;Little Boy Love;

  A year has passed since that night, but nothing has really changed Our house is still rubble, our streets still carry the smell of smoke, and the sky still echoes with sounds that make Amira flinch in her sleep. She has just turned one. She’s learning to walk, holding my finger with her tiny hand, laughing at the smallest things — as if she doesn’t see the destruction around her. She doesn’t know the word “loss.” She never met her father, but when she smiles, I see him there. Sometimes I watch her sleeping, and I wonder what kind of world she will grow up in — whether she will ever know what peace feels like, what home smells like. And yet, when she opens her eyes in the morning and says “mama,” everything becomes bearable again. I want to rebuild our home. Not just for the walls — but for her future. For Amira to have a small room, a safe place to dream, a life that belongs to her, not to war. I’m not asking for much. Only for a chance to give her a beginning filled with warmth instead of fear

 A Mother’s Message

topic of the day: the coffin scene in TFP and why it is about John

let's start by Sherlock's deductions on the coffin: “[...] pointless courtesy of headroom I'd say this coffin is intended for someone of about 5'4'' (1,65 cm), makes it more likely to be a woman, [...] this is for an unmarried woman, distant from her close relatives; that much is suggested by the economy of the choice. Acquainted with the process of death but unsentimental about the necessity of disposal. [...]”

“Unmarried, practical about death, alone.”

sounds familiar? Not yet? Let me help with that!

John is unmarried since this takes place after Mary's death.

Honestly can't think of anyone who could be more practical about death than a military doctor.

and, as Sherlock said in Asip:

“[...] you're a war hero who can't find a place to live, unlikely you've got an extended family, certainly not one you're close to.”

oh! And let's not forget John's very own words in TRF:

“I was... so alone.”

yeah, so far so good! If we really don't want to leave anything out we should also mention that John is 5 ft 6½ (1, 69 cm) guess there's no pointless courtesy of headroom after all, hm? and that Molly is a well established John mirror. Not to mention that she's wearing the same jumper she was wearing when she "replaced" John in TEH.

a little extra that might have nothing to do with this but I'd still like to add:

in TFP:

John: “So it's for somebody who loves somebody.”

Mycroft: “It's for somebody who loves Sherlock [...].”

in ASiB

Irene Adler: “Somebody* loves you[Sherlock].”

*she's talking about the person who punched Sherlock in the face, whom we know to be John.

in conclusion: John is just the right height to fit in the coffin, he's unmarried, practical about death, distant from his family and alone. He's also somebody who loves Sherlock.

Who is actually in danger? John. Euros fully intends to kill him, and there's a coffin that's conveniently perfect for him.

imagine sherlock dipping john watson

#like you come to him after you get dumped

#and you’re like ‘i can’t believe it we were so happy and then he just dumped me out of nowhere’

#and this is just his reply

(don't take it personally this is a joke)

acd canon:

You think you're better than everyone and spend your free time screaming about how childish and cute Sherlock Holmes actually is. Also you're always quoting the books and made a point to ALWAYS correct every single “Elementary, my dear Watson” because HE NEVER SAID THAT!!! IT'S NOT IN THE BOOKS!!!

Granada holmes:

you absolutely love Jeremy Brett and also you're very queer. You LIVE for Holmes' soft side and all his little half almost smiles make your heart go 💕💞💕💕💞💓💕💞.

Tplosh:

you're gay. Also you're super sour that the original plot had to be discarded and you use this example every time you tell someone that “Sherlock Holmes is actually gay!”.

BBC Sherlock:

it was probably what got you into the fandom, you didn't expect Johnlock to be as prominent as it actually is and you LOVE reading/writing meta and analyzing subtext.

Ritchieverse:

you're... probably... straight... No alright, you don't actually like detective stories, you prefer action movies. Also if this is your favorite adaptation you have most certainly NEVER read the books.

Sherlock Gnomes:

How does it feel to be actually have great taste? How does it feel?

Elementary Sherlock Holmes:

“I made a friend,” Sherlock admits, “I’ve never had one before…”

watson: dinner tonight?

At long last, it is finally time to publish this meta! I adore TSOT and its intricate flower subtext (I already wrote two pieces about it: x, x). As we’ll explore in this analysis, it is fascinating to see how much the flowers associated with James Sholto can tell us about him and his link with John.

First of all, I find it quite striking to note that James Sholto is always presented surrounded by flowers and nature. Admittedly, TSOT is a very flowery episode, but:

John and Sholto warmly greet each other in the flowery reception hall and its nature-inspired wallpaper,

Sholto’s room is covered by the most flowery wallpaper (and I will point out what a fascinating choice of pattern it is),

Sherlock and John discuss James “former commander/ex” Sholto in a park (surrounded by grass with sparse daisies),

there are paintings of flowers hanging in the hall while John, Sherlock and Mary try to save Sholto.

