The Murder of Roger Ackroyd Flashcards
What is the title of Chapter 1?
Doctor Sheppard at the Breakfast Table
- Bland, purely factual
- Gives nothing away to the reader
What is the importance of the first paragraph of Chapter 1?
- Immediately focuses on a death- Makes reader wonder how this death will connect to ‘murder of Roger Ackroyd’
- Red herring? Reader has to work out if it’ll be important
- At this stage, JS keeps back cause of death + possibility of suicide- facts only
- Focus on dates and times makes it sound ‘real’
Who is the narrative voice throughout the novel?
Dr James Sheppard
Chapter 1: Narrative Voice- Dr Sheppard
- Sets himself up from start as factual, truthful, narrator eg dates, times
- ‘To tell the truth’ repeated in 9 lines
- Use of prolepsis on p.1 conceals some story- purposely holding back
- Unreliable narrator?
Chapter 1: Structure
- Info about Mrs Ferras death
- Dialogue between CS and JS + internal monologue from JS
- End of chapter left unresolved- will there be an inquest or not? JS to make decision
Chapter 1: Setting
- Village with a clear social hierarchy
- Between wars (published in 1926)
- Domestic setting - Sheppard house, breakfast table - clearly described
Chapter 1: How are gender roles shown between Caroline and James?
Adverbs:
- JS uses adverbs ‘firmly, impressively, sharply, coldly, hastily’- JS authoritative male figure?
- CS ‘shrewdly, with great gusto, immediately, with a sharper note in it’- traditional female qualities?
Chapter 1: How is gender presented by Dr. Sheppard’s description of Mrs Ferrars?
Aware of her clothes and figure (objectification)- “a very attractive woman”, “her clothes […] always seemed to fit her very well”
Chapter 1: How is the social class of the Sheppards presented?
- Middle class respectability
- Dr.- intertextual link to Dr. Watson, middle class, honest, brave, loyal, narrator of Sherlock Holmes series
Chapter 1: Suspicion
- About Mr Ferrars “Caroline has constantly asserted […] that his wife poisoned him.”
- About Mrs Ferrars “‘You’ve only got to look at her,’”
Chapter 1: Cause of death/Suicide
- JS: “She died of an overdose of veronal.” “Must have taken too much.”
- But CS is suspicious: ‘Nonsense […] She took it on purpose.”
Chapter 1: Confession
CS: “You’ll see. Ten to one she’s left a letter confessing everything.”
Chapter 1: Repentance, remorse
When asked why she thinks Mrs Ferrars would kill herself, she says: ‘‘Remorse, she said, with great gusto.”
Chapter 1: Blame
“Caroline has constantly asserted […] that his wife poisoned him.”
Chapter 1: Morality
- JS: “I have the moral satisfaction of knowing that I am in no way to blame.”
- JS: “Surely if a woman committed a crime like murder, she’d be sufficiently cold-blooded to enjoy the fruits of it without […] repentance.”
Chapter 2: Glossary
- Redoubtable- feared, scary
- On the tapis- under discussion
- Gannet- seabird w/sharp beak, voracious attitude
Chapter 2: Chapter title- Who’s Who In King’s Abbott?
- Who’s Who-annually published biographical directory- mocking idea of village as important or having significant ppl
- King’s Abbott- specific reference to monarchy + head of monastery (religious past)- both refer to male power/wealth
Chapter 2: Narrative Voice
- Internal monologue- expresses feeling of “foreboding of the future” (p11)
- Describes ppl in terms of their physical attractiveness
Chapter 2: Other narrative techniques
- Metafiction- When a book draws attention to itself as a book eg p.15
- Indirect speech- p.12 used to mock Miss Gannett and her way of speaking
- Nominative Determinism- someone’s name somehow ends up becoming intrinsically linked to your character or career
Chapter 2: Structure of chapter
- JS from internal thoughts to 3 interactions w/dialogue- range of focus
Chapter 2: Setting
- King’s Abbott significance of name, connotations
- Description of almost feudal place- ‘squire’, social hierarchy
Chapter 2: Gender roles
- JS attitude towards women who don’t conform to trad expectations of physical attractiveness, Miss Russell, CS, Miss Gannet, older unmarried.
- Women being predatory towards RA
Chapter 2: Social Class
- “only two houses of any importance”- Referring to families as well as the actual houses?
- p.9 “putting Miss Russell in her proper place”- idea that people have a “proper place”
Chapter 2: Social/Historical details: Drug Abuse in the 1920s
- Issue + popularity of drug addiction in the 1920s. Cocaine used widely in medicines in early 19th/20th century. Wasn’t until beginning of 20th century that cocaine was seen as bed to put into medicine + Coke. Cocaine was drug of choice for the upper class/flappers.
Chapter 2: Social/Historical details: Transatlantic travel
- In 20s, ppl travelled across Transatlantic regularly; after WW2, ships used in war/captured German ships turned into cruise ships.
Chapter 2: Crime elements: Setting
- Idyllic village, quintessential English village
- Combined with prevalent drug abuse, contemporary + traditional
Chapter 2: Crime elements: Gossip
- Used as a way of communicating information, confirming or rejecting suspicions
Chapter 2: Crime elements: The rich getting away with it
Did Mrs Ferrars evade punishment for poisoning her husband because of her status and wealth?
