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English > The Murder of Roger Ackroyd > Flashcards

The Murder of Roger Ackroyd Flashcards

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1
Q

What is the title of Chapter 1?

A

Doctor Sheppard at the Breakfast Table

  • Bland, purely factual
  • Gives nothing away to the reader
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2
Q

What is the importance of the first paragraph of Chapter 1?

A
  • 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’
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3
Q

Who is the narrative voice throughout the novel?

A

Dr James Sheppard

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4
Q

Chapter 1: Narrative Voice- Dr Sheppard

A
  • 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?
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5
Q

Chapter 1: Structure

A
  1. Info about Mrs Ferras death
  2. Dialogue between CS and JS + internal monologue from JS
  3. End of chapter left unresolved- will there be an inquest or not? JS to make decision
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6
Q

Chapter 1: Setting

A
  • Village with a clear social hierarchy
  • Between wars (published in 1926)
  • Domestic setting - Sheppard house, breakfast table - clearly described
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7
Q

Chapter 1: How are gender roles shown between Caroline and James?

A

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?
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8
Q

Chapter 1: How is gender presented by Dr. Sheppard’s description of Mrs Ferrars?

A

Aware of her clothes and figure (objectification)- “a very attractive woman”, “her clothes […] always seemed to fit her very well”

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9
Q

Chapter 1: How is the social class of the Sheppards presented?

A
  • Middle class respectability

- Dr.- intertextual link to Dr. Watson, middle class, honest, brave, loyal, narrator of Sherlock Holmes series

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10
Q

Chapter 1: Suspicion

A
  • About Mr Ferrars “Caroline has constantly asserted […] that his wife poisoned him.”
  • About Mrs Ferrars “‘You’ve only got to look at her,’”
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11
Q

Chapter 1: Cause of death/Suicide

A
  • JS: “She died of an overdose of veronal.” “Must have taken too much.”
  • But CS is suspicious: ‘Nonsense […] She took it on purpose.”
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12
Q

Chapter 1: Confession

A

CS: “You’ll see. Ten to one she’s left a letter confessing everything.”

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13
Q

Chapter 1: Repentance, remorse

A

When asked why she thinks Mrs Ferrars would kill herself, she says: ‘‘Remorse, she said, with great gusto.”

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14
Q

Chapter 1: Blame

A

“Caroline has constantly asserted […] that his wife poisoned him.”

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15
Q

Chapter 1: Morality

A
  • 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.”
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16
Q

Chapter 2: Glossary

A
  • Redoubtable- feared, scary
  • On the tapis- under discussion
  • Gannet- seabird w/sharp beak, voracious attitude
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17
Q

Chapter 2: Chapter title- Who’s Who In King’s Abbott?

A
  • 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
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18
Q

Chapter 2: Narrative Voice

A
  • Internal monologue- expresses feeling of “foreboding of the future” (p11)
  • Describes ppl in terms of their physical attractiveness
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19
Q

Chapter 2: Other narrative techniques

A
  • 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
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20
Q

Chapter 2: Structure of chapter

A
  • JS from internal thoughts to 3 interactions w/dialogue- range of focus
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21
Q

Chapter 2: Setting

A
  • King’s Abbott significance of name, connotations

- Description of almost feudal place- ‘squire’, social hierarchy

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22
Q

Chapter 2: Gender roles

A
  • 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
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23
Q

Chapter 2: Social Class

A
  • “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”
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24
Q

Chapter 2: Social/Historical details: Drug Abuse in the 1920s

A
  • 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.
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25
Q

Chapter 2: Social/Historical details: Transatlantic travel

A
  • In 20s, ppl travelled across Transatlantic regularly; after WW2, ships used in war/captured German ships turned into cruise ships.
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26
Q

Chapter 2: Crime elements: Setting

A
  • Idyllic village, quintessential English village

- Combined with prevalent drug abuse, contemporary + traditional

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27
Q

Chapter 2: Crime elements: Gossip

A
  • Used as a way of communicating information, confirming or rejecting suspicions
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28
Q

Chapter 2: Crime elements: The rich getting away with it

A

Did Mrs Ferrars evade punishment for poisoning her husband because of her status and wealth?