This character is constantly associated with nature and flowers, which serves to convey an intricate subtext.

So let us embark on an exploration of this flowery subtext!

The wallpaper in Sholto’s room

On the wallpaper in Sholto’s room, we can observe a pattern including:

pink forget-me-nots (5 round petals, distinctive shape),

oak leaves,

shamrocks.

I will start to focus on each symbol, before trying to combine their meanings.

A) Pink forget-me-not:

The flower symbolises the reminder of an old flame, as well as moments spent with a loved one you don’t want to forget. The flower represents a strong connection lasting through time. It conveys the remembrance of a true and undying love during partings or after death and highlights fidelity and loyalty in a relationship despite separation or challenges.

(personal hypothesis => typically, forget-me-nots would be blue, so using pink ones as a pattern for Sholto’s room reinforces the romantic/sentimental symbolism)

So: reminder of an old flame, remembrance of true, albeit forsaken, love.

I will not try to hide my belief that John and Sholto shared an intense relationship. To me, the entire episode establishes James Sholto as John’s former lover, and creates multiple parallels between Sherlock and Sholto. Sherlock’s words “we would never do that to John Watson”, which confirms Sholto’s assertion that they “are similar”, combined with Sholto’s pained expression reflected in a mirror is pretty damning in itself.

Having Sholto surrounded with walls of pink forget-me-nots (as he’s about to die… and will be saved by John) strengthens this implication. Actually, the very first image we see of Sholto is surrounded by this wallpaper (combined with a parallel between Sherlock and Sholto putting their uniform on, going “into battle”). Therefore, it seems both men are assimilated to “old flames”, men who face separation from their loved one as they witness John marring someone else. They both stay loyal to John through this difficult parting (And as the story unfurls, John ends up saving the lives of both men, aka their hearts, in series 3).

***

Incidentally, Sholto is not the only person associated with pink forget-me-nots in series three. Mary wears a pink forget-me-not necklace during the confrontation scene. I already explored the connection between Sholto and Mary via the flower. To sum it up, my belief is that Sholto and John shared an intense relationship, but it left John heart-broken with even more trust issues. To me, through the forget-me-not, Sholto and Mary are linked as two lovers who have betrayed John, his love and his trust, disappointed him and/or left him heart-broken.

Of course, now that TAB came out, we have another association with the forget-me-not: The Bride. “Do not forget me…”. The Bride is strongly linked to Mary (… the bride) and Moriarty. I personally think that we can discard Sholto for this connection (although imagining Sholto in a wedding dress seeking revenge for John’s potential past misbehaviours is quite tempting). Interestingly, it won’t be the only link with Moriarty & Mary in this room.

B) Oak leaves:

In the Victorian language of flowers, oak leaves mean bravery.

The oak is a symbol of strength and endurance. A tree highly revered for its size and longevity. It is also associated with honour, stability and wisdom.

Oak leaves are strongly linked to military traditions. In Antiquity, victorious officers were offered oak-leaf crowns to honour a successful campaign. The tradition extends today, for example with the US army using the oak leaf as a symbol for some of their decoration.

(Also, oaks tend to be very good shelters, such as Major Oak, a large English oak tree, very popular, which is said to have sheltered Robin Hood and his merry men, or Royal Oak, the saviour of King Charles II)

Other interesting associations with oak leaves:

The Royal Float Auxiliary counted two ships named Oakleaf, one of which served as a “dummy battleship” to imitate HSM Iron Duke. This strongly reminded me of John playing the “dummy” for Sherlock in HLV, as well as Sholto’s role in TSOT, mirroring Sherlock’s feelings in a more intense manner.

The oakleaf is a type of butterfly, an insect favoured by Mary (once again). Its wings are shaped like leaves, so there is an implication of hiding, camouflage.

C) Shamrock:

The shamrock is the symbol of Ireland. To me, the obvious association with Ireland found in BBC Sherlock is Moriarty (especially if you consider the waterfall painting). It has been debated whether Moriarty actually planned for Sholto to be killed at John’s wedding, acting as a consulting criminal for Jonathan Small.

The shamrock could represent the fact that Moriarty is looming over the wedding, maybe through his allies: Mary, Tom or Janine?

Additionally, the shamrock is a symbol of the trinity. And I find it incredibly interesting, as it is a concept which is repeatedly associated with the wedding => the engagement ring is a three-stone ring (symbol of the trinity), “my husband is three people”, the whole episode is entitled “the sign of three”, which features multiple love triangles (TSOT introduces Sherlock/John/Sholto, John/Sherlock/Janine, Greg/Molly/Tom, and confirms Sherlock/John/Mary). Plus, TSOT presents three love interests of John Watson’s life.

