Imperial Games of Cricket and War: South Africa v England, 1901

International Relations, Leisure activities, Military history, Social History, Society & Culture, Sport, Sports history
1900 map of SA (Source: fruugoaustralia.com)

Between 1899 and 1902 Britain and the Afrikaner republics of Transvaal and Orange Free State were locked in conflict in the Second South African War, more commonly known as the Boer War (or more accurately the Second Anglo-Boer War). With the overconfident British failing to secure the expected quick victory over the Boers’ “citizen army”, the war dragged on into a long guerrilla engagement. In 1901, in the middle of the conflict in South Africa, of all things a cricket team from South Africa visited England and Ireland to take part in a series of international matches. How did this sporting incongruity take place while the two countries were engaged in a controversial, bitterly fought and increasingly divisive war?

Lord Hawke’s MCC tourists to SA 1898-99

Making it happen: JD Logan, the “Squire of the Southern Karoo”
In fact, the tour of Britain had been originally meant to occur in 1900ⓐ, but was cancelled due to the outbreak of hostilities, understandably enough. At this point in stepped Cape Province-based expat entrepreneur and cricket patron James Douglas Logan with his (long-cherished) plan to organise a new tour. Logan negotiated with the Marylebone Cricket Club (MCC) through the highly influential Lord Hawke, who managed to persuade the MCC to give the tour the green light. Despite the war still very much raging and the outcome far from decided, it was rescheduled for the following year. The announcement for the tour to take place in 1901 unleased opposition and misgivings from within both countries.

Newspaper cartoon of James Logan (Source: hermanus-history-society.co.za)

The South African press lambasted the team chosen–a mix of “socialite-gentleman” cricketers (including Logan’s own son who had never played first-class cricket!) and more skilful players—for being overall well below par. Moreover, the press criticised the private venture by the “Laird of Matjiesfontein” as being not legitimate because the touring players predominantly from the Cape Colony had not been officially selected by the South African Cricket Union (which had suspended the Currie Cup and disbanded with the onset of war) {Sport Past and Present in South Africa: Trans(forming) the Nation, Scarlett Cornelissen, Albert Grindingh (Eds.), (contributor Dean Allen) 2013; Peter Wynn Thomas, The Complete History of Cricket Tours At Home and Abroad, 1989}.

Sherlock’s creator: make war, not cricket
From the host country, probably the most vociferous critic was world renowned author (and cricket fan and amateur player) Arthur Conan Doyle. Conan Doyle, in the forefront of countering the anti-war propaganda within the British homeland with his own pro-war propaganda, was incensed that a team of predominantly English-speaking cricketers should be coming to Britain to play when they should be stay in South Africa and fight the Boers. The vexed author of Sherlock Holmes called it “a stain on their manhood” (Cornelissen, Grindingh).

Conan Doyle in cricket gear (Source: arthur-conan-doyle.com)

Despite the dissenting voices, what ultimately clinched it for Logan’s private tour was the MCC and the major English county clubs’ agreeing to give the tour matches first-class status. Even then there were second thoughts on the South Africa side and a suggestion made that the tour should not go ahead…this was scotched by the MCC who insisted it proceed to prevent the dislocation of the 1901 English season (Cornelissen, Grindingh).

Jimmy Sinclair (Photo: Cricket Weekly Record)

The cricket tour 🏏
Logan’s 14-man team was predominantly Uitlanders (‘foreigners’, immigrants, mainly British in composition but from other countries as well)…it included one Afrikaner cricketer Johannes Kotze who proved one of the more accomplished performers. The South Africans’ ‘gun’ batsman coming in to the tour was JH Sinclair, however his batting never really got going on the tour (unlike his bowling which was quite effective). Sinclair had been captured by the Boers but escaped in time to make the trip to Britain. Maitland Hathorn was the most successful “willow-wielder” on the tour (827 runs, average 35.95). Overall the team performed moderately though it did beat five of the major counties and tied one. Financially, Logan lost a substantial sum on the venture.