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29
Q

Chapter 3: Chapter Title- ‘The Man Who Grew Vegetable Marrows’

A
  • Foregrounds importance of ‘Porrott’ but keeps his identity secret
  • ‘In-Joke’ for experienced Christie readers?
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30
Q

Chapter 3: Narrative Voice

A
  • 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
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31
Q

Chapter 3: Other Narrative Techniques

A
  • 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
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32
Q

Chapter 3: Structure of Chapter

A
  • Structured around a series of convos: JS/CS; JS and Porrott; JS/RP.
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33
Q

Chapter 3: Setting

A

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
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34
Q

Chapter 3: Gender Roles

A
  • Presentation of RP- handsome, charming rogue (crime male stereotype?) Biased presentation by JS? p.27. Exploitative- barmaids
  • CS ‘good sound mongoose instincts’ p.25
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35
Q

Chapter 3: Social Class

A
  • RP & Barmaids
  • JS assumptions about ‘Porrott’
  • Upper class financial situation of RP- dependent on RA to leave him £ in will p.26
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36
Q

Chapter 3: Social/ Historial details

A
  • Investments and their significance esp for middle class
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37
Q

Chapter 3: Crime elements

A
  • Secrecy and Concealment (meeting in Wood)
  • Money and love
  • Morality (RP)
  • Comedy (presentation of ‘Porrott’)
  • Incomplete knowledge/jumping to conclusions
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38
Q

Chapter 4: Chapter title- ‘Dinner at Fernly’

A
  • 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?
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39
Q

Chapter 4: Narrative Voice

A
  • 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
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40
Q

Chapter 4: Other narrative techniques

A
  • 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
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41
Q

Chapter 4: structure of chapter

A
  • 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
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42
Q

Chapter 4: Setting

A
  • 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’
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43
Q

Chapter 4: Gender roles

A
  • 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’
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44
Q

Chapter 4: Social class

A
  • ‘Pretend to farm’- cynical view of upper class ‘hobby farming’
  • Importance of inheritance to upper classes- RA’s will
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45
Q

Chapter 4: Social and Historical details

A
  • ‘Big game man’- Blunt- acceptable to hunt and kill big game and to display heads as trophies
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46
Q

Chapter 4: Crime elements

A
  • 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
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47
Q

Chapter 5: Chapter Title- ‘Murder’

A
  • Straight to the point, no misdirection here
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48
Q

Chapter 5: Narrative Voice

A
  • 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
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49
Q

Chapter 5: Other Narrative Techniques

A
  • 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
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50
Q

Chapter 5: Structure of Chapter

A
  • 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.
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51
Q

Chapter 5: Setting

A
  • 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.
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52
Q

Chapter 5: Gender Roles

A
  • 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
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53
Q

Chapter 5: Social Class

A
  • Police Inspector ‘respectful’ towards Blunt

- JS orders Parker around- reminder of social hierarchy

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54
Q

Chapter 5: Social and Historical Details

A
  • ‘Pince-nez’- type of armless spectacles
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55
Q

Chapter 5: Crime Elements

A
  • ‘Murder’- the crime
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56
Q

What is the title of chapter 7?

A

“I Learn My Neighbour’s Profession’- implies a surprising revelation but withholds the actual facts.
- Reveals his identity

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57
Q

Chapter 7: Narrative voice

A
  • 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?
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58
Q

Chapter 7: Other narrative techniques

A
  • 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’
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59
Q

Chapter 7: Setting

A

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.

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60
Q

Chapter 7: Structure

A
  • 1st change of time- all past events in one day

- Cliffhanger- info about phone call but not explained

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61
Q

Chapter 7: Gender Roles

A
  • 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.
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62
Q

Chapter 7: Social Class

A
  • 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
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63
Q

Chapter 7: Crime elements

A
  • 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
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64
Q

What is the title of chapter 8?

A

‘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.

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65
Q

Chapter 8: Narrative Voice

A
  • 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
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66
Q

Chapter 8: Narrative techniques

A
  • 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

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67
Q

Chapter 8: Setting

A
  • Fernley Park- moving between rooms and summerhouse, mainly in summerhouse
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68
Q

Chapter 8: Gender roles

A
  • 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
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69
Q

Chapter 8: Social Class

A
  • Lack of obvious class disparity
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70
Q

Chapter 8: Social and Historical details

A

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.

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71
Q

Chapter 8: The Clues

A
  • Phone call is regarded as most important by HP

- Mapping movement of characters; reconstruction of events leading up to, during, and after the crime.

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72
Q

Chapter 8: What is the key clue that reveals JS’ guilty?

A
  • 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
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73
Q

Chapter 8: Alibis (crime elements)

A
  • List of alibis- UB doesn’t have one but this is brushed off
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74
Q

Chapter 8: Raglan’s Prime Suspect, RP

A

Gives a full list of how he could do it but very vague motive.

75
Q

Chapter 8: Summerhouse clues

A
  • Goose quill

- Starched cloth

76
Q

What is the title of Chapter 9?

A

The Goldfish Pond. Assigns importance to this setting but doesn’t tell anything else.

77
Q

Chapter 9: Narrative voice

A
  • 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
78
Q

Chapter 9: Other Narrative techniques

A
  • 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
79
Q

Chapter 9: Meaning behind FA calling Blunt “Methusulah”?

A

“Methusulah”- oldest recorded character in the Bible- lived to be 969; FA calls B that, suggesting he’s old- playful or rude?

