Content introduction main part

The object of the research: Detective plays.
The subject of the research: working on Teaching materials: using literature in EFL classroom.
The aim of the research: to review the features of Detective Genre and discuss and also is to present an overview of sir Arthur Conan Dayle in English literature.
The practical value is in using theoretical and practical aspects of the research.
The tasks of the investigation include:
- to review Between the Ancient and Modern Detective Genre
- to review The features of the Detective Genre
- to review Short information about Sir Arthur Conan Doyle’s life
- to review About Sir Arthur Conan Doyle’s writing career and the stories of Sherlock Holmes
The main language material of the work has been gathered from the Internet sources, literary works and the textbooks in English literature of various authors. Thus, writers, their works, the evidence of modernity in words, their definitions and examples in which the words are used, are taken from the authentic English sources, so that the evidence of the research results could be doubtless.
The theoretical and practical value of the paper lies in its applicability to the English literature, General Linguistics and practical English classes.
The structure of the work consists of the Introduction, two chapters,four plans, conclusion and references.

1.Between the Ancient and Modern Detective Genre
Although the crime thriller boom began in the 19th century, the origins of modern crime fiction can be traced back to centuries before Christ. It was during this period that the first stories about solving the crime of unknown criminals appeared. These stories have been striking since the earliest biblical stories in which all acts contrary to society's morals are eventually exposed and the perpetrators punished. One of the first stories about the exposure of the criminal act is written in the Old Testament, in the book of the prophet Daniel. The story "Susanna and the Elders" tells the story of a woman who was falsely accused of adultery and executed for committing this crime against God. "History exposes the folly of judging the testimonies by their rank and standing." Following the fact that the Witnesses are also their judges, the young prophet Daniel intervenes in the process and exposes the inaccuracies in their testimonies.¹ This story contains the traces of a modern-day detective story, portrayed by a person interested in the fate of innocent people. Through thorough research, an analytical approach and a final presentation of all the collected facts in front of the audience, Daniel brings the truth to light. Over time, around the eighth century AD, another collection of stories bearing traces of the detective genre was written, the Arabian fairy tale The Thousand and One Nights. Of all the stories, The Three Apples is the best example. The story begins with the discovery of a chest containing the corpse of an unknown woman. Caliph Harun al-Rashid orders one of his viziers to find the killer within three days. The tangled story with unexpected twists in the plot is unsuccessful at first, but with the time reduction that leads to the vizier's punishment, he unexpectedly finds the final key to the crime. Again there is the figure of a higher authority that demands the punishment of the murderer and the man who was commissioned to collect the clues, find the witnesses and finally unravel the mystery. These are undoubtedly the traces of the detective genre. Based on the publications of literary historians, there is another famous work from the 16th century that bears the marks of detective investigations. The tragedy of Hamlet by William Shakespeare has both a detective story and a revenge story, according to literary theorists. Hamlet's revenge is postponed and the actual detective work comes to the fore. "Hamlet accepts his childish promise, but before killing Claudius he takes the precautionary measure of first proving his uncle's guilt and his investigations." The detective in this play is the young Prince Hamlet, who is trying to save his uncle Claudius from the Murder Prince Hamlet's father and save King Hamlet. The goal of his investigation is to bring the real criminal to justice and exonerate his dead father's soul. It is questionable whether this story can be expressly described as a forerunner of the modern crime novel. Other controversial works from the 18th century are the collections of the French lawyer François Gayot de Pitaval (1675–1743). Published around 1740, the collection entitled Causes célèbres et intéressantes, avec les jugements qui les ont décidées recueillies par Mr. Gayot de Pitaval, avocat au Parlement de Paris is cited by some critics as one of the milestones in the development of the detective genre . However, there are some contradictions that speak against this statement. Causes celebres are not stories about a person's investigation and they are not fictional. These are real crime records from France written by Mr. Pitaval. Despite the existence of the word Pitaval, used in Central Europe to describe a person who solves crimes or a collection of detective stories, the French collections cannot be unanimously identified and referred to as examples of detective fiction. In support of the argument, it can be said that the correct description of the crime in the first part and the subsequent description of the investigation in the second part meet the criteria for the detective genre. The emphasis is on the detective story rather than the detective; This trend is visible in later detective work. One of the first authors of the detective genre to write stories with the detective as the main character and the investigation of crime as the plot is Edgar Allan Poe (1809-1849). In 1841, a century after François Gayot de Pitaval, Poe published his first true detective short story, The Murders in the Rue Morgue, introducing the character of the brilliant male detective C. Auguste Dupin. The story begins with the double murder in an inaccessibly locked room on the fourth floor, which allows the killer to enter the building neither from outside nor from inside. The murder of the mother and her daughter has no apparent motive. An unprofessional eccentric detective Dupin decided not to solve the crime for the monetary reward, not because the police ordered him to; He investigates the murders for his amusement and desire to find the real killer. Poe established the conventions for writing crime fiction. The first is the character of the great detective. He solves the mystery by thoroughly