Detective Fiction: A Close Reading of A Scandal of Bohemia

This passage is taken from ‘A Scandal in Bohemia’ by Sir Arthur Conan Doyle, first published in July issue of The Strand Magazine in June 1891. The widespread success of works published in The Strand Magazine can be attributed to the literary shift in education brought on by the Education Act of 1870. With Doyle aware of The Strand’s typical middle-class readership already establishes his reader in close proximity to the text before even opening the pages. This “proximity of the sensation novel to its readers that has seemed one of its distinguishing features” [King, P.50] and that can be seen with ‘A Scandal in Bohemia’.

It depicts the dramatic arrival of the disguised ‘King of Bohemia’, who seeks Sherlock Holmes’s assistance in a blackmail scandal involving Irene Adler. This passage is rich with themes of class discourse, the positioning of characters within the narrative and the power dynamics conveyed through text and form.

Before the King even enters the story, we can see class discourse taking shape. In this passage, Watson, who narrates through Doyle’s storytelling, is notably silent as if relegated to a passive role. Despite being a Doctor and Holme’s trusted companion, Watson is positioned as the lowest within the small class ecosystem that is being set up within Holmes’ study. Holmes’s reference to Watson as “my Boswell” [P.64] reinforces this hierarchy. The possessive “my” reflects a relationship of utility and subordination, with Holmes positioning himself as the superior figure.

This passage also marks the start of a unique homosocial relationship between the King, Watson, and Holmes, one that positions Irene Adler as the common adversary. Adler, introduced as “the woman” [P.61] who “eclipses” [P.61] all others in Holmes’s eyes, becomes the focal point of the narrative, however, her name is deliberately omitted in this passage. Could this serve to heighten her mystique or foreshadow her dominance in the story? Or is this because a woman doesn’t fit in the class discourse that is being constructed within the study.

When the King is first introduced, he is described in larger-than-life terms, immediately setting him up as an imposing figure, not only in this passage but in the narrative as a whole. Watson recounts his knock as an “authorative tap” [P.64], priming the reader to expect someone of power even before the man is revealed. When he does enter, the King is depicted with exaggerated physicality— “six feet six inches” [P.64] and the “chest and limbs of Hercules” [P.64]. His appearance is surrounded by opulent and almost absurd imagery with “rich with a richness”, a “deep blue cloak”, “flamed-coloured silk” [P.64]. These descriptions blend admiration and humour, making the king appear both grand and slightly ridiculous. The “barbaric opulence” of his attire suggests wealth and status, but it also undermines his ability to maintain secrecy, as his disguise is only really the small mask he places on his face. Even then, the King removes the mask almost immediately as he reveals his identity on the next page.

The juxtaposition of power and absurdity reflects the tensions between class in the story. Although the King is portrayed as a strong, commanding figure, his reliance on Holmes to resolve his scandal suggest that not only his wealth, but also his status is insufficient to help him. His demand that Holmes address him as “Count Von Kramm” underscores his attempts to maintain control, yet his lack of politeness and theatrical behaviours reveal his insecurity and desperation for help. He’s there to ask for help, but his commanding tone makes this appear differently.

The story, as a whole, explores class discourse however focuses more on the exploration of tensions between the aristocracy (represented by the King) and the middle class (represented by Holmes and Watson). The King’s relationship with Irene Adler is particularly significant, as he refers to having “made an acquaintance” [P. 66] of Adler, a middle-class woman whose intelligence ultimately surpasses his own. This reflects the growing societal awareness of class mobility and the slowly shifting power dynamic to the middle class in late Victorian England.

This scandal would also invoke a readers archive and relatability. The scandal involving the King and Adler would close mirror a recent real-life royal scandal of the time. The Prince of Wales (later Edward VII) had an illicit affair with the actress Lillie Langtry. Furthermore, the fact that this story was published in a widely distributed magazine and the real-life royal scandal would’ve been published in a widely distributed newspaper. Meaning the sheer act of reading this story out of a magazine would further add to the readers proximity.

The visual layout of the passage also reinforces the King’s dominance. In the original publication, the imposing illustrating of the King on the page reflects his commanding presence in the story. His figure, clad in his ridiculous disguise, is the first thing the reader notices, making the surrounding text appear almost like a boarder for the picture, the words are just decoration for the King. This mirrors the narrative itself, where the King’s class and presence overshadow the entire passage.

However, it is interesting that while the King is afforded this visual prominence, Irene Adler, who serves as the story’s “criminal” (if she can be defined as such). Detective author P.D James wrote that the detective story “is concerned with bring the order out of disorder” [James, P. 18], but with Irene as the “criminal” there is no “disorder”. Although depicted in illustrations throughout this short story, she never has her own illustration, nor is she ever front and centre in the ones she is in. There are no unique features in her illustrations that signify her presence, she is reduced to just a woman. This could reflect the Victorian attitudes towards the ‘New Woman’ that Irene seems to fit.

Ultimately, this passage of A Scandal in Bohemia is an exploration of class dynamics, gender, and power within the backdrop of Victorian society. Doyle’s storytelling combined with visual aspects of publishing in The Strand magazine immerses the reader in the story where aristocracy and middle-class find a common enemy, Irene Adler.  Furthermore, by mirroring real-life scandals, the story resonates with contemporary readers at the time. Finally, the passage presented shows the construction of the homosocial discourse throughout the short story and the small class ecosystem within it.

Bibliography

King. A. Literature of the Kitchen: Cheap serial Fiction of the 1840s and 1850s, A Companion to Sensation Fiction, 2011

James, P.D. Talking About Detective Fiction, Faber & Faber, 2009

Doyle, A.C, A Scandal in Bohemia, The Strand Magazine, Vol. II, London, 1891