Opening Chapters of The Murder of Roger Ackroyd
Q. 2. Discuss the ways in which Sheppard introduces himself in the opening chapters.
A. Most novels by Agatha Christie either have omniscient narrators or Hastings as the narrator, but we see a change in “The Murder of Roger Ackroyd” as one of the characters in the country setting takes on the role of the narrator. In many ways, this novel differs from other Christie classics, primarily the narrative. When one first reads it, the narrator comes off as a reticent, logical person. The way he talks about the death of Mrs. Ferrars makes the reader think that he is very straightforward. He also appears a little indifferent, but when one reads it the second time, it would be clear that it is because he does not repent for being responsible for her suicide. He is the kind of person who will lay bare the blatant facts in front of the reader, without much difficulty and devoid of any emotions.
There was nothing to be done. She had been dead some hours.
He talks about his sister in such a way that the reader is convinced of his ordinariness. He writes the account in a fashion which makes him look like being bullied by his sister, Caroline. In the very first chapter, he says that he is in a habit of holding back crucial information from her. The fact that it is very “natural” to him makes the reader trust him completely.
As a professional man, I naturally aim at discretion. Therefore I have got into the habit of continually withholding all information possible from my sister.
Even though he calls himself discreet, he fails to hide the fact that he, too, believes in premonitions and follows his instincts.
But my instinct told me that there were stirring times ahead.
The reader is deceived by him quite easily because the first time s/he does not notice what his retrospection means. The fact that he is the local and the only doctor in the small place adds to his favor to a very large extent. It is also pivotal to this analysis that readers of the Golden Age were used to
A. Most novels by Agatha Christie either have omniscient narrators or Hastings as the narrator, but we see a change in “The Murder of Roger Ackroyd” as one of the characters in the country setting takes on the role of the narrator. In many ways, this novel differs from other Christie classics, primarily the narrative. When one first reads it, the narrator comes off as a reticent, logical person. The way he talks about the death of Mrs. Ferrars makes the reader think that he is very straightforward. He also appears a little indifferent, but when one reads it the second time, it would be clear that it is because he does not repent for being responsible for her suicide. He is the kind of person who will lay bare the blatant facts in front of the reader, without much difficulty and devoid of any emotions.
There was nothing to be done. She had been dead some hours.
He talks about his sister in such a way that the reader is convinced of his ordinariness. He writes the account in a fashion which makes him look like being bullied by his sister, Caroline. In the very first chapter, he says that he is in a habit of holding back crucial information from her. The fact that it is very “natural” to him makes the reader trust him completely.
As a professional man, I naturally aim at discretion. Therefore I have got into the habit of continually withholding all information possible from my sister.
Even though he calls himself discreet, he fails to hide the fact that he, too, believes in premonitions and follows his instincts.
But my instinct told me that there were stirring times ahead.
The reader is deceived by him quite easily because the first time s/he does not notice what his retrospection means. The fact that he is the local and the only doctor in the small place adds to his favor to a very large extent. It is also pivotal to this analysis that readers of the Golden Age were used to