagratam An° 1677. Fabricatam An° 1698. Richardo Powell Armiger Thesaurar." The words, set in four panels, which formed a frieze beneath the pediment of a fine brick portico, summarised the history of one of the tall houses at the upper end of King's Bench Walk and as I, somewhat absently, read over the inscription, my attention was divided between admiration of the exquisitely finished carved brickwork and the quiet dignity of the building, and an effort to reconstitute the dead and gone Richard Powell, and the stirring times in which he played his part.
I was about to turn away when the empty frame of the portico became occupied by a figure, and one so appropriate, in its wig and obsolete habiliments, to the old-world surroundings that it seemed to complete the picture, and I lingered idly to look at it. The barrister had halted in the doorway to turn over a sheaf of papers that he held in his hand, and, as he replaced the red tape which bound them together, he looked up and our eyes met. For a moment we regarded one another with the incurious gaze that casual strangers bestow on one another; then there was a flash of mutual recognition; the impassive and rather severe face of the lawyer softened into a genial smile, and the figure, detaching itself from its frame, came down the steps with a hand extended in cordial greeting.
"My dear Jervis," he exclaimed, as we clasped hands warmly, "this is a great and delightful surprise. How often have I thought of my old comrade and wondered if I should ever see him again, and lo! here he is, thrown up on the sounding beach of the Inner Temple, like the proverbial bread cast upon the waters."
"Your surprise, Thorndyke, is nothing to mine," I replied, "for your bread has at least returned as bread; whereas I am in the position of a man who, having cast his bread upon the waters, sees it return in the form of a buttered