The Adventures of Sherlock Holmes

Fiction | Short Story Collection | Adult | Published in 1892

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Symbols & Motifs

Humans and the Natural World

The contrast between humans and nature and between civilization and elemental forces is a recurring motif in the book. This is particularly apparent when Watson likens various characters to animals. For example, Helen Stoner “was indeed in a pitiable state of agitation, her face all drawn and grey, with restless frightened eyes, like those of some hunted animal” (147). Holmes is also described as an animal whose lust for the hunt takes over. Such comparisons usually reveal a moment of weakness, as in Helen’s case, or highlight some personality trait, such as the detective’s single-mindedness.

In the Victorian period, men were seen as representative of the ordered, rational world, and women were often relegated to the irrational, instinctual, and emotional sphere. Equating women with nature, in this way, promoted the idea that they needed to be controlled and contained. Additionally, valorizing the human—or male—over the rest of creation helped solidify the racial theory underpinning the British colonial project. People of color were depicted as closer to nature, thus inferior to white Europeans.

Reality Versus the Imagination

Another underlying motif of the stories is the contrast between reality and the imagination, with reality offering a much more diverse and incredible repertoire of strange occurrences than anything made up. For example, Holmes claims that “for strange effects and extraordinary combinations we must go to life itself, which is always far more daring than any effort of the imagination” (29).

Realism as a literary approach located objectivity in the mundane. No detail was too insignificant to describe. Conan Doyle’s Holmes grows out of this tradition, as he exemplifies the act of observation, which depends on noting minute details. However, unlike the majority of Realist writers, such as Charles Dickens, the author objects to defining daily life as mundane. Appearances in the stories are misleading, and underneath proper facades and clothing all kinds of unusual crimes are taking place.

Appearance and Disguise

During the Victorian era, outer appearance became equated with identity. Each social class could be recognized by their clothing, and a man’s hat, for example, represented his financial situation and social standing. In The Adventures of Sherlock Holmes, this aspect of Victorian culture is a motif that is highlighted by Watson’s careful and detailed observation of each client’s appearance, as well as the detective’s ability to deduce a person’s occupation and status based on their clothing.

There are several instances of disguise in these stories: Holmes, Adler, Mary Sutherland’s stepfather, and Neville St. Claire. Since appearance is key in identifying a person’s social status and, consequently, the way of addressing them, using a disguise is a deeply troubling and subversive act in this context. Victorian society was invested in classifying people and keeping each person in their respective place. Disguise brings in the potential for transgressing social boundaries and subverting the status quo.

In the case of the stepfather and St. Clair, their ability to change appearances serves a nefarious purpose. Adler’s disguise, by contrast, is not intended for criminal purposes, but it is the most disconcerting, as she transgresses not only class but perceived sex. In a patriarchal society, her male disguise is transgressive in the extreme. Holmes, the master of different disguises, is exempt from criticism, as he uses his abilities in service to his clients. What is more, Holmes is above petty ambition and greed, so his transgressions are not as threatening as those of others.