The ending of her book made it one of the most controversial novels she had ever written cause the murderer, who Is Identified at the end, Is completely unexpected. Christie uses most aspects of her novel to create social commentary and an interesting plot. All of her characters contribute to the storyline progression and confuse the reader by giving false clues. Like Christie, Collins creates many in-depth characters and multiple narrations to voice his opinions on society in The Woman in White. However, he places somewhat less emphasis on the entertainment value of his novel.
Collins and Christie, when compared, show that the focus In mystery novels changed from themes and commentary to an entertaining storyline. While both Collision’s The Woman In White and Christie The Murder of Roger Cracked use mystery techniques and elements for social commentary, Christie additionally uses these techniques to create an unparalleled sense of mystery for her readers’ entertainment. The use of narration is an important element in Christie and Collision’s novels. In The Woman In White, a multitude of characters narrate the story, the main contributor being Walter Harlot.
Each character reveals to the reader only the parts of the story they know or have discovered. By using this technique, Collins is blew to “[investigate] issues that were central to [his] craft and [his] beliefs” (London 144). Not only does he use his characters’ limited perspective to keep his readers in the dark, but he also uses it to explore the definition of truth. The creation of “several kinds of knowledge” allows Collins to demonstrate that facts can easily be distorted or misunderstood because of perspective (London 144).
Collins believes that the truth can De Interpreted Transiently Trot person to person paneling on want teen want to believe and how much they know. Unlike Collins, Christie uses only one narrator wrought The Murder of Roger Cracked. Dry. Shepherd’s Journal is the only source from which the reader receives information. The integrity of the novel hinges upon Shepherd’s single narration; his clever distortion of the truth prevents virtually all readers from solving the mystery before the conclusion of the story.
In the epilogue, Sheppard comments on the art of hiding his identity from the reader, claiming he is “rather pleased with [himself] as a writer” (Christie 287). His success effectively demonstrates that one’s view of reality can be influenced by word choice. Christie, eke Collins, uses narration to her advantage and proves that one’s perception can alter, or even completely hide, the truth. She takes advantage of the readers’ assumption that the narrator could never be the murderer by doing Just that.
Collins and Christie effectively use narration to their advantage by exploring the relationship between perspective and reality. The endings of The Woman in White and The Murder of Roger Cracked display the main purposes of each novel. Christie ends her book almost immediately after the murderer’s identity is revealed. This style of conclusion is partially due to Hercules Parrot’s dramatic personality. During the investigation, he gathers facts and hides theories from other characters – and the reader – until he solves the mystery.
He then proceeds to take the reader “step by step” through the murder, drawing attention to previously overlooked but important clues, and prove that “the facts point indisputably to one person” (Christie 275-6). To further clarify the events that take place, Dry. Sheppard includes a confession that doubles as a suicide note in his journal after Parrot accuses him of murder. His declaration of guilt is the last chapter in the novel. Christie purposely ends the book after the murderer’s identification because she knows a large majority of her fans read The Murder Of Roger Cracked for entertainment.
Parrot solves the murder and all secrecy dissipates, since almost all of the mystery in the novel revolves around the murderer’s identity. Christie ends the book with the closing of the case to cater to the reader’s interest. However, she still adds generous amounts of social commentary to her novel before its conclusion. The Muter of Roger Cockroach’s explosive ending combined with its intriguing insight helped it become and extremely controversial novel. Like Christie, Collins fills The Woman in White with commentary, which continues even after the climax of the book occurs.
Harry Quilter believes that the novel “disappointingly’ continues after Foci’s confession of his share in the conspiracy, even though he claims it is perhaps the best scene fiction writing has ever seen and would have been a great ending to the book (178). He also thinks that after Count Foci’s death, the book ends “as far as all interest is concerned” (178). From the point of view of a reader looking for entertainment, the ending of the book is disappointing and anticlimactic. However, Collins novel does not revolve around Count Foci’s mysterious past.
Collins places more value on social commentary than plot, which is why the climax is not at the end. Although full of suspense and surprises, the main purpose of The Woman in White is not to create an exciting ending; it is to provide interesting social commentary. The ending to The Woman in White demonstrates Collision’s attempt to place as much insight as possible into his book, whereas the end to The Murder of Roger Cracked Allays concrete’s effort to simultaneously provoke social commentary Ana please deader with a satisfying ending.
Christie and Collins use different writing techniques in their novels to enhance their power. Christie is famous for unexpected plot twists at the end of her books; The Murder of Roger Cracked is the best example of her originality. She confuses her readers with seemingly trivial clues to add to the air of mystery surrounding Cockroach’s murder, such as a man “believed to be the stranger who visited Ferny’ the night of the murder (209). Her novel “turns on a piece of misdirection and a solution, which [is] strikingly innovatory’ (Lucerne 117).
Her ingenuity is and visual”, which is why she was able to create such a groundbreaking story at a time when critics believed that the detective genre was decline (Symons 123). Leaving the biggest plot twist until the end allowed Christie to takes readers completely by surprise and emphasizes the impact of the conclusion. On the other hand, Collins uses a more subtle approach to his novel. His characters are consistent in their actions and beliefs. His plot is not overburdened with unreasonable plot twists.
The storyline is linear and logical. His “moderation and reserve” and “avoidance of extremes” make the novel realistic and relatable to readers; these techniques “make the lights and shadows of the picture doubly effective” (“Sensation Novels” 173). Collision’s subtle plot creates more excitement than those filled mostly with unnecessary suspense, which tend to detract from a novels’ rationality. Because of his logical plot, Collins does not have to worry about an explosive ending to The Woman in White.