Chapter 3: Chapter Title- ‘The Man Who Grew Vegetable Marrows’
- Foregrounds importance of ‘Porrott’ but keeps his identity secret
- ‘In-Joke’ for experienced Christie readers?
Chapter 3: Narrative Voice
- Humorous presentation of ‘Porrott’- Christie shows JS underestimating Poirot, seeing him as a figure of fun, ‘secretly entertained’ by him
- Revelation of JS lost legacy due to bad investment- implied disappointment, self-anger? Self-critical at greed
Chapter 3: Other Narrative Techniques
- Internal monologue- opinions of Poirot, underestimation
- Reported speech eg CS overheard convo RP p.26- important for crime genre to have info and knowledge conveyed to reader but in a possibly unreliable or inaccurate way. CS claims to be accurate but we dunno
Chapter 3: Structure of Chapter
- Structured around a series of convos: JS/CS; JS and Porrott; JS/RP.
Chapter 3: Setting
Specific locations w/in village
- ‘The Larches’- P’s house
- ‘The Three Boars’- village pub
- Local wood p.25- place where ppl can meet in private. Next to Fernley Park
Chapter 3: Gender Roles
- Presentation of RP- handsome, charming rogue (crime male stereotype?) Biased presentation by JS? p.27. Exploitative- barmaids
- CS ‘good sound mongoose instincts’ p.25
Chapter 3: Social Class
- RP & Barmaids
- JS assumptions about ‘Porrott’
- Upper class financial situation of RP- dependent on RA to leave him £ in will p.26
Chapter 3: Social/ Historial details
- Investments and their significance esp for middle class
Chapter 3: Crime elements
- Secrecy and Concealment (meeting in Wood)
- Money and love
- Morality (RP)
- Comedy (presentation of ‘Porrott’)
- Incomplete knowledge/jumping to conclusions
Chapter 4: Chapter title- ‘Dinner at Fernly’
- Not at all revealing about true events of ch. 4- omission in narrative
- Misrepresenting ch.4? (dinner is not focus of events). Christie using ch titles as another way to misdirect readers?
Chapter 4: Narrative Voice
- Omissions in the narrative
- Most of it appears to be truthful
- Christie has JS use time to make his account sound factual- opening line of chapter, then timings given throughout ch- p.44, 45, 46
Chapter 4: Other narrative techniques
- Chekhov’s Gun eg: Repeated refs to JS’s black bag- why? p. 29, 37; Lid of silver table being dropped?; Windows being open/shut?; Stranger at end?
- Use of Mrs F’s letter: epistolary- own voice temporarily in the book; voice of dead woman to damn criminal
- Dramatic moment on p 43 when suicide letter arrives- both on edge
Chapter 4: structure of chapter
- Tightly controlled and structured- starts 7.30, ends 10.15
- Before dinner section- JS interacts w/Miss R, Flora, Mrs A, Blunt
- Dinner-p.36, a few lines
- After dinner section- JS and RA in the study, then JS goes home
Chapter 4: Setting
- Presentation of Fernly Park- Upper class wealthy lifestyle
- Details eg drawing room- French windows, layout, etc
- RA’s study
- Pathetic fallacy p. 45- overcast moon, everything ‘dark and still’
Chapter 4: Gender roles
- Young women and their futures- Flora + her mum’s role in setting up her future- organising marriage, settlements
- Importance of £ and settlements to women who can’t earn their own way
- Blunt is a ‘woman hater’
Chapter 4: Social class
- ‘Pretend to farm’- cynical view of upper class ‘hobby farming’
- Importance of inheritance to upper classes- RA’s will
Chapter 4: Social and Historical details
- ‘Big game man’- Blunt- acceptable to hunt and kill big game and to display heads as trophies
Chapter 4: Crime elements
- Mysteries- the noise of the silver table lid; the stranger
- Surfeit of suspects- lots of ppl in and around the house who may have committed the murder
- Wealthy victim
- RA’s reaction to Mrs. F’s confession- ‘good citizen’ ‘law-abiding’ morality
- Blackmail and responsibility- RA blames self
- Punishment- RA wants blackmailer punished
Chapter 5: Chapter Title- ‘Murder’
- Straight to the point, no misdirection here
Chapter 5: Narrative Voice
- JS recounting his actions in detail- we assume truthfully + w/o omission, although some parts are vaguer than others, ‘I did what little had to be done’ p.50- lacks detail
Chapter 5: Other Narrative Techniques
- Dialogue develops our understanding of characters eg Parker p.50 ‘Stabbed from be’ind…‘Orrible!’
- Adverbs for more detail eg how ppl speak eg ‘sharply’, ‘impetuously’, etc
- Moments of drama emphasised w/verbs + adverbs eg p.50 break into room, p.49 JS shouts thru door
Chapter 5: Structure of Chapter
- Quick moving chapter that carries on w/o pause from end of ch.4
- At centre of chapter is corpse- still point around which a lot of speech and movements occurs. Disorder is emphasised. Police try to make sense of disorder + find answers.
