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It is again the complex relationships among the principal characters that Paget captures so subtly.
Watson begins the story with the frank admission of the "inhuman
effect" his friend produced on him, and states that he regarded him as
"a brain without a heart." Paget
captures this brutal assessment by portraying a pensive Watson cross armed
and cross legged in the attitude of analysis as he scrutinizes Holmes pulling
out his watch - a suitable metaphor of a brain without a heart.
The competitive relationship with Mycroft is even more subtly
drawn. Ignoring Holmes' own derisive pun that Mycroft possesses the
faculty of observation in a "larger degree" than he, and also ignoring
Watson's assertion that Mycroft was "absolutely corpulent" with flipper
like appendages, SP draws a stately - if solid - Mycroft.
Mycroft's confidence in the presence of his brother is borne out by SP
placing him in the same pose as he placed Holmes in his moment of triumph
in "The Resident Patient," standing straight with hands lightly clasped
behind his back and seems almost about to offer a smile at his brother's
naiveté.
This image of sibling superiority is hammered home in the usurpation
of Sherlock's chair by Mycroft in the next illustration featuring him.
Mycroft had willfully passed by Holmes and Watson in a hansom in
order to preempt this position so he could speak to Sherlock as if he were
the true proprietor of the lodging and esteem his brother held and Sherlock
the supplicant to Mycroft's knowledge. This presumption startles
Sherlock who, hat in hand and hand on door knob as if he is unsure of whether
to enter, blurts out, "How did you get here."
Clearly
Holmes has already digested the physical way in which Mycroft had gotten
there, and his statement was in reference to Mycroft's brotherly one-upmanship
of taking over Holmes' apartment and chair. Paget clearly shows the chagrin
of Holmes and Watson (as always one step behind). Paget has neglected
to draw the ashtray into which Mycroft is dumping those ashes. Or
was there one?
Mycroft's innate laziness allows Sherlock
to seize command of the investigation and Paget displays
this in the last frame where Holmes holds his hand out protectively of
Watson, Mycroft and Gregson as he proclaims "It's charcoal..."
Mycroft, who clearly has gotten involved deeper than
he
intended to and has to play second fiddle to Sherlock because of it, is
pictured now slightly askew as he leans away from the action as does Watson.
Only Gregson, an uncomplicated bit player in the canon, is allowed to lean
into the scene in which Paget shows Holmes dominance over Mycroft and Watson's
surprised approval at the return of Sherlock to the position of dominance
over his brother.
Take Care
SP
In the first image, Sherlock reclines in a cane chair as
reminiscent of the Eastern
influence on Holmes as was the mark of the Indian sunburn on the retired
soldier. Behind him rests the ubiquitous Victorian tea set from which tea
has just been served.
Inside
the hansom in which the immigrant interpreter ( who guides Orientals)
is carried, the "frayed " but "rich quality" trappings include
a carpeted interior suggestive of the traditional pattern of oriental
rugs. Two artifacts - one human - from different ends
of the Empire.
Victorian decor defines other scenes. Sherlock's chair
which Mycroft has preempted is solid and clawed as is the covered table
behind it. The paneled door that Sherlock holds
open, complements the sturdiness of the furniture in the scene despite
the missing doorknob on the interior.
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The scene of confrontation between Melas and the kidnappers of Paul is similarly littered with Victorian "garbahge." The shaded lamp with its urn base , the two overstuffed chairs and a picture that is literally hung with a chain in the fashion of the times dominate this scene.
The lights of the village a mile away dot the backgroundin
the sketch depicting the meeting between the Greek interpreter and
the railway porter . The former in his formal dress - top hat, coat and
cane stands in front of the prototypical English porter. His worker's
cap, double breasted uniform coat contrast the
Greek's attire. Instead of a cane, he carries
a lamp, and his square jawed visage compared to the pointed beard and and
face of the Greek indicates a class and national work ethic not shared
by itinerant intellectuals.
Take Care
SP