I can't imagine what it would be like to read this story, again, for the first time. (Well at least till my mind finishes going the way it seems to be going.)
I don't even think STUD was in the first collection of Sherlock Holmes stories I read.
Does it carry as much weight for those who are introduced to him in book form first (does that happen anymore?) as it does to us 'scholars' (I use the term weakly in my case) and fans, those of use who have traveled to Baker St. more than once?
Let's face it, most introductions to Holmes and Watson now probably take place through television or movies and perhaps fan fiction and pastiche.
Many probably picked up the books during the hiatus between seasons of 'Sherlock' ( is that 'media made' break now going to be considered the 'Second, Third, Fourth Great Hiatus?), which is fine. I have watched many shows that have interested me enough to go and read more about the subject. But it means we are no longer introduced to Holmes without any prior knowledge of what is or is not to come.
And it doesn't seem the impact of this first chapter, the chapter where John Watson first meets Sherlock Holmes, had very much effect on the readers in 1887. The story was not a run away hit or an over night success. It was, however, a successful beginning. First published in 1887, it would take three more years for another story to take place, SIGN. Holmes popularity would not really take off until Watson's (Doyle's) association with the Strand Magazine in the form of short stories.
It probably wasn't till men and women started to meet and talk after several cases had been adapted to publication form that the importance of this meeting was heralded as a memorable moment.
While most Sherlockians achingly wait for a really good period adaption of this first meeting (there may have been one that I missed) to be put on film, the first readers of STUD did not realize how important this meeting was because they had no idea that such an intensive scrutiny of the chronology would follow. As far as they knew, this would be a 'one of'. They didn't know 60 cases would follow. Did we know Harry Potter would be so big when exploring the first book? Or James Bond?
It could probably be argued that this first chapter can never be read by anyone the first time and be judged fairly for that first reading anymore. Let's face it, it will indeed be rare for someone to discover Sherlock Holmes with out having met him somewhere else first.
I know I didn't.
I first met Holmes as played by Rathbone. And then again only many years later sitting in an old logging camp in Maine around the fire. But even then I knew Holmes and Watson pretty well before I read the book. And this most important introduction was not included.
Can we revel in the importance of this chapter without taking it as part of the whole?
I argue we can only do that after we know what the whole is, or at least most of the sixty stories.
It is in "Playing the Game" that the weight of this chapter really becomes important.
It is the starting point of all that follows. And what a great start it is.
But it is now hard to imagine this meeting for the first time. My head is already filled with all I know about the two men.
Benedict Cumberbatch's image is standing at the table in the laboratory ( I think he would have been great in a traditional meeting of the two). (And yes, I would have loved to see him do this chapter in a period correct presentation.)
Perhaps the best way we can look at this chapter now is as if it where the pilot episode of an upcoming TV show. Networks know they have to come up with something that really grabs our attention and makes us want to come back. Would this 'episode' have made you want to come back?
And even that isn't fair to readers past because we know, as with most pilots, that at least several more episode's are going to follow. Readers of STUD did not know if that was going to happen or not.
I think, if done as an episode to an upcoming season, STUD carries enough dramatic weight to warrant visiting the new show again next week.
Did readers in 1887 become so intrigued by these two characters that they hoped 'the season' would continue with new 'episodes'? Was there fan speculation about what was going to happen next?
I don't know.
I don't believe it had the same bang as the first episode of, oh, so many years ago now,'Sherlock'.
I don't know that I agree with Brad's placing this chapter in June, I have to do more research on that.
Watson does give the impression when he says, "It is upon the 4th of March, as I have good reason to remember. . . .", that he had only been with Holmes for a few weeks or at the most a few months when he sits down to write what would be in chapter two. And when Watson is usually that specific, I tend to take him at his word.
No, I can't imagine reading this chapter, again, for the very first time and getting out of it what I do now.
But I am okay with that for the very same reason I don't recommend new readers reading the books in any annotated version for the first time; The discovery that is Holmes and Watson needs to come slowly and be enjoyed. It is only by going over and over these stories with what we learn from our own 'research' and the research of others that we begin to form a solid, for ourselves, image of these two.
And that's why I am enjoying Brad's reading suggestions so much. It makes me reread them and come up some thing I believe worthy of the discussion.
Thanks Brad.