Chapter 5: Setting
- Diagram foregrounds importance of layout of house
- Doors + windows significant in this ch.- could symbolise security, privacy, barrier between ppl and any threat or danger. Both windows breached in chs.4/5- ‘the assault’ of JS and Parker breaking into the study.
Chapter 5: Gender Roles
- FA treated by men as delicate, incapable of coping w/news of RA’s death p.59- even though this doesn’t fit w/her character (‘cool’, ‘composedly’)
- Description p.60 ‘pale pink silk kimono’- fragile femininity
- Infantilised by Blunt p.60 ‘as though she were a v. small child’
- Demonstrates gendered expectations by fainting, having to be carried upstairs p.62
Chapter 5: Social Class
- Police Inspector ‘respectful’ towards Blunt
- JS orders Parker around- reminder of social hierarchy
Chapter 5: Social and Historical Details
- ‘Pince-nez’- type of armless spectacles
Chapter 5: Crime Elements
- ‘Murder’- the crime
What is the title of chapter 7?
“I Learn My Neighbour’s Profession’- implies a surprising revelation but withholds the actual facts.
- Reveals his identity
Chapter 7: Narrative voice
- Lots of dialogue initially w/JS+FA then JS, FA+HP, then more; starts with interrogation style dialogue (Q&A) style- investigation phase.
- FA says JS doesn’t want to visit HP- worried about RP but it’s because he’s the murderer; tells us he’s not completing his duties properly at beginning- distracted?
Chapter 7: Other narrative techniques
- Adverbs describe HP as serious- contrast between what JS thought/wanted us to think of him+what he actually is
- HP is vague w/his dialogue
- JS withholds info which can be identified as clues
- Metafiction- FA says HP’s work is ‘like detectives do in books’
Chapter 7: Setting
Multiple settings- study, police station, the Larches; only one described is study as it’s centre of murder- foregrounds its importance, esp chair’s location.
Chapter 7: Structure
- 1st change of time- all past events in one day
- Cliffhanger- info about phone call but not explained
Chapter 7: Gender Roles
- HP sent FA home so him and JS could go to the police station even though she is arguably the most important witness as the last person to see RA alive
- FA needs JS to support her credibility as a woman even though she’s a strong, composed, responsible woman.
Chapter 7: Social Class
- JS consistently belittles HP as he’s like a police officer (even though he’s a detective) so as a Dr. he’s of an upper class
- Police concerned about HP being seen as above them if he takes credit; battle for status w/Davis+Raglan & Raglan +HP
- HP bows to FA- only reason to do this is her status
- HP is in middle ground of classes between police officers+JS+RA
Chapter 7: Crime elements
- Rule of crime fiction: Can’t be a servant, so it can’t be him; but there’s still smth fishy about him
- Motive: hiding identity of blackmailer as the only diff thing about the crime scene is that blue letter is gone
- Prime suspect: RP
- Red herring: boots
What is the title of chapter 8?
‘Inspector Raglan is Confident’- reader is set up to believe that he must be wrong as it’s too early for him to have solved the crime.
Chapter 8: Narrative Voice
- Lots of info about train station, times- factual, specific info makes him seem more reliable; biggest clue JS is lying is overlooked by reader as result
- Lots of dialogue
- Internal monologue belittles HP- building idea that we should see HP as ridiculous due to his ambiguous words + mistranslations
Chapter 8: Narrative techniques
- No time gaps between ch 7 and 8 as 7 is a cliffhanger
- Only narrative shift is the servants’ alibis which JS doesn’t describe; UB has no alibi but it’s not described
Chapter 8: Setting
- Fernley Park- moving between rooms and summerhouse, mainly in summerhouse
Chapter 8: Gender roles
- No female characters listed as suspects in Raglan’s list- mere suggestion that it could be a woman; they laugh it off
- Uncharacteristically, JS is nice about CS: says she is ‘usually right’, but he is ignored
- No women in this chapter, mentions of them are brushed off
Chapter 8: Social Class
- Lack of obvious class disparity
Chapter 8: Social and Historical details
Train travel was vital in that time and many people took trains constantly; it’d be busy w/ppl traffic + freight traffic up to Liverpool (then to Southampton for transatlantic travel). This means they can’t track the call.
Chapter 8: The Clues
- Phone call is regarded as most important by HP
- Mapping movement of characters; reconstruction of events leading up to, during, and after the crime.
Chapter 8: What is the key clue that reveals JS’ guilty?
- Says it’d take 5-10 mins to walk from study to gates if you didn’t know your way, but max 5 if you do know; but he told them he left at 8:50 and bumped into stranger at 9
- Dictaphone salesman; Chekov’s Gun-important, but everyone brushes it off- reader encouraged to dismiss it
Chapter 8: Alibis (crime elements)
- List of alibis- UB doesn’t have one but this is brushed off
Chapter 8: Raglan’s Prime Suspect, RP
Gives a full list of how he could do it but very vague motive.
Chapter 8: Summerhouse clues
- Goose quill
- Starched cloth
What is the title of Chapter 9?
The Goldfish Pond. Assigns importance to this setting but doesn’t tell anything else.
