C. Auguste Dupin - Private Investigator / Detective C. Auguste Dupin C. Auguste Dupin Edgar Allan Poe created a famous fictional detective named C. Auguste Dupin which was first introduced to the people through a story named âThe Murders in the Rue Morgueâ. This fictional story was created by Edgar Allan Poe in the year 1841 and then the character C. Auguste Dupin was again featured in the story âThe Purloined Letterâ. Although, C. Auguste Dupin is not a detective by profession, but while solving the mysteries, he always tries to put himself in the criminalâs mind so that he can hit on every clue that links to the mystery and helps in solving the case. Introduction When Edgar Allan Poe created this fictional character of C. Auguste Dupin, the term âDETECTIVEâ was not coined. This is the reason that all the stories written by Edgar clearly mention that C. Auguste Dupin is not a professional detective. The character of C. Auguste Dupin gave rise to many other characters which were professional detectives and this made the fictional detective stories very interesting. C.

Auguste Dupin belongs to a quite wealthy family, but with the troublesome twist and turns in life, the family faces very unpleasant situations which leave them in a situation to fulfill basic necessities only. The narrator of the story is unidentified, but C. Auguste Dupin stays with the narrator in Paris. Dupin is very fond of enigmas and the first series of this fictional detective start with an investigational case in Paris where a mother and a daughter were murdered. The second story where C. Auguste Dupin was featured was âThe Mystery of Marie Rogetâ and this story was based on a factual account. A lady named Mary Roger was a saleswoman in Manhattanâs cigar shop and was murdered for some reasons. Her body was found floating in the river Hudson and on this true event, Edgar wrote this story, âThe Mystery of Marie Rogetâ. The third story âThe Purloined Letterâ was about a stolen letter that was filched from the French Queen. Investigating Technique C. Auguste Dupin is a very intelligent character who solves the cases cleverly.

One technique that Dupin always reflects upon is keeping himself in the mind of the criminal and then thinking as per his perspective. This technique helps the character Dupin to solve all the cases and get to the root of evidences. His creative imagination to find the evidences have made him very popular among the readers and this effective technique makes him capable of solving all the cases. Most of the clues that he finds as links to the cases are actually found from the newspapers and other reports, which emphasizes reading and writing aspects. In addition to this, the method of finding the evidences differs in all the stories, but the basic of keeping himself in the criminalâs mind remains the same. In one of the stories, C. Auguste Dupin solves the case purposefully, so as to prove innocence of a man who was charged for what he had not done and so Dupin does not accepts the financial reward. This is what makes the fictional detective so admired by the people. C. Auguste Dupin and Sherlock Holmes - Sherlock Holmes Quotes Sherlock Holmes Quotes Site Map C. Auguste Dupin and Sherlock Holmes Edgar Allan Poe, an American, created a fictional French detective by the name of C.

Auguste Dupin in the early 1840s. Poe wrote about Dupin in just three short stories that appeared in magazines. In so doing, Poe created the literary genre of detective fiction. Dupin appeared in just three short stories but he has the distinction of being the only character to appear in more than one of Poe’s literary works. The three stories wereThe Murders in the Rue Morgue, The Mystery of Marie Rogêt, and The Purloined Letter. What is even more amazing about Poe’s C. Auguste Dupin is that Dupin appears to be the very model Sir Arthur Conan Doyle used to create his fictional character, Sherlock Holmes. Dupin and Holmes are amazingly similar. If you read Poe and Doyle, you will see that the only real difference between the French detective, C. Auguste Dupin, and the English detective, Sherlock Holmes, is, as one clever writer put it, the English Channel. Doyle did not hide the fact that he was aware of Poe’s Dupin. Arthur Conan Doyle maintained that “The best detective in fiction is E. A. Poe’s Mons.

D[upin]…” See page 24, May 8, 1892 edition of the Boston Herald newspaper. Very high praise indeed of Poe’s fictional detective. In the book, Adventures of Sherlock Holmes, A. Conan Doyle, (New York: D. Appleton and Company, 1902), p. vi, Arthur Conan Doyle wrote the following in the Preface: Edgar Allan Poe, who, in his carelessly prodigal fashion, threw out the seeds from which so many of our present forms of literature have sprung, was the father of the detective tale, and covered its limits so completely that I fail to see how his followers can find any fresh ground which they can confidently call their own. For the secret of the thinness and also of the intensity of the detective story is, that the writer is left with only one quality, that of intellectual acuteness, with which to endow his hero. Everything else is outside the picture and weakens the effect. The problem and its solution must form the theme, and the character-drawing be limited and subordinate. On this narrow path the writer must walk, and he sees the footmarks of Poe always in front of him.

He is happy if he ever finds the means of breaking away and striking out on some little side-track of his own. A. Conan Doyle __________ Quotes from Sherlock Holmes Regarding Poe’s Dupin ‘You remind me of Edgar Allan Poe’s Dupin. I had no idea that such individuals did exist out of stories.’ Dr. John Watson Quote -A Study in Scarlet Chapter 2 – “The Science of Deduction” ‘Sherlock rose and lit his pipe. ‘No doubt you think you are complimenting me in comparing me to Dupin, he observed ‘Now in my opinion, Dupin was a very inferior fellow. That trick of his of breaking in on his friends’ thoughts with an apropos remark after a quarter of an hour’s silence is really very showy and superficial. He had some analytical genius, no doubt; but he was by no means such a phenomenon as Poe appeared to imagine.’ Sherlock Holmes Quote -A Study in Scarlet _____________ ‘You remember,’ said he, ‘that some little time ago when I read you the passage in one of Poe’s sketches in which a close reasoner follows the unspoken thoughts of his companion, you were inclined to treat the matter as a mere tour-de-force of the author.

