engaged the attention of the reader, would bind that reader to that particular magazine.
Looking round for my central character, I felt that Sherlock Holmes, whom I had already handled in two little books, would easily lend himself to a succession of short stories. These I began in the long hours of waiting in my consulting room. Smith liked them from the first, and encouraged me to go ahead with themge.
It was at this time that I definitely saw how foolish I was to waste my literary earnings in keeping up an oculist’s room in Wimpole Street, and I determined with a wild rush of joy to cut the paintergg and to trust forever to my power of writing. So I settled down with a stout heart to do some literary work worthy of the name. The difficulty of the Holmes work was that every story really needed as clear-cut and original a plot as a longish book would do. One cannot without effort spin plots at such a rate. They are apt to become thin or to break. I was determined, now that I had no longer the excuse of absolute pecuniary pressure, never again to write anything which was not as good as I could possibly make it, and therefore I would not write a Holmes story without a worthy plot and without a problem which interested my own mind, for that is the first requisite before you can interest anyone else. If I have been able to sustain this character for a long time, and if the public find, as they will find, that the last story is as good as the first, it is entirely due to the fact that I never, or hardly ever, forced a story. Some have thought there was a falling off in the stories, and the criticism was neatly expressed by a Cornish boatman who said to me, “I think, sir, when Holmes fell over that cliff, he may not have killed himself, but all the same he was never quite the same man afterwards.”
I was weary, however, of inventing plots and I set myself now to do some work which would certainly be less renumerative but would be more ambitious from a literary point of view. I had long been attracted by the epoch of Louis XIV and by those Huguenots who were the French equivalents of our Puritans. I had a good knowledge of the memoirs of that date, and many notes already prepared, so that it did not take me long to write The Refugees.
Yet it was still the Sherlock Holmes stories for which the public clamoured, and these from time to time I endeavoured to supply. At last, after I had done two series of them, I saw that I was in danger of having my hand forced, and of being entirely identified with what I regarded as a lower stratum of literary achievement. Therefore, as a sign of my resolution, I determined to end the life of my hero. The idea was in my mind when I went with my wife for a short holiday in Switzerland, in the course of which we walked down the Lauterbrunnen Valley. I saw there the wonderful falls of Reichenbach, a terrible place, and that, I thought, would make a worthy tomb for poor Sherlock, even if I buried my banking account along with him. So there I laid him, fully determined that he should stay there—as indeed for some twenty years he did.
I was amazed at the concern expressed by the public. They say that a man is never properly appreciated until he is dead, and the general protest against my summary execution of Holmes taught me how many and how numerous were his friends. “You brute” was the beginning of the letter of remonstrance which one lady sent me, and I expect she spoke for others beside herself. I heard of many who wept. I fear I was utterly callous myself.
James Barrie is one of my oldest literary friends, and I knew him within a year or two of the time when we both came to London. He and I had one most unfortunate venture together. The facts were that he had promised Mr D‘Oyly Carte that he would provide the libretto of a light opera for the Savoy. I was brought into the matter because Barrie’s health failed on account of some family bereavement. I had an urgent telegram from him. I found him worried because he had