Chapter 9: Narrative voice
- JS makes jokes w/HP, shows he feels like he’s in on HP’s games
- JS talks about not knowing about the inheritance “truthfully”, implies that the rest of his speech isn’t true
Chapter 9: Other Narrative techniques
- Lots of dialogue, overheard dialogue between FA and Blunt by HP and JS
- Internal Monologue: astute observations about ppl, “laughter” in FA’s voice, Blunt “flushed beneath his tan”
- Repetition: “Everybody’s hiding something” emphasises the importance of ppl needing to confess
Chapter 9: Meaning behind FA calling Blunt “Methusulah”?
“Methusulah”- oldest recorded character in the Bible- lived to be 969; FA calls B that, suggesting he’s old- playful or rude?
Chapter 9: “Melisande”
“Melisande” is part of the love triangle in Phantom of the Opera who ends up marrying someone older- foreshadowing RP + UB + FA fake marriage situation? Or foreshadowing FA+B love? Crime element
Chapter 9: Flora Ackroyd
“Twirling her skirts”, being flirtatious, happy, childlike. At end of her convo w/B she says “no more scheming or lying”- withholding info about RP scenario, red herring. She says “I’m free-“- non fluency feature shows she’s hesitant about revealing the info about RP
Chapter 9: Gender roles
- FA happy to receive RA’s £- no other way of gaining financial independence
- FA’s entire value based on her feminine nature+looks; almost to dehumanising point- HP tells JS to “look at the pretty picture below us” talking about FA
- FA seems valued most out of all females due to her looks
Chapter 9: Crime elements
- New clue: ring fished out of pond. Inscription is ambiguous
- Bl overheard a convo in RA’s study at 9.30, on patio- eavesdropping; sounds like business so assumes other person is Ray; also saw a bit of a dress going to summerhouse
- Still pursuing line of enquiry about chair
- Crime fiction rule: if HP has clue, has to tell JS so the reader knows.
What is the title of chapter 10?
“The Parlourmaid”- implies UB will be a significant character; person who’s interview is most important in ch10.
Chapter 10: Why is Ursula only referred to as ‘The Parlourmaid’ in this title?
Initially she is only described by her job title, not assigned personal identity but when she reveals that she is married to RP, who’s upper class, she is given a name; her importance is tied to her husband.
Chapter 10: Narrative voice
- Mainly dialogue in interviews; HP asks JS to interrogate Bl
- HP talks to Hammond about the will- important for motive
- Talks about how quickly things can change- makes himself sound sad about Mrs F’s & RA’s deaths
- Ch full of factual retelling of interviews, will, etc
- More references to JS+Bl lost legacies
Chapter 10: Crime elements
- JS is now clearly the sidekick now- makes him seem more trustworthy
Chapter 10: Other narrative techniques
- No change- still at Fernly but inside, no time lapse
- Surrounded by the suspects except RP
- List of alibis written by a diff character- UB has no alibi, was alone in room until 9.55 when RA was killed, but HP doesn’t mention this until much later + Raglan overlooks it
Chapter 10: Mrs Cecil Ackroyd (Gender roles)
- Doesn’t want to believe RA is murdered, implies she is too weak, fragile to cope- nervous upper class mum stereotype
- Unhappy about will- dependent on RA for £, annoyed she wasn’t given higher pension over FA’s funds; Russ given £1k; CA- Russ is a servant so the fact she’s been given tangible £ is insulting
- CA is described as a ‘queer’ woman for being this way; hard, cold- insult.
Chapter 10: Who stole the money in this chapter (social class)?
- FA, but the servants are accused.
Chapter 10: Crime elements
- Inheritance- motive for CA?
- Interview structure
- Additional crime (stolen £)
- Alibis, lack thereof
What is the title of chapter 11?
Poirot Pays A Call
- Ominous- who does he call? Why? So many ?s
- HP isn’t even in this chapter! It’s JS who goes in 1st ch
- But in JS’ absence he has been talking to CS; HP not in this chapter but CS reports this convo to JS in 2nd half
Chapter 11: Narrative Voice
- When he finds out HP has been at JS’ house, he is mad about it- seems like his normal disregard for CS, but having read the whole book it’s clear he’s scared she has told HP smth.
- Opinionated, describes Folliet as cold, lying, but doesn’t press her; mirrors how they describe UB w/her ‘coolness’, ‘guarded nature’- she is UB’s sis but not known yet
- Mocking of CS + HP
Chapter 11: Other Narrative techniques
- Dialogue-heavy chapter
Chapter 11: Structure
- JS visits UB’s previous employer, Mrs Folliot. No change of topic from past chapter but diff time + place.
- Foregrounds the ‘mystery centring around Ursula Bourne’ (JS’ words)- JS immediately moves on
Chapter 11: Mrs Gannett’s name
- Gannett is a bird associated with greed, metaphor for her need for info, regardless of its truth or type
Chapter 11: Gender roles
- Gender- ‘village gossip’ type is always female (Gannett))
- JS is misogynistic in describing Folliot’s room as a ‘typical woman’s room’- decorative but shabby is how he goes on to describe it (full of pretty things but not well-kept)
Chapter 11: Social class
- Folliots described as ‘good country people’
- HP subverts class boundaries
- UB is a servant but her sister is socially high enough to live in a house with servants so UB is arguably of a higher class than we may have first thought
Chapter 11: Crime elements
- UB referred to as a ‘mystery’
- Other enigmas- the reason behind Miss Russell’s appointment can’t yet be determined; why did HP really go to see CS?