On my remarking that I was constantly in the habit of doing the same thing you expressed incredulity.’ Sherlock Holmes Quote [Scan Boston Herald article here] TALK WITH DR. CONAN DOYLE —– Where He Got the Idea for the Detective, Sherlock Holmes —– The Popular Author Thinks “The White Company” the Best Thing He Has Done-His Immense Study Preliminary to Writing This Historic Novel-The Tendency to Realism. [From Our Special Correspondent] “So I got the idea for Sherlock Holmes. Sherlock is utterly inhuman, no heart, but with a beautifully logical intellect. I know nothing about detective work, but theoretically it has always had a great charm for me. The best detective in fiction is E. A. Poe’s Mons. D. Similar Dupin and Holmes Quotes Doyle obviously read Poe’s detective stories very closely for ideas as he has Sherlock Holmes and Dr. Watson actually paraphrasing C. Auguste Dupin a number of times. Here are three examples including one of Holmes most famous quotes.

‘It appears to me that this mystery is considered insoluble, for the very reason which should cause it to be regarded as easy of solution – I mean for the outre’ character of its features…it should not be much asked ‘what has occurred’ as ‘what has occurred that has never occurred before’ C. Auguste Dupin C. Auguste Dupin | fictional character | Britannica.com fictional character Uncle Tom C. Auguste Dupin, fictional detective appearing in three stories by Edgar Allan Poe . Dupin was the original model for the detective in literature . Based on the roguish François-Eugène Vidocq , onetime criminal and founder and chief of the French police detective organization Sûreté, Dupin is a Paris gentleman of leisure who for his own amusement uses “analysis” to help the police solve crimes. In the highly popular short stories “ ” (1845), as well as the less-successful “ The Mystery of Marie Roget ” (1845), Dupin is depicted as an eccentric , a reclusive amateur poet who prefers to work at night by candlelight and who smokes a meerschaum pipe—foreshadowing the nocturnal Sherlock Holmes .

Like Holmes, Dupin is accompanied by a rather obtuse sidekick, though Dupin’s companion, unlike Dr. Watson , remains nameless. Learn More in these related articles: Edgar Allan Poe January 19, 1809 Boston, Massachusetts, U.S. October 7, 1849 Baltimore, Maryland American short-story writer, poet, critic, and editor who is famous for his cultivation of mystery and the macabre. His tale The Murders in the Rue Morgue (1841) initiated the modern detective story, and the atmosphere... More about C. Auguste Dupin 3 References found in Britannica Articles Assorted Reference creation by Poe (in detective story ) role in “Purloined Letter, The” (in The Purloined Letter ) External Links Corrections? Updates? Help us improve this article! Contact our editors with your feedback. MEDIA FOR: You have successfully emailed this. Error when sending the email. Try again later. Edit Mode Submit Tips For Editing We welcome suggested improvements to any of our articles. You can make it easier for us to review and, hopefully, publish your contribution by keeping a few points in mind.

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Auguste Dupin Website Name: Encyclopædia Britannica Date Published: February 28, 2016 URL: Access Date: December 30, 2016 Share Detective Fiction Chapter 1: C Auguste Dupin, a death note fanfic | FanFiction "People… well, detectives…" Light folded his arms, growing irritated. "Nobody dresses like that anymore!" "I do." Light snorted. "I can see that." He paused for a moment. "And you said your name was 'L'?" "I said you could call me 'L', Yagami-kun." "What's that, a codename?" "Something like that, I guess." "Hn." Light regarded him warily. "Well… you don't have to stand there." He gestured to the seat opposite his own. "You can sit down, if you want." "That's very kind." L shot him a lazy little smile and sat down; Light had been expecting him to sit… oddly, somehow, but he didn't. He sat normally, took off his hat, put it next to him and gazed very pointedly at Light. He said nothing.

"So why are you here?" Light bit out at length, starting to feel quite unsettled. "I haven't done anything." L tilted his head. "And how certainly can you say that, Yagami-kun?" he asked quietly. "From what I've heard, there's rather a large chunk of your memory missing – or being repressed, at least." Light blinked. "If you've only come here," he said coldly, "to accuse me of… I don't know, being a thief or a murderer or something, with the theory that I've lost my memory of it—" "Oh, no, Yagami-kun," L interrupted swiftly. "Don't misunderstand my intention. I don't think that you personally have done anything arrest-worthy." "Then why are you here?" Light pressed. L gave a little sigh and averted his gaze to the ceiling for a moment. "The truth is, Yagami-kun," he said quietly after a moment's consideration, "…I need your help." Light stiffened imperceptively, taken aback by this statement. "So, wait…" He kneaded his forehead briefly as he tried to make sense of what L was saying.

"First of all you say that, technically, I can't be sure of anything that I have or haven't done because I'm suffering from memory loss, and then you say that despite that, you want my help with something?" "More or less." Light gave another snort. "If my memory loss is such a big deal, to the extent that you think I can't rightfully say that I haven't murdered someone, then how would I be of any help to you?" he snapped. "That's a good point – in fact, it's only fair to tell you now that you may in fact turn out to be completely useless," L replied pleasantly. "But this is actually a last resort. There's no-one else who can help me, Light Yagami – no-one but you." "Help you do what?" "Solve a case, of course. I am a "real detective", after all." Light couldn't help arching an eyebrow. "And why am I so special?" he asked coolly.

"Why is someone who lost a portion of his memory after face-planting the dashboard the key to cracking this seemingly-impossible case of yours?" "Because," L responded carefully, "it's the portion of your memory that you lost after you "face-planted the dashboard" that's what I need to unravel the mystery." Light rolled his eyes. "Well, good luck with that," he said nonchalantly. "Whatever it is you need… it's the one thing I don't remember." "That's why I agreed that you may turn out to be completely useless." L smiled at him. "But for now, I'm optimistic." "Well, that's a start," Light muttered sardonically. L gave a little nod, either oblivious of or ignoring his sarcasm. "Yes," he agreed absently. "It's good to have somewhere to start." "And do you?" L tilted his head at Light curiously. "Of course," he replied. "I wouldn't be here otherwise, Yagami-kun. You ought to know that." Light's expression became more sour. "And why is that?" he asked coldly. "Why should I know why I'm your first port of call?