1. Popeye and Olive Oyl were real people
Well, they were based on real people. When Elzie Segar introduced Popeye in a 1929 comic strip, he drew his inspiration for the sailor from a character from his hometown of Chester, Illinois – a one-eyed man named Frank 'Rocky' Fiegal. Fiegal, who shared Popeye's fondness for fighting and pipe-smoking, was apparently rather flattered by his link to the cartoon: when he died in 1947, his gravestone was inscribed with the words "inspiration for Popeye." Olive Oyl was based on another of Segar's neighbours – a very tall, slim woman named Dora Paskel, who usually wore her hair in a bun.
Dora Paskel, believed to be the inspiration behind Olive Oyl (PICTURE: AP)
2. He convinced American kids to eat spinach
As all Popeye fans know, whenever the sailor feels in need of some extra strength, he simply downs a tin of spinach, and instantly sprouts bulging biceps. During the Great Depression, a 33% increase in spinach consumption was widely attributed to the character's popularity and his famous fondness for the green stuff. Rather endearingly, spinach was also listed as the third favourite food of American children at the time (after turkey and icecream). However, the cartoon's link between spinach and rapidly expanding muscles actually had its roots in a scientific mistake: due to a misplaced decimal point in an 1870 medical journal, many people in the Thirties believed spinach held 10 times more iron than it really did.
3. He was the first cartoon character to get his very own statue...
...also thanks to the spinach. A full-colour Popeye statue was erected in Crystal City, Texas, in 1937, to celebrate the boost to the region's spinach-growing industry. Meanwhile, earlier this year, billionaire casino tycoon Steve Wynn paid $28 million for a statue of Popeye by the artist Jeff Koons.
4. He didn't always rely on spinach for a boost
In Segar's very early comics, Popeye gained his superhuman strength by patting the head of a magical creature called a whiffle hen. The whiffle hen – known in the comic strip as Bernice – granted good luck to anyone who rubbed her feathers. In one early storyline, Popeye is shot at a casino (presumably not one of Steve Wynn's), and uses Bernice's powers to regain his health.
5. He was originally just an extra
The very first time Popeye appears, in a 1929 newspaper comic strip called Thimble Theatre, he's a sidekick rather than a star. Popeye creator Elzie Segar's stories originally revolved around the lives of Olive Oyl and her extended family (including a brother known as Castor Oyl). However, when the Popeye character was introduced, he proved so popular, Segar was soon forced to make the strip all about him.
Bluto, Olive Oyl and Popeye, in one of the early cartoons (PICTURE: ALAMY)
6. He turned the Empire State Building green
In 2004, the Empire State building was illuminated in green (as in, spinach-green) light to celebrate the 75th birthday of the famous cartoon character.
7. The voice of Popeye ended up marrying the voice of Olive Oyl
Popeye was first turned into a series of short animated films in 1933, with the character making his big-screen debut alongside another famous cartoon, Betty Boop. The films usually saw the sailor compete with the villainous Bluto for the affections of Olive Oyl – Popeye's capricious, usually angry, often unfaithful sweetheart (exactly why Olive Oyl inspired such devotion from one man, let alone two, remains a mystery). From 1935 onwards, Popeye was voiced by the actor Jack Mercer, who went on to voice the character for the next 40 years. Between 1938 and 1942, Mercer was also married to Margie Hynes, who provided the voice of Olive Oyl.
8. He gave us the word "wimp"
In the original Popeye comic strips, Segar introduced a cowardly, overweight, hamburger-loving character named J. Wellington Wimpy (reputedly based on one of Segar's former bosses). The character later inspired both the insult "a wimp", and the restaraunt chain, Wimpy's.
9. He has his own themepark
In 1980, Robert Altman released Popeye, a live-action film adaptation of the Popeye cartoons, which starred Robin Williams as the sailor in his first-ever big-screen role. The film was produced in Malta, and, after filming wrapped, the set was turned into a tourist attraction, known as Popeye Village. Visitors to Popeye Village can experience rides, shows, a Popeye museum, and, rather appropriately, a boat trip.
10. The famous Popeye themetune is based on Gilbert and Sullivan
The Popeye the Sailor Man tune, which accompanied the original cartoons, was composed by the Romanian-born US songwriter, Sammy Lerner. Impressively, it took him less than two hours to devise the song. The melody is loosely based on the opening lines of the "I am a Pirate King" song from Gilbert and Sullivan's 1880 operetta, The Pirates of Penzance.




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