- Interrogative dialogue as we’re in the interrogation part of the book.
What is the title of chapter 12?
Round the Table
- Suggests people coming together- most interested parties are being brought back for HP’s ‘little reunion’
- Gives no other info
Chapter 12: Narrative Voice
JS spends lots of time discussing what he thinks in first bit of chapter; v. little of this during ‘reunion’ when he is directly accused of hiding smth, no response; clue he’s killer
Chapter 12: Structure of the chapter
- Skipped ahead another day
- Structure like ch.11- title of chapter doesn’t happen until 2nd half of chapter at Fernly; inquest in 1st half- little detail but inquest is key in criminal investigation- why don’t we hear more about it?
- After inquest, HP+JS+Insp. R walk around, discuss how key the fingerprints are- one set that can’t be identified- sure that these are those of the killer
Chapter 12: Crime elements
- Explanation of the murder
- Clues e.g. fingerprints- HP suggests RA should have been fingerprinted as the unidentified ones are his; know this as the angle that knife was at would’ve prevented the killer from having his fingerprints there
- HP’s direct confrontation will lead to confessions; increase reader engagement + suspicion
- No servants in scene- crime novel rules
Chapter 12: Narrative techniques
- HP repeats importance of how finding the explanation of the phone call is key to finding the ‘explanation for the murder’- said this at crime scene also, cements importance of this fact.
- HP pleads to get them to reveal where RP is- gets harsher when he repeats he’ll find truth and it’ll be ‘ugly’
- Shows that even though we’ve had lots of facts so far but not a lot of truths
Chapter 12: Gender roles
- FA talks about ‘standing by Ralph’- social obligation to defend him due to engagement
- Terms of address he uses for himself ‘Papa Poirot’ w/FA- trying to coax info out of her as she needs protection
- CA seems to want RP to be guilty- FA is only other biological heir, she’d inherit estate; only way they’d get that kind of £ as women.
Chapter 12: Social class
CA is horrified by FA standing by RP- FA having a close link to a potential murder would affect their social status.
What is the title of chapter 14?
‘Mrs Ackroyd’- implied that this chapter will be focused on her, her witness interrogation?
Chapter 14: Structure
- Start: Talks about what has occurred according to HP, shifts to ‘after Monday, our paths diverged’- goes on to talk about how the investigation has changed; more reason to suspect JS now?
- Middle: Dialogue w/Mrs Ackroyd; more subtle than direct ?ing
Chapter 14: Narrative voice
- 1st half of book in present tense- shift to past tense in this chapter, more like a diary entry? Has been discovered?
Chapter 14: Other narrative techniques
- At some points JS + HP just admit they aren’t telling you clues yet
Chapter 14: Setting
- Mrs Ackroyd’s bedroom
- JS’ House
Chapter 14: Gender roles
- CA seen as a nervous breakdown
- JS says MR has been sneaking around
- CA + FA both go to HP for help- FA breaks stereotypes- described as strong, RA wanted her to be more inde w/will, not stereotypically wife-like, but CA faints a lot this chapter
Chapter 14: Social Class
- CA generalises lower class, classist; thinks UB is ‘too well-educated’, but likes how she doesn’t have so many of those ‘peculiar gurgling noises’ inside when waiting a table- hunger.
- ‘French, Belgian, whatever he is’, ‘upstart of a foreigner’- CA when talking about HP; dehumanising to people she sees as below her
Chapter 14: Crime elements
- Concealment (CA)
- Social crime- CA went through RA’s will
- CA’s confession in series of interviews
- Mystery of Ursula
What is the title of chapter 15?
‘Geoffrey Raymond’- implies GR will be revealing smth important about the investigation
Chapter 15: Narrative voice
- JS role in investigation is now impassive- only tells HP about CA’s confession, no new details
- Voice sounds more detached from investigation than b4
Chapter 15: Other narrative techniques
- Flashback (almost) w/re-enactment
- Foreshadowing w/CS accusing JS of hiding things
Chapter 15: Structure, setting
- Carries straight on from the chapter before, same time same place
- JS first goes to HP’s house where GR confesses, then they go to Fernly- almost like the narrative is drawn to the crime scene at Fernly
Chapter 15: Gender roles
- CS manipulates JS into going to HP’s house when he doesn’t actually want to go; CS is clearly in charge but JS makes it seem like he’s pandering w/her voice
- CS remains at home while JS goes to see HP- depicts expected duties of women
- FA is important but still treated as in need of protection
Chapter 15: Social Class
- Parker appears more educated than his socially superior peers, subverting class expectations
- Miss R feels need to explain her presence at all times; not the case of the upper class who can get away w/all
Chapter 15: Social and Historical details
- HP is outsider- stereotypical statement about Englishmen and love or smth; HP has more flamboyant behaviour than they think is socially acceptable, also speaks French
Chapter 15: Crime elements
- GR’s straightforward confession: financial benefit from RA’s death; clears HP’s suspicion of him? GR nvr suspicious due to him as ‘fresh and debonair as ever’; Parker is ‘suave as ever’ yet he’s still suspicious
- HP breaks detective novel room of telling reader all clues; re-enactment not explained to JS ‘I know something now I wanted to know’
- Casts suspicion on everyone
- Parts of crime actually getting solved
What is the title of Chapter 16?