You already said that I haven't done anything, but even if I had, I wouldn't remember it." "That's an entirely fair defence on your part, but I…" L trailed off, apparently sinking deep into thought again. "Alright, well, there are two ways of going about this. Both come to the same conclusion in the end, so…" "I don't follow." "Don't worry – I'm confident that you'll be able to keep up. But first I need to decide…" L paused again; then leaned closer to Light across the gap between them, his dark eyes gleaming. "…Tell me, does the name 'Kira' mean anything to you?" Light gave an irritated little sigh. "That again?" he muttered blackly. "So that's a no?" "W-well… they've told me that I—" "But without them telling you, it wouldn't mean anything to you?" "No." "So you don't remember." "No, I don't," Light bit out. "Okay, then that's obviously not the best way to go. We'll come back to it. Even if you don't remember… I'm going to assume that you're familiar with detective fiction.

You did just say that you had read stories about detectives… who looked like me." Light hesitated, then gave a little nod. "Japanese reprints of things like Raymond Chandler and Ellery Queen," he replied. "And manga modelled on those kinds of detective stories." "Pulp," L mused. "Or the 'Hardboiled' genre, as the critics like to call it. The American reclaiming of the detective fiction format in the 1930s and 1940s. Okay, good. How about back further?" Light frowned. "How far?" "How about the quintessential British detective story? You know, British upper-class amateur detectives solving murders in sleepy little villages in Kent and Yorkshire, or on transcontinental trains." "Like Poirot?" "Right." Light shook his head. "No, those never really interested me. Anything aside from Agatha Christie is difficult to find in Japanese, anyway." "Ah, but Yagami-kun will surely not tell me that he has not read any of the Sherlock Holmes stories?" Light scowled. "Of course I have," he said sharply.

"But those aren't from the same time period as the Agatha Christie novels." "No, I know that – and I'm glad that you know, too. We're almost back at the source." "Well… Sherlock Holmes was the first popular, consistently-recurring fictional detective." "Of course – but not the prototype." "No, I…" Light noted the way L was smiling at him, clearly amused by this little pop quiz. "…You're just waiting for me to say 'Dupin', aren't you?" "Ah, but of course." L gave a satisfied nod. "C. Auguste Dupin, the creation of Edgar Allan Poe – the original prototypical fictional detective, if you will. First appeared in The Murders in the Rue Morgue, published in 1841." "Thanks for the History of Literature lesson," Light said coolly. "Oh, I'm sure you didn't need me to tell you that." "I didn't." Light raised his chin, his demeanour no less irritated despite the gentle flattery. "So what does Dupin have to do with why you're here?" "Everything, I'm sure you'll find.

You see, when writing The Murders in the Rue Morgue, Poe didn't just create the prototype for every other fictional detective that has been invented since, from Holmes to Poirot to Marlowe. He also created the structure of the detective story – the formula by which the mechanics of that particular type of story works. Arguably, perhaps more so than any other form of fiction, the detective story relies on the impeccable balance of its elements – a poorly-written detective story will fail to have a satisfactory conclusion for either its characters or its readers." "R-right, but—" "So to strip down that structure critically… well, without getting into the complexities of the criminal mind or the methodology of solving a case, it actually becomes very simple: A criminal steals or murders, but only the outcome of the crime is revealed to both detective and reader at the beginning of the story. The bulk of the story is taken up by the investigation – that is, the uncovering of the murder or theft method by the detective, in addition to the mental or physical gathering of suspects.

The story ends – and can only end – once the detective has reached a conclusion, pieced all the parts of the puzzle together and unveiled the identity of the perpetrator of the crime." "That's not… Well, it's…" Light cut himself off and bit at his bottom lip for a long, incensed moment. "Please don't feel that I am patronising you," L said airily, sensing the younger man's irritation. "I'm just making sure that we're of a common understanding. I trust that my thesis makes sense to you?" "Of course it does," Light snapped. "But it doesn't explain anything – at least not anything about why you're here. And I know I've asked you that about four times now, but you keep giving me all these cryptic answers about Dupin and detective stories! Whatever this case is that you apparently need my help with, I'm sure it's nothing like a detective story – real crimes are never as formulaic or—" "No, you see, Yagami-kun," L interrupted calmly. "This is my problem. This case is exactly like a detective story." He looked very pointedly at Light, his black eyes locking with Light's coffee-coloured ones across the space between them.

"It's exactly like," he went on quietly, knowing that Light was, by now, enthralled by his words instead of annoyed, "your detective story." Light blinked at him. "The detective story that I supposedly wrote?" he clarified after a long, terse moment. "One of them. Your latest." Light gave him a piteous little smile. "That's exactly what they've all told me," he responded genially. "The doctors, the nurses, the psychiatrists… That I'm supposedly an author of detective novels. Very successful, they say – famous, even. I've apparently written three to date under the pseudonym of 'Kira', derived from the Japanese pronunciation of the English noun 'killer'." Still smiling, half-amused and half-despairing, he began to shake his head. "But I don't remember. I don't remember ever writing even one book, never mind three—" "You were working on a fourth at the time of the crash. Your agent has your original handwritten manuscript versions of the first four chapters." The smile was still plastered on Light's handsome face as he leaned closer still to L. "But I don't remember," he hissed.

"I can't remember a thing about… about being Kira, or—" "I know that." Light hesitated, then leaned back again. "Then I'm no good to you," he replied sharply, the smile having finally faded. "Perhaps," L agreed again. "And perhaps not. Let's not be hasty in judging your worth to me, Yagami-kun. You may not remember writing the story, but you still wrote it. I'm sure the thought process you employed whilst creating it is still in your mind somehow; perhaps only in the subconscious, but there all the same." "Even if it is, and provided you are able to somehow get at it, how will that help?" "Slow down, Yagami-kun. Let me tell you about my case first." Light folded his arms and settled lower in his chair in response. "Have you read them?" L then asked, deviating despite the fact that it was he who had previously redirected the conversation. "Read what?" Light asked irritably. "Your books, of course. If you don't remember writing them—" "Yes, yes, I have," Light interrupted with a deep sigh.