1901 Sth African tourists (Source: ebay.com)

Cricket’s special role serving the Empire
To the English, cricket, the game they invented, was the quintessential sport, and an essential companion of empire building. This was the “golden age“ of cricket (1895-1914) with WG Grace’s shadow still very much dominating the sportⓑ. The Victorians revered cricket as an established institution, it was integral to the ethos of the English gentleman and a sign of his cultural supremacy. Moreover cricket was considered educative, part of an Englishman’s training. Spreading the game to the Empire, to Australasia, the West Indies, the Indian Sub-continent and Southern Africa, symbolised the “civilising mission of the Englishman abroad”. Participation in cricket was equated with the civility of English Victorian society and an endorsement of Anglo-Saxon values. Cricket tours by the MCC, the sport’s governing body in England, stimulated the colonies‘ interest in the English game, but its deeper purpose was to “promote imperial ideology”, extolling the virtues of allegiance to Britain, Empire and patriotic duty {Dean Allen, Empire, War and Cricket in South Africa, Logan of Matjiesfontein, 2015}. Allen’s thesis is that cricket was injected by the English ruling classes into South Africa “as much for political and propagandistic reasons as for sporting ones”

War an instrument of empire with cricket the mentor
The late Victorians affirmed that “manly games” were integral to training for life. Above all the ‘school’ of cricket taught lessons of “discipline, self-abnegation, a sense of fair play and team-work”, it built character. Britain’s willingness to engage in the 1899 War to enlarge the Empire—the scramble for colonies in Africa in competition with Germany and France—brought the cricketing fraternity squarely into the frame. Cricketers, to the English mind, were “made of the right stuff” for mortal combat, they were up for martial challenges (Donaldson, Peter (2017) ‘We are having a very enjoyable game’: Britain, sport and the South African War, 1899-1902. War in History, 25(1). ISSN 0968-3445). Many cricketers enlisted in the South African War (some former teammates found themselves on opposing sides), and there were cricketing casualties in the conflict {Dean Allen (2005) ‘Bats and Bayonets’: Cricket and the Anglo-Boer War, 1899–1902, Sport in History, 25:1, 17-40, DOI: 10.1080/17460260500073033}, including some fine players of the day like Anglo-Australian test bowling ace JJ Ferris.

Australian troops playing cricket at the front in SA (Photo: awm.org.au)

Endnote: Pioneering South African XI on the Sub-continent
An unintended co-occurrence of the Boer War was that it led to the staging of the first cricket match between South Africans and local cricketers on Sub-continent soil, 90 years before Apartheid sport ended in South Africa. ‘Representing’ South Africa were Afrikaner POWs incarcerated in Ceylon…Diyatalawa Camp v Colts XI, Nondescripts Club ground, Colombo 1901. The local XI won! {‘The First South Africa. side to play in the sub-continent: Boer Prisoners of War in 1901’, CricketMash, 4-Jul-2020, www.cricmash.com}.

Mafeking reported in cricketing terms (source: independentaustralia.net)

Postscript: 1899 South African War, cricket as antidote to physical and moral degeneration
The poor health of many Boer War recruits and Britain’s early reversals in the war added weight to prevailing concerns about national and ‘racial’ degeneration {Robb, George. “The Way of All Flesh: Degeneration, Eugenics, and the Gospel of Free Love.” Journal of the History of Sexuality, vol. 6, no. 4, University of Texas Press, 1996, pp. 589–603, http://www.jstor.org/stable/4617222.} Some commentators of the day, bemoaning the ”neglect of an active athleticism“, called for more playing fields as an antidote to the decline of young working class men, so that they could be the beneficiaries of the ”cricket way of making honest and healthy Englishmen” {Anthony Bateman, Cricket, Literature and Culture: Symbolising the Nation, Destabilising Empire, 2016}.

𓁾𓁽𓁾𓁽𓁾𓁽𓁾𓁽𓁾𓁽𓁾𓁽𓁾𓁽

ⓐ the English MCC side had just concluded their own tour of South Africa in April 1899, just six months before the war commenced
ⓑ Dr Grace loomed larger than life in cricket during this period as the sport’s first genuine superstar

Sherlock Holmes’ Posthumous Copyright Case

Cinema, Creative Writing, Law and society,, Literary & Linguistics, Performing arts, Popular Culture

The image stereotype of the Sherlock Holmes character (Source: Culture Livresque)

Few characters from modern literature pop up on cinema screens and TV sets as frequently as Sherlock Holmes does. Some observers have stated it more firmly. Christopher Redmond estimates that Sherlock Holmes is the most prolific screen character in the history of cinema (A Sherlock Holmes Handbook (1994)). Just how many different Sherlock Holmes screen adaptions have been made is too large and elusive a number to pin down accurately, but screen vehicles of Arthur Conan Doyle’s famous super-sleuth and Mensa-alumni certainly number in the hundreds.

(Photo: CrimeReads)

A publishing can of worms
When Arthur Conan Doyle (ACD) died in 1930 the author left his literary works in Trust to his widow (Jean Conan Doyle) and immediate family. But in excluding his daughter Mary from his first marriage, ACD opened the door to an ongoing family rift, decades of squabbles, strife and litigation by his heirs, descendants and their spouses.

As the intra-family ‘Barney’ over who controls the copyright to the Sherlock Holmes works deepened, the imbroglio entangled an investment company specifically set up to manage the windfall (aptly named “Baskervilles Investments”) and even the Royal Bank of Scotland (‘History of the Sir Arthur Conan Doyle Copyrights’, (2015), www.arthurconandoyle.com).

1954 Holmes TV series with Ronald Howard (Photo: dvdfr.com)

The upshot of the kerfuffle was that each of the competing parties claimed to be the rightful holder of the rights to ACD’s literary estate, and then attempted to sell it notwithstanding the prevailing uncertainty over ownership. American TV producer-director Sheldon Reynolds acquired a licence from two of Arthur’s sons to make a Sherlock Holmes series in the 1950s. When, 20 years later, Reynolds tried to get a licence for a follow-up series on TV, he found that the legal landscape had changed. The rights were now held by the Royal Bank of Scotland who had acquired them after the previous owner defaulted on a loan. Eventually, with funds provided by his Pfizer heiress mother-in-law, Reynolds secured the rights to the Holmes stories.

Andréa Plunket (Source: goodreads.com)

Culture of litigation
Since 1990 the main battle for control of the copyrights has pitted Reynolds’s ex-wife, Hungarian-born heiress Andréa Milos (née Reynolds, née Plunket) versus the Conan Doyle Estate and others. Plunket has doggedly claimed to hold the rights to the name “Sherlock Holmes” and the stories, despite a lack of legal support for the claims. Lawsuits were exchanged between her and the Estate. Plunket also threatened to sue the BBC over its Sherlock television series for allegedly infringing ‘her’ trademarks (‘The Scandalous Sherlock Holmes Copyright Issue’, Mattias Boström, I Hear of Sherlock Everywhere, 30-Jul-2015, www.ihearofsherlock.com).

The Sir Arthur Conan Doyle Estate for its part has been particularly litigious in defence of its literary legacy. The Estate has consistently striven to maintain water-tight control over both the Sherlock Holmes stories and the characters. In 2013 it demanded author Leslie S Klinger pay a fee to license the Sherlock character for an anthology he was planning to do. Klinger’s response was to sue the Estate on the basis that most of the Sherlock material was in the public domain. In court the judge upheld Klinger’s position, while reaffirming that some late works were still covered under copyright (‘Sherlock Holmes Copyright: An overview’, Brogan Woodburn, www.redpoints.com). In 2020 it sued Netflix over its upcoming film Enola Holmes. The grounds? The film apparently depicts Holmes as having emotions and respecting women. This, the Estate contends, breaches Conan Doyle’s copyright (‘Lawsuit over ‘warmer’ Sherlock depicted in Enola Holmes dismissed’, Alison Flood, The Guardian, 22-Dec-2020, www.theguardian.com).

‘The Red-Headed League’ story (Golden Press edition, 1963)

End-note: An additional complication over the Holmes copyright issue is a demarcation between the UK and US laws. In the UK copyright lasts for 70 years after an author’s death (in Conan Doyle’s case, the copyright expired in 2000). Conversely in the USA some copyrights extend for 95 years from the date of the work’s first publication. This has proved a stumbling block for TV series and film-makers trying to adapt one of the Sherlock stories in recent years (‘Sherlock Holmes And His “Copyrighted Emotions”‘, Copyright House, 28-Sep-2020, www.copyrighthouse.org).

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including works for film, music, radio, stage, video games, there are over 25,000 products that are related to the famous detective (Woodburn)

the last of ACD’s published work expires in 2023