‘An Evening at Mahjong’- Activity, setting, not a focus on any crime elements; ‘Mahjong’ may be a symbol- game where you have to hide your hand to beat opponent; not giving away all info; symbolic of their secrecy
Chapter 16: Narrative Voice
- Convo between the guests gossiping, him refusing to give info until he wins and gives up clue of ring- ‘reckless with triumph (?)’- thinks he’s gotten away with it
- Reported speech- reliability
Chapter 16: Other narrative techniques
- Miss Gannett brings up idea that FA may be killer
- JS finds out that HP went to Cranchester from CS + Gannett; shows HP distrusts him, conducting his own investigation
- All ppl at house give their theories of whodunnit- happens lots during second half- village ‘gossips’ have more facts than JS but JS writes them as ridiculous
Chapter 16: Structure
- Night, still same day as before
- Begins w/JS telling us about his evening plans
- Doesn’t get too involved in convo- doesn’t want to overshare
Chapter 16: Setting
- JS’ house- diverging from mainly being at crime scene
- Guests were Miss Gannett + Colonel Carter
Chapter 16: Gender roles
- CS=v. dominant in home but we don’t see her elsewhere; home seen as woman’s domain
- Refers only to women as gossipy, nosy but CS is oft right- says RP+FA not in love- true+relevant but cast aside
- Colonel links blackmail to women, trouble
Chapter 16: Crime elements
- Re-emergence of old clues- Ring; reminding you of clues we may need at forefront of our minds
- Mystery- where’s Ralph? They think he’s hiding in Cranchester; implies we’ll find out where he is soon
- Various incorrect theories except CS correctly guesses FA doesn’t care about RP but about £
What is the title of chapter 17?
‘Parker’- we know it’ll be about Parker but it’s vague; other chapters named after ppl have been interrogations so we presume this will also be one.
Chapter 17: Narrative techniques
- Parker wasn’t at the table; wasn’t directly told he needs to confess smth; so HP is trying to eliminate him as a suspect; does he know about JS already?
- HP talks about motive; description clearly indicates JS as killer, but could also be Parker so HP needs to prove his innocence; SIGNIFICANT FORESHADOWING
Chapter 17: Narrative voice
- HP certain that Parker isn’t murderer but is guilty of smth
- When HP ?ing Parker, JS doesn’t interject or state his thoughts; detached from situation
Chapter 17: Structure
- Takes place day after Mahjong, RA’s funeral
- Cliffhanger
Chapter 17: Setting
- Fernly
- Dinner at JS’ house
Chapter 17: Dr Sheppard’s motive
- Trace of weakness: Greed
- Secret he’s stumbled upon: Mrs Ferrar’s murder of her husband
- Corrupted: Blackmails her for money
- Tries to save rep by gaining more, killing RA as he knows; HP’s description shows he already knows what happened he just has to prove it.
Chapter 17: Gender roles
- JS calls CS ‘hard to please’
- Parker is ?d more aggressively and directly than women, cold
- JS describes Parker derogatorily when he’s in an emotional state
Chapter 17: Social class
- HP happy to let Parker take his coat etc but is very harsh when ?ing, barely lets him speak
- JS describes Parker derogatorily when he’s in an emotional state
Chapter 17: Crime elements
- Interrogation
- HP slightly breaks detective novel rule by w/holding info about his reasoning but gives us all clues to work it out
- Funeral of victim; suggests structurally that things should be drawn to a close soon ‘laid to rest’; suggests no need of body anymore
- Parker’s blackmail is unrelated crime
What is the title of chapter 18?
‘Charles Kent’- same as other chapters named after others but unveiling of a mystery as this is a new character
Chapter 18: Narrative voice
- Still somewhat detached from investigation
- JS surprised to see HP welcomed to police station w/’acclamation’- underestimating?
- JS is overly confident by this point; HP knows- JS assumes he doesn’t know but just doesn’t want to look foolish; but he just doesn’t want to say it in front of JS; ‘bit my lips to prevent a smile’
Chapter 18: Other Narrative techniques
- HP’s intuition is again referred to as fanciful, almost supernatural
- JS describes HP as having a ‘sage’ manner; suggests he believes HP is w/holding stuff from him
- Raglan shown to be bad detective- modal verb ‘must’ is too strong for a detective novel
Chapter 18: Structure
- Aftermath of JS receiving call last chapter (cliffhanger) being asked to go identify CK
- Begins half hour after this when they’re on train
- Investigation continues w/interrogation of CK
- End: HP+JS have lunch together ‘the little man’ still has his idea; leaves ending uncertain
Chapter 18: Setting
- Train to Liverpool + police station at Liverpool; fast-paced to keep readers engaged
Chapter 18: Crime elements
- HP chooses to not disclose RP’s location at this point; w/holding info from readers; breaks detective novel rules
- Mystery appears to be solved but don’t know why CK’s there
- Alibi, confession
- JS identifies suspect; CK detained under suspicion
- CK=drug addict; irrelevant crime
Chapter 18: Social class
- HP is ambiguous in social class- he’s seen on same level/regarded highly by Superintendent at Liverpool due to his talent
Chapter 18: Social and Historical details
- ‘Snow’- heroin
- CK calls HP a ‘little foreign duck’- dimunitive, xenophobic
What is the title of chapter 20?