(Personal hypothesis linked with the concept of trinity => in John’s heart, Sholto = faith; Mary = hope; Sherlock = love?)

D)  The wallpaper symbolism

On the wallpaper, we have a pattern of a pink forger-me-not surrounded by oak leaves and crowned with a shamrock.

The pink forger-me-not strongly implies that James Sholto is a former romantic interest of John. Even if the two men are now estranged, John and Sholto still share a connection to this past (the flower is a symbol of remembrance).

Oak leaves surround the flower, which might suggest that the notion of strength/resilience applies to this “remembrance of an old flame” as much as Sholto himself. Obviously the character is strong, resilient, focused on honour and has ties with the military. But it would make sense that the “reminder of an old flame” is very strong for Sholto (and probably John) on this particular day. He’s seeing his former love interest marry another person, is about to die at the wedding if not for the terrible thought of causing John pain. From John’s perspective, the audience witnesses how much of an eager admirer he still is of James Sholto - he speaks of him with similar expressions and fondness as he does for Sherlock, and he seems very enthusiastic, touched even, to see him again.

A shamrock is crowning the pattern (“and honey, you should see me in a crown”). Combined with the waterfall painting and the forget-me-not’s association with the Bride, it hints at Moriarty’s presence around Sholto. However, the shamrock is tiny in comparison to the other elements of the pattern. It may be a sign that Moriarty is involved in Sholto’s attempted murder, but, as we know, he failed. (Since Sholto is Sherlock’s mirror, it might also represent Sherlock’s fear of Moriarty, his other deep anxiety we know of, on this distressing day).

Furthermore, it is striking to observe that this pattern is composed by three elements, one of which is related to the concept of trinity. Once again, the wedding is connected to the number three. It is even more remarkable when you note that in the “saving Sholto” scene, John is surrounded by three persons - or, three love interests -: Sholto, Mary and Sherlock.

The wallpaper pattern could apply to all three of them =>

Sherlock -> Sholto’s mirror. He could be considered an old flame at the wedding, and we see both he and John celebrate (/pre-emptively mourn) their relationship in this episode. Sherlock is strong and resilient, as is his remembrance of the apparently lost romantic bond with John as they have to part. Moriarty and The Bride are looming over him (do not forget them), in connection to this precarious love situation with John.

Mary -> linked with the forget-me-not in HLV. She is strong and resilient. The shamrock might be a sign that Moriarty is looming over her, threatening her wedding and her stability with John; or it could imply that Mary (the bride) is tied to Moriarty (The Bride), maybe working together. I have theorised before that Moriarty and Mary might have been romantically involved, which pairs nicely with the pattern: reminder of an old flame, tied to Ireland, while someone dies at her wedding…

Sholto’s armchair 

Sholto’s armchair is adorned with colourful lotus.

In the Victorian language of flowers, the lotus is a symbol of estranged love. It is rather interesting to note the correlation with the meaning of the forget-me-not. Sholto is already associated with two symbols of old flames, of forsaken/estranged love.

The lotus is also linked with the symbolism of the cycle, as it closes each night and blooms with the daylight. It is tied to the cycle of life/death/rebirth.

I find this idea engaging, as Sholto is between life and death when he sits down in the armchair. He has decided to accept his fate, until Sherlock, his mirror, reminds him the importance of John’s feelings. It is then that Sholto chooses life, effectively going through the whole cycle.

Additionally, I believe that the idea of cycle is quite relevant in an episode which introduces John’s successive love interests (Sholto, Sherlock, Mary) and presents multiple love triangles. Sholto is the oldest intense relation we know from John’s life. But his position in John’s heart belongs to the past: after a traumatic event (John being shot in Afghanistan, or perhaps a traumatic break up), Sholto left room to another man in an armchair (Sherlock), followed by Mary after another traumatic event (Sherlock’s “death”). We know Mary’s position in John’s heart will change due to a traumatic event (Mary shooting Sherlock - or, depending on how you see things, Mary’s death) (I had written this before s4 xD). The triumphant relationship presented in the episode is doomed to fail. The cycle will continue.

The lotus is also a symbol of purity and spirituality.

In a spirit of comprehensiveness: the lotus also makes me think of the Black Lotus in TBB. I probably wouldn’t have mentioned it if not for the other ties to Moriarty in the room.

Saving Sholto - flowers in the corridor

A) The yellow flowers in the staircase

We only see this flower when our heroes are striving to save Sholto, a scene when the connections between Sherlock and Sholto are more explicit than ever.

I believe the yellow flowers in the staircase to be yellow acacia (also known as mimosa). In the Victorian language of flowers, the yellow acacia is a symbol of “secret love”;  the acacia in general being associated with concealed love.