80
Q

Chapter 9: “Melisande”

A

“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

81
Q

Chapter 9: Flora Ackroyd

A

“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

82
Q

Chapter 9: Gender roles

A
  • 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
83
Q

Chapter 9: Crime elements

A
  • 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.
84
Q

What is the title of chapter 10?

A

“The Parlourmaid”- implies UB will be a significant character; person who’s interview is most important in ch10.

85
Q

Chapter 10: Why is Ursula only referred to as ‘The Parlourmaid’ in this title?

A

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.

86
Q

Chapter 10: Narrative voice

A
  • 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
87
Q

Chapter 10: Crime elements

A
  • JS is now clearly the sidekick now- makes him seem more trustworthy
88
Q

Chapter 10: Other narrative techniques

A
  • 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
89
Q

Chapter 10: Mrs Cecil Ackroyd (Gender roles)

A
  • 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.
90
Q

Chapter 10: Who stole the money in this chapter (social class)?

A
  • FA, but the servants are accused.
91
Q

Chapter 10: Crime elements

A
  • Inheritance- motive for CA?
  • Interview structure
  • Additional crime (stolen £)
  • Alibis, lack thereof
92
Q

What is the title of chapter 11?

A

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
93
Q

Chapter 11: Narrative Voice

A
  • 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
94
Q

Chapter 11: Other Narrative techniques

A
  • Dialogue-heavy chapter
95
Q

Chapter 11: Structure

A
  • 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
96
Q

Chapter 11: Mrs Gannett’s name

A
  • Gannett is a bird associated with greed, metaphor for her need for info, regardless of its truth or type
97
Q

Chapter 11: Gender roles

A
  • 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)
98
Q

Chapter 11: Social class

A
  • 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
99
Q

Chapter 11: Crime elements

A
  • 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.
100
Q

What is the title of chapter 12?

A

Round the Table

  • Suggests people coming together- most interested parties are being brought back for HP’s ‘little reunion’
  • Gives no other info
101
Q

Chapter 12: Narrative Voice

A

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

102
Q

Chapter 12: Structure of the chapter

A
  • 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
103
Q

Chapter 12: Crime elements

A
  • 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
104
Q

Chapter 12: Narrative techniques

A
  • 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
105
Q

Chapter 12: Gender roles

A
  • 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.
106
Q

Chapter 12: Social class

A

CA is horrified by FA standing by RP- FA having a close link to a potential murder would affect their social status.

107
Q

What is the title of chapter 14?

A

‘Mrs Ackroyd’- implied that this chapter will be focused on her, her witness interrogation?

108
Q

Chapter 14: Structure

A
  • 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
109
Q

Chapter 14: Narrative voice

A
  • 1st half of book in present tense- shift to past tense in this chapter, more like a diary entry? Has been discovered?
110
Q

Chapter 14: Other narrative techniques

A
  • At some points JS + HP just admit they aren’t telling you clues yet
111
Q

Chapter 14: Setting

A
  • Mrs Ackroyd’s bedroom

- JS’ House

112
Q

Chapter 14: Gender roles

A
  • 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
113
Q

Chapter 14: Social Class

A
  • 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
114
Q

Chapter 14: Crime elements

A
  • Concealment (CA)
  • Social crime- CA went through RA’s will
  • CA’s confession in series of interviews
  • Mystery of Ursula
115
Q

What is the title of chapter 15?

A

‘Geoffrey Raymond’- implies GR will be revealing smth important about the investigation

116
Q

Chapter 15: Narrative voice

A
  • 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
117
Q

Chapter 15: Other narrative techniques

A
  • Flashback (almost) w/re-enactment

- Foreshadowing w/CS accusing JS of hiding things

118
Q

Chapter 15: Structure, setting

A
  • 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
119
Q

Chapter 15: Gender roles

A
  • 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
120
Q

Chapter 15: Social Class

A
  • 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
121
Q

Chapter 15: Social and Historical details

A
  • 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
122
Q

Chapter 15: Crime elements

A
  • 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
123
Q

What is the title of Chapter 16?

A

‘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

124
Q

Chapter 16: Narrative Voice

A
  • 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
125
Q

Chapter 16: Other narrative techniques

A
  • 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
126
Q

Chapter 16: Structure

A
  • 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
127
Q

Chapter 16: Setting

A
  • JS’ house- diverging from mainly being at crime scene

- Guests were Miss Gannett + Colonel Carter

128
Q

Chapter 16: Gender roles

A
  • 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
129
Q

Chapter 16: Crime elements

A
  • 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 £
130
Q

What is the title of chapter 17?

A

‘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.