Miss Russell
- Last confessional chapter named only after a person- coming to the end of the individual interrogations
Chapter 20: Narrative voice
- Inspector Raglan is overconfident despite holes in story, more concerned about workload of case
- JS has resentment towards HP as he’s hiding things
- More internal monologue from JS- at start, he says to HP ‘it’s extraordinarily intriguing’ (about HP’s methods)
- HP tells JS he’s putting para in paper- JS gives himself away by saying he’s not at Liverpool; HP doesn’t make him explain why he knows this
Chapter 20: Gender roles
- HP also only uses this calm approach towards women.
- Miss Russell seen as maternal, strong when confessing
- JS focuses heavily on what M. Russ looks like, specifically her ‘faded’ looks
- Women who JS deems too old to be attractive are ‘handsome’ rather than ‘pretty’ like FA
- No one suspects MR of taking drugs despite inquiries, suspected that a man in her life does it instead
Chapter 20: Narrative techniques
- Metafiction- mention of detective novels
- HP points out JS not surprised that Flora was lying- he would know this since he killed him
- Chekov’s Gun- JS workshop- dictaphone hasn’t been mentioned since start of book, brings attention to this
- Narrative gaps: irrelevant info is omitted- AC has created novel where puzzle is more interesting than ppl
Chapter 20: Structure
- At end of Ch.19 everything Raglan thought was true; no time gap between this + ch.20 where he says he has to go back to ground zero
Chapter 20: Social and historical details
- Illegitimate children would bring dishonour onto mum; she gave him up, paid someone else to raise him + nvr told him she was his mum as she’d be outcast if she did.
Chapter 20: Crime elements
- Mystery
- Guilt
- Social crime- child out of wedlock
- Confession
- Alibi
- Explanations of clues e.g. how HP knew CK was MR’s son
What is the title of chapter 21?
‘The Paragraph in the Paper’. Mentioned before, implies that we’ll see the result of para being pubd.
- Occurs following HP’s paragraph submission to the newspapers - we see both CS and Mrs Ackroyd react to it, statement prompts UB to visit Poirot at end of chapter
Chapter 21: Narrative voice
- ‘Our conversation then dealt with purely personal matters.’ - omits interactions not relating to investigation
- HP asks JS to tell CA of reunion- used in a sidekick role
- “Had ready an elaborate account of the lady’s bad knee” - example of JS preparing lies, careful of what he says
- JS is certain that stabbing was the cause of death- gives self away
Chapter 21: Other narrative techniques
- “I saw that he realised her object” HP easily identifies ppl’s intentions
- Learn of developments (FA and Blunt’s engagement) via CA’s gossip
- Cliffhanger-key detail suddenly sprung on JS+reader
- HP breaks crime rules- hides info from JS
- Dialogue w/JS + CS gives away opinion more
- Foreshadowing that it is up to JS if RP is ‘hung’
Chapter 21: Structure
- Longer time period- JS cuts from after seeing MR in surgery to nxt morning to afternoon - wastes no time advancing the investigation narrative
- CS says “Ursula Borne the parlourmaid” - reminding us before we read next chapter about that chapter, mystery still around her, also “parlourmaid” is still her identity
- Cliffhanger, “Ursula Paton”, this is v. important to investigation
Chapter 21: Gender roles
- ‘What dear Flora needs is an older man’ - CA desires control over FA’s marriage- patriarchal attitude
- CA’s behaviour is more relaxed, implies she feels at ease knowing FA will be looked after, duties as mum fulfilled.
‘- …you know what girls are nowadays.’ -CA suggests women psychologically vulnerable to being manipulated- contemporary view of women as weak?
Chapter 21: Social class
- ‘I’ve forbidden it to be mentioned before the servants.’ CA doesn’t trust her social inferiors
- ‘The dear child wanted to borrow a few pounds…’ - Mrs Ackroyd is defensive of FA’s theft, doesn’t get value of £
Chapter 21: Everyone hates the lower class
- “That Russell woman” - derogatory, the lower class always up to something (repeating CA who also calls Mrs Russell that)
- “Mrs Ackroyd’s voice rose in a shrill of horror” -again offended and disgusted at the idea of people changing classes (The idea of Raymond marrying Flora)
Chapter 21: Social and historical details
- “I consider it’s your duty to see he isn’t hung” - Ralph would be hung
- ‘…they’re very happy in Broadmoor - it’s quite like a high class club.’ - depicting asylums and institutions as general practice of the time 4 those w/mental conditions
Chapter 21: Crime elements
- Conscience
- Deception
- Love
- Mystery- who is HP’s stranger?
- Clue about the mental asylum is brought to our attention - Chekov’s gun
- Mention of MR and the drugs clue returning
What is the title of chapter 22?