"One of the doctors brought me his copies to see if it would trigger my memory. It didn't, but I read them." He thumbed at the desk across the room, upon which, next to a closed laptop, was piled several books. "They're over there. I really need to give them back to him, come to think of it…" L nodded distantly. "Your debut novel, published when you were eighteen, is called Ghosts of Dust," he reeled off flatly. "It won several prestigious literature awards and paved the way for your second book, entitled Poison Pen. Ghosts of Dust was a standalone story – a clever but formulaic detective tale of murder, lies and betrayal, weaved around the pursuit of a legendary, priceless jewel which, as it turned out in the end, did in fact never exist. Poison Pen, however, was the beginning of a series around a recurring detective character you created – a strange and original being whom you referred to in the story only as 'Ryuk', and who had a supernatural background, having been a God of Death, or Shinigami, before being cast out to Earth as punishment by the Shinigami King.

So, with nothing to do in the human realm, he took on a human guise and became a detective, and his interest was quickly drawn to a strange sequence of events which were really quite horrific in detail, with people dying in all sorts of obscene and unusual ways. The mystery was laid bare when Ryuk found the "murderer" to be a pen made of human bone, cursed to take over the human who used it and make them write gruesome stories which became true. Both the premise and the popularity of Poison Pen led to your third book, Death Note. The idea of an everyday item with the supernatural ability to kill was one which you presumably thought could be used further, and so this third book was about a notebook from Ryuk's own home-world – the Shinigami Realm. It had the power to kill the person whose name was written into it any way the writer chose, and it fell into the hands of a young man who thought the world would be better run without greedy, corrupt politicians, so he began to kill them. The guilt did, however, drive him mad, and he killed himself at the climax of the story.

Ryuk, meanwhile, debated both destroying the notebook and taking it back to the Shinigami Realm, but the last passage of your book narrated him as keeping it instead – no doubt setting the scene for your next novel." Light was nodding impatiently. "I know that," he barbed. "I already told you that I read them. But I don't see… I mean, you say this case of yours is like the third book, Death Note, but unless a notebook like that has suddenly—" "No, no, not the notebook itself," L interrupted blandly. "Don't be silly, Yagami-kun – you know such a thing exists only in stories. You invented the thing yourself." "Then what—?" "Well, now…" L smiled lazily at him. "You can certainly kill greedy, corrupt politicians without a murderous notebook, can't you?" Light's eyes narrowed. "Politicians have been killed? I didn't hear about that." "It's been kept fairly under wraps until now, but it's about to come out, I guarantee it – it's on the brink of being splashed over every news station and front page there is.

The Government can't oppress the media forever." "How many?" "Five, so far. There will be more, I'm sure of it, if the killer isn't caught. The number might not sound very impressive compared to the scores the character in your book managed to kill, but our murderer doesn't have a Death Note to help him out." Light's amber eyes grew sharper still. "And why exactly are people immediately comparing the killings to the ones in my… well, that book?" he bit out. "There are loads of books about detectives and serial killers and, I mean, it's not as if politicians haven't been murdered before—" "You'll recall the killings in the book," L interrupted lazily. "And, furthermore, the rules of the Death Note. You can kill your victim any way you like, dictating it via the notebook, as long as it is physically possible. If it isn't, or if you don't specify, the victim merely dies of a heart attack.

By these rules, the killer in the book murders the first five politicians by specific methods of enforced suicide: The first by jumping from his hotel room window, the second by overdose on painkillers, the third by putting himself into a state of inescapable asphyxiation, the fourth by driving his car over the end of a pier and the fifth, most gruesomely, by committing the act of Seppuku. At the scene of the fifth "suicide" was found the message 'I am Justice', written by the politician in his blood on the floor before he died." "But those are all suicides," Light argued. "Enforced, yes – but suicides all the same." L nodded. "Yes, that is true – and it is true that the five real politician's death were certainly murders, not suicides, enforced or not. But… they have been engineered and set up to mirror the suicides in Death Note. They're not supposed to look like actual suicides, you understand – they are merely supposed to look like the suicides from your book." "How… how can you tell?" Light asked faintly, beginning to feel slightly sick.

"Well," L said with a dry smile, "I am a "real detective"." "Don't joke about something like this," Light said in disgust. "Who's joking?" L tilted his head. "But, if you must know… All the deaths are clearly murders. There are signs of struggle at four of the scenes – for example, the man who "suffocated himself" was found with a pillow over his face. You couldn't suffocate yourself like that – you would faint from a lack of air and your grip on the pillow would loosen, enabling you to breathe. Likewise, with the man who drove his car over the edge of the pier… when the car was retrieved, it was evident that the brake wires had been cut. As for the "Seppuku"… well, it was hardly the "art of suicide" used by the samurai. The man had clearly been butchered with the katana and the blade inserted into his stomach after death." "What about… the message?" "It was there on the floor, exactly where it should have been." Light lowered his head, gazing intently at the floor.

"So…" he said faintly, "this… is my fault." "There are people ready to blame you, certainly," L replied. "The news hasn't gotten out into the masses yet, but it's known about in the kind of circles that would benefit from it, you may be sure. Mostly critics, of course, claiming that authors like you and books like yours are to blame for the debauchery of society. I wouldn't pay any attention to it, Yagami-kun – people with any real talent are always being blamed for something or other. It's like their punishment for being so gifted, you could say. As for your books, however… I'm afraid to say that a lot of bookshops have, at this moment, stopped selling them and the print run of the second edition has been postponed – perhaps even cancelled." Light glanced up again. "How do you know that?" "I've spoken to your agent. I didn't want to come straight here and start bombarding you with questions, since I knew you'd been in an accident not long ago, so I went to your agent first.

He told me to come here for a better analysis of how you were doing, but…" L gave a little shake of his head. "Well, your agent is still on your side, anyway. He's been defending your name and your novels in your "absence". He seems like a very big fan of yours, actually." L gave a wry little smile on this and Light met his gaze coolly. "Yes, he seems that way to me, too. He's come to visit me several times. He was disappointed at first that I didn't remember him—" "You didn't remember your own agent?" Light shook his head helplessly. "I told you, I don't remember anything about those wretched books," he spat. "I don't remember writing them, I don't remember getting any awards for them, I don't remember having Teru Mikami as an agent. I mean, we're "re-acquainted" now and he seems very nice and all, but I can't remember any of the stuff he tells me about. Apparently, before the crash, I was supposed to be entering the finalities of signing a deal for the rights to turn Death Note into a movie.