observing the crime scene, gathering all the relevant information about the victim and conducting an in-depth analysis. This method is called rationalization, and Poe himself, therefore, called his stories the Tales of Rationalization. The second important aspect that establishes Poe's short story is the nameless narrator. In The Murders in the Rue Morgue, Dupin's close friend introduces the reader to the story, describes the investigation and compares Dupin's deductive method to the game. “ Let's assume a game of drafts where the pieces are reduced to four kings and where, of course, no oversight is to be expected. It is obvious that here the victory can only be decided by a recherché movement, the result of a strong effort of intellect (with even players being equal). Deprived of the usual tools, the analyst throws himself into the mind of his adversary, identifies himself with it, and thus not infrequently sees at a glance the only methods (sometimes even absurdly simple) by which he can mislead or rush into miscalculation.” This excerpt from the story demonstrates the purely intellectual occupation without divine insights. Dupin's investigation is based on intuition, observation and rationality.² The final aspect, which sets a framework for later crime stories, is the final revelation of the culprit, followed by the presentation of gathered facts and information leading to the real criminal. August Dupin appeared in a total of three crime short stories: "The Murders in the Rue Morgue", "The Mystery of Marie Rogêt" and the mystery "The Stolen Letter". This eccentric man, C. Auguste Dupin, whose distinctive lifestyle, unusual mindset, and ever-present companion became the prototype for the later great detective and his assistant. Poe's contribution to the crime novel genre is, therefore, the most significant and can rightly be called the first milestone in the development of the classic crime novel. While Poe was urging the shorter form of fiction, French writer Émile Gaboriau (1832-1873) was writing the first full-length detective novel. He extended the form of the detective story and, 25 years after Poe's publication of The Murders in the Rue Morgue, viewed the detective story as a complex work, with its psychology and descriptions not only of the crime but also of the characters and their thinking. This step into the now popular form of detective fiction was not a very popular decision. In his work, Josef Škvorecký described the elements of prose in short stories as “elements that distract attention from the real problem, seduce the author into vernacular, long-windedness, emotionality, and the form of the novel is considered almost a degeneration of the short story”. On the contrary, the longer form allowed Gaboriau to pay attention to character development, but at the same time, writing a crime novel required more craftsmanship and persistence to keep the tension in the story and the reader's attention. Gaboriau created two memorable detectives. The first was an amateur detective Mister Tabaret, whose nickname was Père Tireauclair. He represents the character of the great detective who leaves all the manual work to the assistant. His method is therefore known as "armchair detection," in which the detective (usually an amateur detective and not a professional) solves a crime through a process of logical deduction or rationalization from the evidence presented to him by others." The second amateur detective whose character continues to develop and who appeared in many of Gaboriau's novels was Monsieur Lecoq. Tabaret first appeared with Lecoq in the 1866 novel L'Affaire Lerouge. Lecoq represented an amateur detective and a trainee policeman from the French Sûreté. The character of Lecoq was based on historic policeman Eugène François Vidocq A former criminal who became the first director of La Sûreté Nationale and one of the first civilian police forces in the field of criminal investigations in the world, Vidocq knew the criminal forces and how to track them down.
Like Dupin, Tabaret and Lecoq are more instinctive and rational in their search for truth than strict adherents to physical evidence.
An interesting fact about the crime fiction world is that the crime fiction boom began in the 19th century. “The paradox that there is no crime fiction before the 19th century [...] brings up the obvious reason that you can't have crime fiction until you have detectives. It is a curious fact that the institution of modern metropolitan police as we know it today did not exist before the 19th century.” This statement corresponds to the year of the founding of the French Sûreté in 1812 by Eugène François Vidocq and soon followed by the Metropolitan Police of London, founded by Robert Peel in 1829. Returning to English writers, one of the first English crime novelists is William Wilkie Collins with his 1868 novel The Moonstone. The role of the great detective in this novel is given to a professional policeman, which makes this crime novel different from the ones previously mentioned. Sergeant Cuff was a detective tasked with finding the stolen precious diamond called the moonstone. Through interviewing witnesses from the party where the moonstone was last seen in the young heiress' possession and a thorough investigation, Cuff finally uncovers the identity of the theft and returns the gem to its true and rightful owners. “Cuff has the hallmarks of a great detective: eccentric passion for roses, which interest him most at the most dramatic moments; his contempt for the local police representative, Superintendent Seegrave, and the demeanor of a priest or blackcoat, rather that of a detective.' His unusual qualities mask the fact that Cuff is himself a police sergeant. According to Josef Škvorecký, there is another author, a contemporary and close friend of Collins, who wrote crime novels.³ This statement corresponds to the theory of Zdeněk Stříbrný, who also declared Charles Dickens to be a crime writer. While Stříbrný wrote that Dickens' Bleak House (1852-53) was the pioneering work in the field of British detective fiction, Škvorecký writes: "Collins and Dickens did not even know that they wrote detective novels, so they wrote them as they wrote their others novels; They wanted to capture what they captured elsewhere, plus a novelty of their time: the detective and his fight against crime.” These contradictory statements suggest on the one hand that Dickens intentionally wrote his Bleak House as a crime story, on the other hand, Škvorecký Dickens suggests that only to write a novel that has an element of detective stories in it.