‘Ursula’s Story’
- Use of her first name + story suggest softer approach, not a confession of a crime but smth more
Chapter 22: Narrative voice
Factual description of what Ursula says, makes him seem more reliable, retelling it in own words seems more unreliable but this is actually the most reliable thing he does
Chapter 22: Other Narrative Techniques
- When JS says that he doesn’t know where RP is, HP says ‘That is true enough’- JS doesn’t know that RP is at The Larches
- Sometimes HP speaks French, e.g. when he says the paragraph in the paper is nothing- hiding true meaning?
Chapter 22: Structure
- Continues on from previous chapter, right after HP reveals UB+RP’s marriage
- Ends on dramatic reveal
Chapter 22: Gender Roles
- About Men: ‘They’re so conceited…they never believe you mean it if its unflattering’. Men can’t be hurt by women’s criticisms, only compliments- women are lesser.
- ‘No, no my child’- men infantilise, treat women delicately, speak to them like children
- CS acts in maternal way, supporting UB
Chapter 22: Social Class
- ‘On both sides a business arrangement’- both men and women are business-minded; women like FA can’t get money w/marriage
- UB + RP had to hide marriage- RA disapproved since she’s ‘penniless’, shameful to marry below station
Chapter 22: Crime elements
- Crime novel rule: servants can’t commit the crime
- Confession, Ursula confesses to marrying RP in secret and reading his arrest report
- Mystery- solved many mysteries in this chapter eg ring, convo in the woods, why UB in RA’s office if quitting
- RP almost had to marry 2 ppl- bigamy
- UB calls JS RP’s ‘best friend in King’s Abbott’- he hasn’t confessed, betrayal of RP
Chapter 23: Other narrative techniques
- HP seems to know who the suspect is
- Metafiction- JS mentions his ‘manuscript’, brings attention to the fact its a detective novel
- HP compares JS to Hastings when they discuss manuscript
- Narrative gap- HP reads manuscript alone, so we don’t get first response to it
Chapter 23: Chapter title
‘Poirot’s Little Reunion’- common feature of CA’s book. ‘Little’ makes it sound sweet, dimunitive, when really its significant and severe
Chapter 23: Narrative voice
- Simultaneously think that JS is reliable but is withholding some info as HP says this about manuscript
Chapter 23: Structure
- Immediate continuation from past chapter
- Split in half: reading of manuscript in first half, second half is actual reunion
- Dramatic reveal at end of RP at Larches
Chapter 23: Setting
- JS’ house + The Larches- we don’t go to his house often
- HP likes to create spotlighting effect on suspects by arranging lamps, chairs, around table- dramatised interrogation; we don’t have other detailed descriptions of settings
- HP was in JS’ workshop for long time but we don’t see this or know what he’s doing there
Chapter 23: Gender roles
- HP introduces UB as RP’s wife- to reveal this to rest, but she becomes property of her husband- increase in social respectability
Chapter 23: Social class
- Characters treat UB with more respect, except for CA- ‘A little shriek burst from Mrs Ackroyd’; FA’s response is much more accepting
Chapter 23: Crime elements
- RP is prime suspect; arrival is important- dramatic due to setting- he’s in shadow while they’re lit up so won’t see him
- Gathering of suspects at end
- Explanation of crime, uncovering of mysteries (revelations) except for who actually killed RA
- Crime novel rule: basically has no servants except Park
What is the title of chapter 24?
- Mirrors ‘Ursula’s story’- not necessarily a confession
- Indicates we will find out Ralphs story → filling in the plot holes
Chapter 24: Narrative voice
- JS is uncomfy, doesn’t specify why. Assume that it’s because he lied to police, HP, which is true, but it’s due to his lies unravelling
- ‘Ruefully’- hint JS exaggerating emotions to make everyone believe that he’s ashamed
- Few comments towards the end of this chapter - anxious about whether Poirot knows he is guilty?
Chapter 24: Other narrative techniques
- HP v. serious in this chapter- ‘shaking an eloquent finger at me’ ‘Demanded’ p.277, ‘drily’
- HP hints at JS’ guilt: ‘It was strictly truthful as far as it went - but it did not go very far, eh, my friend?’ p.278, ‘’Dr Sheppard has been a model of discretion’
- HP- ‘little séance’- meeting held w/intention of making contact with the dead- implies murder will be solved
Chapter 24: Structure
- Short chapter. Dramatic effect, as a large revelation is revealing. Allows the reader to let it sink in. RAPID PACE
- The last chapter ended on a cliffhanger - ‘Ralph Paton was ‘standing in the doorway’ - so chapter continues/no gap
- The ending is tense. This time, Poirot is confident.
Chapter 24: Gender roles
- RP only character who seriously considers that a woman could be the murderer, even though she’s his wife! Poirot dismisses Ralphs confession
Chapter 24: Social and Historical details
- ‘a wireless message - from a steamer now on her way to the united states’- Transatlantic travel
- Reference to the ‘Home office’ expert → the home office is a department of the British government mainly concerned with policing and immigration.
Chapter 24: Crime elements
- Exposition
- Coming to a resolution, readers awaiting confession
- Suspects ruled out.
- Justice? Poirot tells them that he won’t go to the police if they confess