It was meant to have this famous actress Misa Amane in it, and I've apparently met her, but I don't remember that, either." Light gave a thin smile. "You'd think I'd remember that if nothing else, right? Meeting a famous actress? I mean, I know who she is – but I don't remember ever being in the same room as her. But Mikami swears it happened." L gave a little nod. "The movie deal is on hold," he replied. "Mikami said he doesn't know what will happen with it, what with this politician thing, but they can't do anything without your signature anyway. But I didn't come here to talk to you about that." "No." Light looked up at the detective again. "But I… I really don't think I'll be able to help you. I don't remember writing Death Note, and I don't remember the mindset I was in when I was writing it, and to be honest, now that you've told me about what that wackjob is doing – copying the murders from my story – I'm glad I can't recall that mindset." "That may be, but I would appreciate your help nonetheless, Yagami-kun.

I don't think there's anyone else who can help me." Light frowned. "Why do you need help, anyway? For a "real detective" like you, surely a messy trail of murders like this is easy to follow right to your culprit?" L only stood up and shot him a little smile. "You'd think that, wouldn't you?" he replied nonchalantly. He offered Light his hand. "So are you going to help me or not?" Light looked at his hand, hesitating; he was appalled by the news of the murders, copied from something that he had – supposedly – created, and also a little scared, and certain, too, that he could be of no help despite being the creator of the killer's inspirational source, because he just couldn't remember a damned thing about Death Note at all.

But this L… This "real detective", with his authentic PI look, calm way of talking and clear level, logical intelligence… He seemed to genuinely believe that he would benefit from Light's help, whether he remembered writing the story or not, and although a part of Light desperately wanted to refuse, another part of him felt as though he mustn't, under any circumstance, deny the detective whatever meagre scrap of assistance he could give him. Besides, Light was intelligent. He was logically-minded himself, very sharp and perceptive. All the doctors and psychiatrists had confirmed it, but he'd known anyway. Even if he couldn't remember anything about Death Note or Poison Pen or Ghosts of Dust or whatever the hell else, if L were to put some evidence down in front of him, he would be able to puzzle it out, certainly. So then… "Okay." Light rose himself and placed his hand in L's to shake with him. "I'll help you any way I can, L." L smiled at him over the handshake and then took his hand back, retrieving his fedora with it. "I appreciate it," he said. "…Your doctor said you get out of here in three days?" Light nodded. "That's right.

Mikami said he would come and get me." "Tell him to cancel that arrangement. Our investigation starts officially the moment you are released. I do want to speak with your agent again, Yagami-kun, but we have some work to do first. I'll come and get you myself." "I… w-well, okay, but…" Detective Fiction on Stamps: San Marino - (5) Fictional Detectives Boston, 19 gennaio 1809 Baltimora, 7 ottobre 1849 La potenza immaginativa e simbolica e l'attrazione per il mistero caratterizzano questo grande scrittore dalla vita breve e travagliata.

E i suoi racconti danno origine a vari generi, dall'horror(Il gatto nero) al thrilling (Il crollo della casa degli Usher), dalla fantascienza (Hans Pfall) al poliziesco, con il trittico I delitti della via Morgue, Il mistero di Maria Roget e La lettera rubata che nel 1841-43 ne fissa i tratti salientie l'enigma orrendo e assurdo, sovente con la stanza del delitto chiusa dall'interno, e l'investigatore eccentrico e solitario - Auguste Dupin - che lo risolve solo con l'intuito e una lucida razionalita. E stranamente fissa anche un'altra "regola": la stanchezza per il personaggio creato, sostituito da un nuovo detective nel quarto racconto del mistero La scrabeo d'oro del 1843. Edgar Allan Poe b. Boston, January 19, 1809 d.

Baltimore, October 7, 1849 The power of images and symbols, and the attraction of mystery characterize this great writer, short-lived and troubled. And his tales give rise to different genres, from horror (The Black Cat) to the thrilling (The Fall of the House of Usher), science fiction (Hans Pfaall) to the police, with the triptych The Murders in the Rue Morgue, The Mystery of Marie Roget and The Purloined Letter in 1841-43, that fixes the main features of the enigma horrible and absurd, often with the room-locked-from-the-inside crime, the detective, an eccentric and solitary - Auguste Dupin - he solves only by intuition and a lucid rationality. And he strangely fixed another "rule": the weariness with the character created, replaced by a new detective in the fourth story, the mystery The Gold Bug of 1843.

Arthur Conan Doyle Edimburgo, 22 maggio 1859 Crowborough, East Sussex, 7 luglio 1930 La fama di Conan Doyle si identifica, forse per la prima volta al mondo, non con un'opera ma con un suo personaggio: Sherlock Holmes, l'investigatore dalla logica rigorosa, scientifica e infallibile da lui creato nel 1887 ispirandosi, oltre che a Edgar Allan Poe, a un chirurgo di Edimburgo (anche Doyle era medico-chirurgo, cosi come il dottor Watson) famoso perché riusciva a dedurre le caratteristiche psico-fisiche delle persone da minimi dettagli.

Sherlock Holmes, protagonista di 62 fra romanzi e racconti, ben presto divenne ingombrante per Doyle, che nel 1894 lo fece morire; in seguito dovette resuscitarlo per le proteste dei lettori e dell'editore, e continuo a narrarne le gesta fino al 1927, alternandolo a romanzi storici (come i quattro de La compagnia bianca, 1891-1901), di fantascienza (il ciclo del Professor Challenger, 1912-29) e altri, più diari, studi di spiritismo e articoli di guerra. Arthur Conan Doyle b. Edinburgh, May 22, 1859 d.

