33 pages • 1 hour read
Agatha ChristieA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
Arthur Hastings, the narrator, declares that he would like to clear up some points of fact about the sensational murder of the elderly wealthy dowager Emily Inglethorp.
In early July, Arthur is convalescing from wounds sustained in the Great War. John Cavendish, one of Emily’s two step-sons, invites Arthur to stay at Styles Court, a manor in a remote country location in Essex. The two are friendly acquaintances from Arthur’s youth. The family estate is under Emily’s control, having bypassed her two step-sons. Nevertheless, “they always thought of her as their own mother” (2). John and his younger brother Lawrence live in the Styles manor, and while they both briefly pursued independent professions, now they live on allowances.
The brothers are in conflict with Alfred Inglethorp, who, three months ago, moved from being one of Emily’s secretaries to being her husband. Alfred is 20 years younger than Emily, and is “an absolute outsider,” according to John (3).
At Styles Court, Arthur cordially meets Emily Inglethorp and Evelyn (Evie) Howard, the older woman’s good friend and principal secretary. He meets the witty Mary Cavendish, John’s wife, and takes an instant liking to her. Meeting Alfred Inglethorp, Arthur notes his long, black beard and his shrewd, off-putting demeanor; the upstart husband is greeted with quiet hostility by everyone but his wife, who adores him.
Soon Cynthia Murdoch (the daughter of one of Emily’s deceased friends) arrives from her duties as the manager of a wartime drug dispensary, and the subject of Arthur’s amateur interest in detective work is discussed. Cynthia and Mary both have an amateur interest in advanced poisoning techniques. Cynthia seems beholden to Emily Inglethorp, quick to jump at her beck and call.
That evening, Arthur sees John Cavendish and Cynthia walking arm-in-arm on the grounds. Then, he sees John’s brother Lawrence step out from a hidden location and spy on them, perturbed.
The next morning, Alfred and Evie Howard have an argument. Angry, Evie tells Emily that she should file for divorce, and then storms out of the estate. As she leaves, she implores Arthur to look after Emily.
Mary meets with her friend Dr. Bauerstein, an esteemed toxicologist on vacation from London. Jealous and angry, John implores Arthur to take a walk with him and admits that he is hard up for cash.
A couple of days later, Arthur receives a letter from Evelyn Howard asking him to ascertain Emily’s attitude towards a reconciliation. Mary Cavendish continues to spend time with Dr. Bauerstein, despite her husband John’s jealousy.
On Monday, July 16th, eleven days after Arthur’s arrival, the house prepares for a bazaar, which goes well. The following morning, Emily Inglethorp is in a good mood, and that afternoon she takes Arthur and Lawrence to a luncheon party. She drops the two men off in town, where they visit Cynthia at the dispensary. Arthur notes affection between the shy and reserved Lawrence and the outgoing Cynthia.
Outside of the post office, Arthur runs into an unexpected acquaintance—Hercule Poirot. Poirot is a short, neat little man who was a notable detective in the Belgian police force. He and seven of his countrymen are refugees fleeing the German invasion of their homeland; they have been staying in town through the charity of an organization headed by Emily Inglethorp.
Back at Styles Court, Emily Inglethorp is writing letters. She commands Dorcas, her maid, to bring her stamps and light the bedroom fire, though it is a hot July day. Later, Arthur accidentally overhears Mary and Emily arguing—Mary accuses Emily of “shielding him” (18). Cynthia repeats gossip concerning an earlier argument between Emily and her husband Alfred.
After a curt and silent dinner in which Emily Inglethorp eats very little and immediately retires to her room, