The Adventures of Dr. Thorndyke (The Singing Bone). R. Austin Freeman

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       R. Austin Freeman

      The Adventures of Dr. Thorndyke (The Singing Bone)

      Published by Good Press, 2019

       [email protected]

      EAN 4057664647740

Table of Contents

       PREFACE

       THE CASE OF OSCAR BRODSKI

       PART I

       PART II

       A CASE OF PREMEDITATION

       PART I

       PART II

       THE ECHO OF A MUTINY

       PART I

       PART II

       A WASTREL’S ROMANCE

       PART I

       PART II

       THE OLD LAG

       PART I

       PART II

PREFACE

       Table of Contents

      The peculiar construction of the first four stories in the present collection will probably strike both reader and critic and seem to call for some explanation, which I accordingly proceed to supply.

      In the conventional “detective story” the interest is made to focus on the question, “Who did it?” The identity of the criminal is a secret that is jealously guarded up to the very end of the book, and its disclosure forms the final climax.

      This I have always regarded as somewhat of a mistake. In real life, the identity of the criminal is a question of supreme importance for practical reasons; but in fiction, where no such reasons exist, I conceive the interest of the reader to be engaged chiefly by the demonstration of unexpected consequences of simple actions, of unsuspected causal connections, and by the evolution of an ordered train of evidence from a mass of facts apparently incoherent and unrelated. The reader’s curiosity is concerned not so much with the question “Who did it?” as with the question “How was the discovery achieved?” That is to say, the ingenious reader is interested more in the intermediate action than in the ultimate result.

      The offer by a popular author of a prize to the reader who should identify the criminal in a certain “detective story,” exhibiting as it did the opposite view, suggested to me an interesting question.

      Would it be possible to write a detective story in which from the outset the reader was taken entirely into the author’s confidence, was made an actual witness of the crime and furnished with every fact that could possibly be used in its detection? Would there be any story left when the reader had all the facts? I believed that there would; and as an experiment to test the justice of my belief, I wrote “The Case of Oscar Brodski.” Here the usual conditions are reversed; the reader knows everything, the detective knows nothing, and the interest focuses on the unexpected significance of trivial circumstances.

      By excellent judges on both sides of the Atlantic—including the editor of Pearson’s Magazine—this story was so far approved of that I was invited to produce others of the same type.

      Three more were written and are here included together with one of the more orthodox character, so that the reader can judge of the respective merits of the two methods of narration.

      Nautical readers will observe that I have taken the liberty (for obvious reasons connected with the law of libel) of planting a screw-pile lighthouse on the Girdler Sand in place of the light-vessel. I mention the matter to forestall criticism and save readers the trouble of writing to point out the error.

      R. A. F.

      Gravesend

THE CASE OF OSCAR BRODSKI

       Table of Contents

PART I

       Table of Contents

      THE MECHANISM OF CRIME

      A surprising amount of nonsense has been talked about conscience. On the one hand remorse (or the “again-bite,” as certain scholars of ultra-Teutonic leanings would prefer to call it); on the other hand “an easy conscience”: these have been accepted as the determining factors of happiness or the reverse.

      Of course there is an element of truth in the “easy conscience” view, but it begs the whole question. A particularly hardy conscience may be quite easy under the most unfavourable conditions—conditions in which the more feeble conscience might be severely afflicted with the “again-bite.” And, then, it seems to be the fact that some fortunate persons have no conscience at all; a negative gift that raises them above the mental vicissitudes of the common herd of humanity.

      Now, Silas Hickler was a case in point. No one, looking into his cheerful, round face, beaming with benevolence and wreathed in perpetual smiles, would have imagined him to be a criminal. Least of all, his worthy, high-church house keeper, who was a witness to his unvarying amiability, who constantly heard him carolling light-heartedly about the house and noted his appreciative zest at meal-times.

      Yet it is a fact that Silas earned his modest, though comfortable, income by the gentle art of burglary. A precarious trade and risky withal, yet not so very hazardous if pursued with judgment and moderation. And Silas was eminently a man of judgment. He worked invariably alone. He kept his own counsel. No confederate had he to turn King’s Evidence at a pinch; no one he knew would bounce off in a fit of temper to Scotland Yard. Nor was he greedy and thriftless, as most criminals are. His “scoops” were few and far between, carefully planned, secretly executed, and the proceeds judiciously invested in “weekly property.”

      In early life Silas had been connected with the diamond industry, and he still did a little rather irregular dealing. In the trade he was suspected of transactions with I.D.B.’s, and one or two indiscreet dealers had gone so far as to whisper the ominous word “fence.” But Silas Smiled a benevolent smile and went his