Crowborough, East Sussex, July 7, 1930 The fame of Conan Doyle is identified, perhaps for the first time in the world, not with a work, but with a character  Sherlock Holmes, the detective of rigorous logic, scientific, and infallible, he created in 1887, inspired, as well as by Edgar Allan Poe, by a surgeon in Edinburgh (although Doyle was a physician-surgeon, as was Dr. Watson), famous because he could infer the psycho-physical characteristics of a person in every detail. Sherlock Holmes, the protagonist of 62 novels and short stories, soon became cumbersome for Doyle, who in 1894 put him to death... but later he had to resuscitate him at the protests of the readers and his editor, and he continued to tell of his deeds until 1927, alternating with historical novels (like the four of The White Company, 1891-1901), science fiction (the cycle of Professor Challenger, 1912-29) and others, and journals, studies and articles on spiritualism and war.

Raymond Chandler History of the Mystery - MysteryNet.com History of the Mystery Return to Content History of the Mystery Mystery and crime stories as we know them today did not emerge until the mid-nineteenth century when Edgar Allan Poe introduced mystery fiction’s first fictional detective, Auguste C. Dupin, in his 1841 story, “The Murders in the Rue Morgue.” The acknowledged father of the mystery story, Poe continued Dupin’s exploits in novels such as “The Mystery of Marie Roget” (1842) and “The Purloined Letter” (1845).

“The Murders in the Rue Morgue” is the most famous example of a mystery style known as the locked room, in which “a murder victim is found inside an apparently sealed enclosure and the detective’s challenge is to discover the murderer’s modus operandi.” (Crime Classics) Poe was one of the first to shift the focus of mystery stories from the aesthetics of the situation to a more intellectual reality, moving the story from “a focus on the superficial trappings of eerie setting and shocking event to a study of the criminal’s mind.” (Crime Classics) As important as his contributions were to the genre, Poe was influenced greatly by the early work of Charles Dickens who, with his contemporary, Wilkie Collins, made major contributions to the genre as well. Dickens wrote many stories that contained elements of mystery and suspense, including “Bleak House” (1853). “The Mystery of Edwin Drood” (1870), an unfinished masterpiece, is the perfect murder mystery because Dickens death left it forever unsolved. A prolific writer, Collins wrote numerous essays and short stories as well as crime novels, including “The Woman in White” (1860).

“The Moonstone” (1868) is considered by some to be the first true English detective novel. His 1858 essay, “The Unknown Public” suggested that a new generation of readers wanted to read books that reflected their changing place in society. The rising literacy rates combined with more leisure time contributed greatly to the popularity of novels in general and mysteries in particular. Throughout most of history, books had been a luxury available primarily to the upper classes, and were read for the sake of education rather than entertainment. In 1878, with the publication of “The Leavenworth Case,” Anna Katherine Green became the first woman to write a detective novel. This novel introduced elements of detection later used to great effect by writers of the English country house murder school during the 1920s. Sherlock Holmes , Sir Arthur Conan Doyle’s brilliant detective, arrived on the mystery scene in the late nineteenth century in “A Study in Scarlet” (1887). Holmes possessed a singular style unlike any detective seen before. With his distinctive style and his flair for deducing clues, Holmes, with his ever-reliable sidekick, Dr. Watson, quickly became indispensable to mystery readers everywhere.

The genius of Conan Doyle was reflected in his creation of a character whose intelligence was formidable, turning the solving of crimes into a science. Readers may have found his deductive powers too intimidating were it not for the presence of Dr. Watson, always nearby to bring Holmes back down to earth with the soothing voice of reason. By the 1920s British mysteries had become extremely popular, particularly the cozy, a style of mystery usually featuring “a small village setting, a hero with faintly aristocratic family connections, a plethora of red herrings and a tendency to commit homicide with sterling silver letter openers and poisons imported from Paraguay.” (Murder Ink) The 1920s ushered in the Golden Age of mystery fiction. A time of growing prosperity in both England and America, the popularity of mystery fiction was at an all-time high. No longer used only to describe the period in history, Golden Age refers as well to the style of writing itself. Crime in these stories strictly adhere to a prescribed format with little or no variation. A writer emerged during this time whose name became synonymous with Golden Age fiction.

Agatha Christie wrote more than 80 novels, spanning a career of 50-plus years, and is today probably the best-known mystery writer in history. Christie has “entertained more people for more hours at a time than almost any other writer of her generation.” (Great Detectives) Christie’s “The Mysterious Affair at Styles” (1920) introduced the Belgian sleuth Hercule Poirot, who along with Jane Marple, Christie’s endearing mystery-solving spinster, remain two of mystery fiction’s most popular characters. Christie perfected the cozy style over the next decade with titles like “The Murder at the Vicarage” and “The Murder of Roger Ackroyd,” among many others. While Christie may have been the most recognizable Golden Age author, another writer at the time was also helping to define the genre. Dorothy L. Sayers , whose first mystery was published in 1923, introduced Lord Peter Wimsey, a detective whose style and intelligence won over many readers and made Sayers one of the most popular authors of her time.

During the height of Golden Age fiction’s popularity, London publisher Allen Lane came up with an idea that further helped to expand the availability of mysteries to the public. Along with his two brothers, he obtained limited rights to hardcover books written by Sayers and others. Their new paperback line was issued in 1935 with only 10 titles and quickly expanded to 70 titles within a year. Penguins, as they were called, were easily accessible to the public due to their much lower cost and availability in department stores, where most of the public shopped at the time. These paperbacks helped to bring mysteries, along with other types of fiction as well, to the public. American detective fiction reached its zenith in the 1930s and 40s with the immense popularity of Ellery Queen , a pseudonym used by two American cousins, Manfred B. Lee and Frederic Dannay. Their first collaboration, “The Roman Hat Mystery,” published in 1929, featured an amateur detective named Ellery, who solved mysteries with his father, Richard Queen.

Ellery Queen proved to be so popular that, in all, the two authors wrote 33 novels spanning over 40 years featuring the father and son team. They later created another popular character, Drury Lane, introduced in 1932. With Ellery Queen , Lee and Dannay had “successfully adapted the Golden Age format to the American scene.” (Crime Classics) At the same time that Golden Age fiction was on the rise, another type of mystery was taking shape. Black Mask or hard-boiled fiction was born in the 1920s with the rise of popular magazines known as pulps. The most famous of these, Black Mask, originally published adventure stories of all kinds, but eventually devoted its pages to detective fiction exclusively. The magazine came to symbolize the hard-boiled school of writing, with contributing writers like Dashiell Hammett and Raymond Chandler. Under editor Joseph Thompson Shaw’s direction, Black Mask “established a revolutionary direction for the detective story.” (Crime Classics) Shaw was attempting to create a new kind of detective novel. He wanted the stories to reflect the reality of life in America at the time.