Instead, he has room to focus on social commentary throughout his novel, such as the value he places on intellect rather than physical strength and the difference between propriety and appearance. Christie writing style draws attention to her famous plot twists, while Collision’s style plays up his insightful observations. Collins and Christie use gender roles differently in their novels to cater to either social commentary or the plot. Collision’s characters, for example, generally do not comply with typical masculine or feminine stereotypes.
One exception is Laura, who represents women in Victorian literature. Her confinement in the asylum displays Collision’s dissatisfaction with the stereotypes women are typically associated with. On the other hand, Marina’s “inborn confidence in herself and in her position, which old have secured her the respect of the most audacious man breathing”, portrays a personality that surpasses the feminine typecasts of the Victorian era (Collins 26). Her “masculine mouth and Jaw’ and “prominent, piercing eyes” also contribute to the blurring of male and female characteristics in The Woman in White (Collins 24).
Through his characters’ gender ambiguity, Collins displays his feminism and belief that stereotypes are commonly inaccurate. Christie female characters in The Murder of Roger Cracked are noticeably more stereotypical than Collision’s. Marty S. Innkeeper argues that Christie frequently suggests a “woman’s true vocation is marriage and motherhood” through the “empty-headed” and “gossipy’ women in her novels (73). Indeed, Caroline, one of The Murder of Roger Cockroach’s lead female characters, is a stereotypical busybody and gossip who takes care of her brother, Dry. Sheppard.
At the same time, Carolina’s knowledge is extremely valuable, especially to Parrot, who frequents her for information throughout his investigation. Her vast awareness keeps the plot moving and supplies the reader with useful information. Seen alternately AAAS mystery to ten novel Decease It Is not Known winner near information can be trusted. Carolina’s ability to “do any amount of finding out by sitting placidly at home” does not imply that Christie is an anti-feminist (Christie 10). Although Christie respects women, she uses stereotypes to help move the plot of The Murder of Roger Cracked along.
Collins uses his characters to display his feminist beliefs, whereas Christie stereotypes her main female character to add intrigue to her plot. The main characters in The Murder of Roger Cracked and The Woman in White have similar purposes in their novels. Collins uses characters such as Count Fiasco for social commentary and dramatic effect. Fiasco, who “sees nothing ridiculous in the amazing contrast between his colossal self and his frail little pets”, is clearly not a stereotypically gentleman (Collins 195). Through Fiasco, Collins asserts his belief that a person can have masculine and feminine traits.
T. S. Eliot believes that characters like Fiasco make The Woman in White dramatic “in the way in which the dramatic differs from the melodramatic” (182). The characters’ periodically heightened emotions contrast sharply with the otherwise subtle storyline, creating Just the right amount of excitement for Collision’s plot. Like Collins, Christie uses Parrot to add dramatic effect. Simply put, the Belgian is incredibly entertaining. Everything about him is odd, from his short stature and “egg-shaped head” to his obsession with “two immense moustaches” (Christie 27).
However, underneath the comical exterior is an extremely astute detective with a knack for building suspense. His methods are “imaginative rather than routine” and he strongly values “theory over matter” (Haystack 118). He enjoys bothering his fellow investigators with seemingly trivial questions, the answers to which are surprisingly relevant to solving Cockroach’s murder. Parrot is dramatic; he chooses not to reveal any information he has gathered until he is sure of the murderer’s identity and then proceeds to tie up any loose ends.
The Murder of Roger Cracked contains so much suspense and mystery largely thanks to Parrot, who never blatantly hints at the murderer throughout the novel. Both Christie and Collins use main characters to help enhance their plots, although Collins uses his for commentary more than Christie. The villains Christie and Collision’s novels are both used for similar social commentary, but Sheppard is much more important to the mystery of The Murder of Roger Cracked than Fiasco is to The Woman in White. Fiasco is, by nature, charismatic and droll.
His ability to “flatter [Marina]’s vanity by talking to [her] as seriously and sensibly as if [she] were a man” is an example of how he charm his peers (Collins 197). His appeal makes it difficult for readers to accept that he is so “diabolically in the wrong” (“Sensation Novels” 174). Collins, through Fiasco, explores the ease with which less reputable people can appear charming, and implies that many immoral people possess these traits. He concludes that people are born uncorrupted with these traits, but become dishonorable with the realization that they can take advantage of others by using said traits.
Dry. Sheppard shares this trait with Fiasco and exemplifies it by murdering Cracked. Sheppard is clearly intelligent and has many “clever ideals]” throughout the novel (Christie 284). He kills Cracked because he assures himself that he has the intelligence, foresight, and charm to avoid being caught. However, the doctor is not only used for social commentary. Shepherd’s aptitude Ana personality are essential to malignantly Intrigue tonguing ten novel. Since he is the only narrator, it is imperative that he seem less knowledgeable than e really is to hide his true identity.
Both Sheppard and Christie rely on his ingenuity, which is amplified when the reader realizes the secret he has kept for the entire novel. While both Fiasco and Sheppard share the same traits, Christie uses Shepherd’s charm and wit to prolong his villainous identity. The Woman in White and The Murder of Roger Cracked demonstrate the effective use of mystery techniques to create equally thrilling and insightful novels. While Collins is considered to be the father of the mystery novel, Christie is Just as renowned for her cleverness and originality. Both authors include valuable social commentary in their novels.
However, the amount of importance placed on the identity of the murderer in Roger Cracked requires Christie to take advantage of her characters and use them to create more confusion. In contrast to Christie, who typically ends her books dramatically, Collision’s novel has a subtler air of mystery and places less emphasis on the biggest secret of the book. This allows him to focus on insightful conclusions about subjects such as appearance versus reality. Christie is still able to make perceptive observations in The Murder of Roger Cracked, but caters o her audience by creating a thrilling plot and an unpredictable ending.