131
Q

Chapter 17: Narrative techniques

A
  • 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
132
Q

Chapter 17: Narrative voice

A
  • 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
133
Q

Chapter 17: Structure

A
  • Takes place day after Mahjong, RA’s funeral

- Cliffhanger

134
Q

Chapter 17: Setting

A
  • Fernly

- Dinner at JS’ house

135
Q

Chapter 17: Dr Sheppard’s motive

A
  • 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.
136
Q

Chapter 17: Gender roles

A
  • 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
137
Q

Chapter 17: Social class

A
  • 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
138
Q

Chapter 17: Crime elements

A
  • 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
139
Q

What is the title of chapter 18?

A

‘Charles Kent’- same as other chapters named after others but unveiling of a mystery as this is a new character

140
Q

Chapter 18: Narrative voice

A
  • 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’
141
Q

Chapter 18: Other Narrative techniques

A
  • 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
142
Q

Chapter 18: Structure

A
  • 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
143
Q

Chapter 18: Setting

A
  • Train to Liverpool + police station at Liverpool; fast-paced to keep readers engaged
144
Q

Chapter 18: Crime elements

A
  • 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
145
Q

Chapter 18: Social class

A
  • HP is ambiguous in social class- he’s seen on same level/regarded highly by Superintendent at Liverpool due to his talent
146
Q

Chapter 18: Social and Historical details

A
  • ‘Snow’- heroin

- CK calls HP a ‘little foreign duck’- dimunitive, xenophobic

147
Q

What is the title of chapter 20?

A

Miss Russell

- Last confessional chapter named only after a person- coming to the end of the individual interrogations

148
Q

Chapter 20: Narrative voice

A
  • 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
149
Q

Chapter 20: Gender roles

A
  • 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
150
Q

Chapter 20: Narrative techniques

A
  • 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
151
Q

Chapter 20: Structure

A
  • 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
152
Q

Chapter 20: Social and historical details

A
  • 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.
153
Q

Chapter 20: Crime elements

A
  • Mystery
  • Guilt
  • Social crime- child out of wedlock
  • Confession
  • Alibi
  • Explanations of clues e.g. how HP knew CK was MR’s son
154
Q

What is the title of chapter 21?

A

‘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

155
Q

Chapter 21: Narrative voice

A
  • ‘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
156
Q

Chapter 21: Other narrative techniques

A
  • “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’
157
Q

Chapter 21: Structure

A
  • 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
158
Q

Chapter 21: Gender roles

A
  • ‘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?
159
Q

Chapter 21: Social class

A
  • ‘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 £
160
Q

Chapter 21: Everyone hates the lower class

A
  • “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)
161
Q

Chapter 21: Social and historical details

A
  • “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
162
Q

Chapter 21: Crime elements

A
  • 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
163
Q

What is the title of chapter 22?

A

‘Ursula’s Story’

- Use of her first name + story suggest softer approach, not a confession of a crime but smth more

164
Q

Chapter 22: Narrative voice

A

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

165
Q

Chapter 22: Other Narrative Techniques

A
  • 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?
166
Q

Chapter 22: Structure

A
  • Continues on from previous chapter, right after HP reveals UB+RP’s marriage
  • Ends on dramatic reveal
167
Q

Chapter 22: Gender Roles

A
  • 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
168
Q

Chapter 22: Social Class

A
  • ‘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
169
Q

Chapter 22: Crime elements

A
  • 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
170
Q

Chapter 23: Other narrative techniques

A
  • 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
171
Q

Chapter 23: Chapter title

A

‘Poirot’s Little Reunion’- common feature of CA’s book. ‘Little’ makes it sound sweet, dimunitive, when really its significant and severe

172
Q

Chapter 23: Narrative voice

A
  • Simultaneously think that JS is reliable but is withholding some info as HP says this about manuscript
173
Q

Chapter 23: Structure

A
  • 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
174
Q

Chapter 23: Setting

A
  • 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
175
Q

Chapter 23: Gender roles

A
  • HP introduces UB as RP’s wife- to reveal this to rest, but she becomes property of her husband- increase in social respectability
176
Q

Chapter 23: Social class

A
  • Characters treat UB with more respect, except for CA- ‘A little shriek burst from Mrs Ackroyd’; FA’s response is much more accepting
177
Q

Chapter 23: Crime elements

A
  • 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
178
Q

What is the title of chapter 24?

A
  • Mirrors ‘Ursula’s story’- not necessarily a confession

- Indicates we will find out Ralphs story → filling in the plot holes

179
Q

Chapter 24: Narrative voice

A
  • 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?
180
Q

Chapter 24: Other narrative techniques

A
  • 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
181
Q

Chapter 24: Structure

A
  • 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.
182
Q

Chapter 24: Gender roles

A
  • RP only character who seriously considers that a woman could be the murderer, even though she’s his wife! Poirot dismisses Ralphs confession
183
Q

Chapter 24: Social and Historical details

A
  • ‘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.
184
Q

Chapter 24: Crime elements

A
  • 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

English (11 decks)

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