Such characters as Dashiell Hammett’s Sam Spade and Raymond Chandler’s Philip Marlowe were hard-edged men, tough guys who lived by strict codes of honor. Sam Spade was later immortalized on the big screen in the 1941 film noir classic “The Maltese Falcon.” The ’30’s also gave birth to the “quirky” detective, sleuths of unusual or eccentric personalities. One of the most notable was Earl Derr Bigger’s creation, Charlie Chan , who used the sage wisdom of the Orient to solve crimes all over the world; his popularity spawned a “Charlie Chan” industry in books, movies, radio, and television. Another author who got his start writing for Black Mask was Erle Stanley Gardner , creator of the crime-solving attorney Perry Mason. First introduced in 1933 in “The Case of the Velvet Claws,” Mason tackled cases with his friend, detective Paul Drake, and his long-time secretary Della Street. In case after case, Mason went head-to-head in court with District Attorney Hamilton Burger, usually forcing a confession from the unsuspecting guilty party during their testimony on the stand.

Perry Mason has been featured in countless novels and films over the years and was the subject of a long-running television series that began in 1957 and ran for 10 seasons. In 1947, A new writer, Mickey Spillane, emerged on the mystery scene. When his book, “I, The Jury” appeared, marking the first appearance of ultra-tough guy Mike Hammer, it created a sensation. With his strong emphasis on sex and violence, Spillane appealed mostly to male readers, and “I, The Jury” became the best-selling mystery in history up until that time, selling over six million copies. Critics hated Spillane’s books and their heavy focus on blood and guts, but the public couldn’t seem to get enough. Spillane only wrote five more Mike Hammer novels, and all were extremely successful. The public’s love of mysteries wasn’t limited to the printed page. Not only were radio mysteries like “ The Shadow ” one of the most popular forms of entertainment in the 1940s, the arrival of television brought mystery in an entirely new direction. Mystery on television has proved to be an endless source of diversion and delight for fans the world over.

Since the birth of the medium, TV has provided mystery lovers with a seemingly endless stream of colorful characters over the years and into the present. Characters such as Perry Mason and Simon Templar (“ The Saint “) were extremely popular during the early years of TV, followed more recently by the likes of Lieutenant Columbo (“ Columbo “), Jim Rockford (“ The Rockford Files “), and Jessica Fletcher (“Murder, She Wrote”), among many others. Another type of crime fiction, police procedural, surfaced in the 1940s, and its style coincided perfectly with the advent of television. As its name implies, it differed from other styles of crime writing because of its realistic portrayal of police methods. The stories were always presented from the point of view of the police, usually in a gritty, realistic style. The most successful writer of this type of fiction was Ed McBain (1926- ), who set his stories in the fictional 87th precinct in a big-city police force.

The popular TV series “ Dragnet ” followed this format perfectly, and was followed later by shows such as “ Hawaii 5-O ,” “Kojak,” and “ Hill Street Blues ,” all of which developed loyal followings throughout their runs on the small screen. Just as mystery throughout its history hasn’t been limited to the page, it hasn’t been limited to one audience. Some of the most popular mystery series have not been written for adults, but for children. The continued popularity of such series as Nancy Drew , The Hardy Boys , and Encyclopedia Brown , among others, attest to the fact that mystery remains a beloved pastime for readers of all ages. Current writers like Christopher Pike and R.L. Stine, creator of the wildly popular Goosebumps series, sell in the millions as well. The popular Parker Brothers game, Clue, is another example of mystery’s enormous appeal to children. The popularity of mystery has a long and varied history and shows no sign of abating. On the contrary, it remains as popular as ever and today’s mystery writers are as diverse and wide-ranging as ever.

New arrivals on the mystery scene like Sue Grafton ‘s Kinsey Millhone share space on the shelves with such characters as Spenser, Robert B. Parker ‘s Boston-based P.I., and Adam Dagliesh, P.D. James ‘ popular British policeman, along with writers like Dick Francis , whose mysteries set against the world of horse racing continue to hit the bestseller lists year after year. Mystery in all its forms will undoubtedly continue to capture the public’s imagination, regardless of the medium, well into the future. Detective Fiction – Essay Sample Detective Fiction – Essay Sample The Representation of the Criminal: “Murders in the Rue Morgue” and “Death and the Compass” Introduction There is an inherent dilemma in discussing the comparative interest levels of the criminals and the detectives in traditional, crime fiction. That is, there is the temptation to assert that the detective is more interesting as a character because he is more virtuous, or ethically correct. The detective is certainly and invariably more admirable, and the temptation to declare him more interesting is not necessarily invalid; a great deal goes into what commands interest, and simple liking, or admiration, is often a powerful component.

However, and fortunately, the world of criminal fiction frees the reader from making choices based on factors more influential in real life. Jorge Louis Borge’s Scharlach is no more real than his less villainous characters, as Edgar Allen Poe’s Auguste Dupin is as much a creature of the writer’s imagination as the orangutang that challenges his intellect. There are no moral parameters to observe, and interest may be felt and expressed free of such constraints. This being the case, the criminals of Borge and Poe, as well as many murderers and evildoers of other examples of detective fiction, are typically more interesting than the masterminds who eventually expose them. They have all the attraction of the forbidden and, in the hands of skilled writers like Borge, take on complete, human dimension. The criminals of detective fiction command greater interest, moreover, because, as fictional beings, they allow the reader to simultaneously engage with them as do the detectives, while vicariously enjoying the criminality they exercise. Poe and “The Murders in the Rue Morgue” Evaluating the interest levels of the detective and the criminal can hardly be more of a challenge than in Poe’s classic detective story, “The Murders in the Rue Morgue”.