Once again, we observe that Sholto is linked with the concept of love. It becomes a pattern that this love is concealed, secret, forsaken, estranged. I think it’s rather telling about John and Sholto’s relationship. These flowers hint at a secret love shared in the past, now estranged (as we know from their exchanges; John hasn’t seen where Sholto lives and so on).

Also interesting: in this scene, Sherlock and Sholto are linked more explicitly than ever. Thus to me, this idea of concealed, secret love, now forsaken, extends to John and Sherlock’s relationship. As a matter of fact, it is the heart of the episode that Sherlock has to let John go and witness as he marries another person. The concept of a secret love he has to give up makes sense.

On a more positive note, I’ve learned that acacia blossoms can mean “beauty in retirement”, which I find quite satisfying as regards to Sholto’s future (as well as Sherlock and John’s? Growing old in Sussex, producing acacia honey…).

(I am pretty sure the yellow flowers are acacia, but in a spirit of fairness: they might be goldenrods? Goldenrods mean “be cautious” -> which would also tie well with the spirit of the scene.. and, I would argue, the wedding. It also delivers a message of encouragement -> and we indeed see John and Sherlock encouraging Sholto to choose life)

B) The flower painting

Looming behind our trio, we see a painting with flowers. These flowers are, I believe, sunflowers. This is the second time sunflowers are seen in TSOT: Molly’s dress has a pattern with this flower.

The sunflower is a symbol of admiration, appreciation and loyalty. Look at them radiating behind John as he’s about to save Sholto :)

Of course, sunflowers are a representation of the sun; as we know, John is strongly associated with the sun in the show.

Just like the lotus, the sunflower is linked to the notion of cycles. It reinforces the idea of the life/death/rebirth cycle which Sholto is going through in this scene.

I would also argue that, as Sholto chooses life, we can see the renewal of these two’s past affection and relationship. John’s words, “I believe I am your doctor”, remind me of the first assertion of his position in Sherlock’s life from the pilot “I’m his doctor/Only a fool argues with his doctor”. New beginnings. It is, I think, a strong assertion of affection for John and Sholto (and Sherlock recognises it). Sholto states he is “in need of medical attention”, of John’s attention, and John provides it, highlighting that he is his doctor. He ends up saving Sholto’s heart.

(Side note: it is extremely gratifying to see John fully embraced and celebrated as a doctor, both by Sholto and Sherlock in his speech; especially considering that he previously had to fight for recognition as a doctor in front of Major Reed. John’s identity as a doctor is paramount to him, and you can see how painful it is for him when this part of him is attacked). ((Now consider the “are you really a doctor????” scene from TLD))

Other side note: the sunflower was Oscar Wilde’s favourite flower. I don’t think it’s particularly relevant to the scene, but it’s always nice to point out.

Maybe more relevant to this scene => in Greek mythology, after losing her beloved Apollo (= the Sun God), who abandoned her for another woman, the water nymph Clytie mourned his departure, refusing food or water. After 9 days, she transformed into a sunflower, keeping her face longingly turned towards the sun to see her beloved’s course. Again, the myth is a painful reminder to Sherlock’s situation. The man has to see his beloved (the Sun, aka John) abandon him for another woman (Mary). When John finds Sherlock again, he is in a drug den, longingly hoping for John’s return.

Conclusion: Sholto and flowers

When one analyses the flowers associated with Sholto, a pattern seems to emerge:

Sholto as a character is connected to positive notions => bravery, strength, resilience, fondness, adoration…

A number of flowers are associated with the concept of love. This love is secret, concealed, forsaken, estranged. I find it extremely telling about John’s relationship with James Sholto. To me, it is a sign that the two were involved romantically, most probably in a secret affair. At the very least, they both had romantic feelings for each other and kept it silent. The flowery subtext makes it clear to me that James Sholto is a lost love from John’s past.

There are a few ties with the notion of cycle. It makes sense to Sholto’s journey as he faces death, then revival. Additionally, it is also linked with the idea of John and Sholto reaffirming their bond and connecting once more (“I am your doctor”), especially in a room full of forget-me-nots -> remembrance, reconnection to the past. To me, the notion of cycle also implies the cycle of John’s loves -> Sholto from the past, Mary in the present, but the cycle will continue.

Sholto and Sherlock are mirrors, which means that the flowery subtext which applies to Sholto also applies to Sherlock. Remembrance of a past flame, staying loyal through hardships, secret love, eventual reconnection…

There are hints that Moriarty looms over Sholto at the wedding.

Pink forget-me-nots link Sholto and Mary in the confrontation scene -> remembrance of past loves. Potentially hinting at a betrayal of John’s trust on James’ part? Or maybe his sense of emotional safety broken by James?

Feel free to share your thoughts/remarks on the subject with me! And never hesitate to correct me on the identification of flowers: it is not my speciality, so even if I do my research, I might get things wrong.

And as always: take care. Sending you warm, flowery thoughts!