Murder on the Orient Express Christie Agatha analysis

This rarely happened in her time, and up to date, it is still not widely accepted. Clara, her mother, was an excellent story teller. Clara wanted Agatha to wait until she was eight so she could start learning, but Agatha could not wait for that long since she was home alone and bored, she stared teaching herself to read at the age of five (Christie, 45). Agatha got her creativity from absorbing the children's stories of her time, together with the startling thrillers and poetry from America. Also, she kept coming up with imaginary friends, played around with animals and went dancing classes. Also, she got the storyline from a true story about the real Orient Express being stranded in snow in 1929 for five days. For her one of the characters Poirot, Christie made use of someone she knows in real life for inspiration.

In her autobiography, she said that she had used a Belgian neighbor as the model for her amazing detective. The genre of Murder on the Orient Express is Detective fiction, murder mystery. This is because the way the story is created, it is as though the murder might never be solved logically. ii). International travel - When the author uses the train to make transits from one country to another, she can come up with several characters with different ethnicities and nationalities, coming together on the train. According to her, the crew and the passengers aboard Orient Express hail from Belgium, England, Greece, Russia, Germany, Hungary, America, Sweden, France, and Italy. The passengers seemingly match up to the stereotypes attached to each of these nations, while at the same time acting suspicious of the other passengers because they come from other countries.

But as the story progresses, the reader learns that they are somewhat connected (Gulddal, 7). He was in Stamboul for a sightseeing tour. Unfortunately, he receives a message via telegram to immediately go back to England for business. Poirot runs into an old friend who happens to be the director of the Company Internationale des Wagon-lits that runs the Express (12). Poirot finds himself traveling with people of different nationalities, occupations and living standards. Despite the many people on board, one smartly dressed American, obviously rich but evil looking catches his Poirot's attention. The guilty ones are 12, which is the exact number of a jury. The second one is moral law vs. written law- Poirot is aware of the existence of a moral law that emphasizes the justice of a murdered innocent child.

On the other hand, there is a written enforceable law that demands that anyone that takes matters in their own hands are guilty and ought to face the law (Franks). Seemingly Poiret stands by the moral law side. Perhaps Agatha intended to come up with something new? Or maybe she believed that all stories do not end with the written law enacted, rather, sometimes the moral law is enough? WORKS CITED Auden, W. H. “The Guilty Vicarage: Notes on The Detective Story, By an Addict. ” Harper’s Magazine May (1948): 406–12. Dec. Christie, Agatha. Agatha Christie, An Autobiography. Harper, 2011. Franks, Rachel. A Taste For Murder: The Curious Case Of Crime Fiction". BEAUTIFUL SHINING ORDER”: DETECTIVE AUTHORITY IN AGATHA CHRISTIE’S MURDER ON THE ORIENT EXPRESS. researchgate. net/publication/299937689_'Beautiful_Shining_Order'_Detective_Authority_in_Agatha_Christie's_Murder_on_the_Orient_Express.

Accessed 22 Nov 2018.