If there are other such stories wherein the hero, or great detective, matches wits with a non-human, they do not occupy so exalted a place in literature, and Poe’s reputation as the inventor of the fictional detective could not have had a more daunting beginning. In presenting to his C. Auguste Dupin so unlikely an adversary, Poe both boldly teases his audience and challenges their expectations in interesting ways. As Dupin figures in a variety of stories, his own character is very well defined. He is, in fact, so much an archetype that more than a few other detectives in fiction owe their existence to him, and it could be argued that Agatha Christie’s Poirot is something of a near relation. Both detectives are European, cool of temperament, erudite, fascinated by method and logical order, and impatient with other avenues of detection. “The Murders in the Rue Morgue” introduced Dupin to a welcoming world, and his own ability to generate interest must be examined, before that of his adversary. Much about Dupin is both mysterious and compelling. There is a great deal Poe does not reveal in this introductory story, including the name of the narrator and his actual relationship with Dupin.

Then, there is the cryptic way in which the men live. It is suggested that Dupin is of noble birth, although his fortune is gone, and the narrator provides the Gothic, elaborate home the two settle into. The men keep utterly to themselves, as the narrator unequivocally states: “Our seclusion was perfect. We admitted no visitors….We existed within ourselves alone” (Poe 5). It does not require any possibility of a homosexual relationship to add interest to this unusual scenario, although the nature of the relationship points to an intense intimacy. It is enough, to render Dupin interesting, that he is content to live a life solely of the mind with his new friend. In later stories, Dupin is not much more drawn out as a man. Poe has intentionally created him as a device of sorts, a human male who conforms to few, if any, of the habits of other men. This in itself, however, adds to his interest. The reader knows, even in the first story, that Dupin has lived in the world; he makes references regarding the police and ordinary life that clearly indicate a man with knowledge of daily living.

Consequently, and in keeping with the unnamed reason why his fortune is gone, the reader is given free rein to speculate as to how this man came to be who he is. It is very much a case of interest generated by concealment. As Dupin’s amateur career in detection proceeds in following stories, his isolation itself adds another element of interest. Poe does not radically differentiate him from the various criminal minds he encounters; moralities aside, each is drawn to the unusual and fascinated by complex means of achieving their ends (Frank, Magistrale 3). Cerebral and removed, Dupin can appreciate the mechanics of crime without being encumbered by the societal reactions in which he does not share. This is the same kind of deliberate duality Conan Doyle would exploit in his Holmes and Moriarty. Great minds, it is implied, cannot help but admire great minds, no matter the purposes they pursue. With Dupin, there is even a sense that he welcomes the orangutang as the criminal simply because it is a challenge worthy of his keen intellect. Auguste Dupin is, beyond question, an interesting character. He would exist as such even had he not served as a role model for more refined creations coming later, from other authors.

The reader wants to sit with him and, once the mystery is beautifully entangled, engage him and lure him into revealing the mystery of his own existence. It is no small accomplishment, that Poe gains so much by employing so little. … Need custom paper on Literature? We Deliver Top Quality On Time As Promised! Ready to get started? Just click the button to be directed to a secure page so you can enter the details of your paper Interesting Private Investigator Facts Interesting Private Investigator Facts Here are some interesting private investigator facts that you may not know. The Founder of Modern Criminal Investigation Do you know who founded the first modern detective agency? It's not Pinkerton. In 1833, Eugene Francois Vidocq founded the first known private detective agency in France: Le Bureau des Renseignements. A former-criminal-turned-policeman, Vidocq's agency was staffed by detectives who were all former criminals. He is also considered by historians and law enforcement to be the father of modern criminal investigation. Vidocq is credited with introducing the science of ballistics to police work. He also was the first to make plaster casts of shoe impressions.

An inventor, Vidocq held patents on indelible ink and unalterable bond paper. He was also considered a master of disguise and surveillance. Vidocq was also the inspiration for many famous writers, including Victor Hugo, Edgar Allen Poe, and Charles Dickens. The First Fictional Detective Perhaps the most famous detective in fiction is Sherlock Holmes, created by Sir Arthur Conan Doyle. But he is not the first fictional detective. Edgar Allen Poe created the first detective in fiction: C. Auguste Dupin. Dupin was a private detective living in Paris. In fact, he is based on none other than Eugene Francois Vidocq. Dupin appears in three popular stories: The Murders in the Rue Morgue, The Purloined Letter, and The Mystery of Marie Roget. Pinkerton's Logo The Pinkerton National Detective Agency, founded by Allan Pinkerton in 1850, is perhaps America's most famous early detective agency. Pinkerton's agency became renowned after preventing an assassination attempt against President Abraham Lincoln. During the Civil War, it also organized America's first secret service.

But did you know that the Pinkerton Detective Agency's logo, consisting of a huge black and white eye above the slogan "We Never Sleep," inspired the term "private eye?" The First Female Detective in the United States Kate Warne is considered the first female detective in the United States. Hired by the Pinkerton Detective Agency, she was a key player in the foiled assassination attempt of President-Elect Abraham Lincoln in Baltimore in 1861. She disguised herself as a rich Southern lady in order to infiltrate secessionist social gatherings in Baltimore. While at these gatherings, she was able to discover details of the assassination plot. During the Civil War, she worked in covert war intelligence-gathering. She was able to easily penetrate into Southern social gatherings as a woman. Pinkerton named her as one of his five best detectives. He subsequently established the Female Detective Bureau, putting Kate in charge as "Supervisor of Women Agents." All of this is remarkable considering that women were not allowed to be part of a police force until 1891 nor be detectives until 1903. Kate Warne died in 1868 of pneumonia with Pinkerton at her side. She is buried in the Pinkerton Family Plot in Illinois.

Statistics About the Job of Private Investigator About 21% of all private investigators in the United States are self-employed The employment of private investigators is expected to grow 22% between 2008-2018, one main factor being the proliferation of criminal activity on the Internet Join PInow If you would like to discuss becoming a guest writer for PInow.com, or if you would like to redistribute this article, contact us at [email protected] Join PInow.coms trusted network of private investigators by calling 1 (888) 997-4669 or visiting

Question: Which writer created the fictional detective Auguste Dupin?
Answer: Edgar Allen Poe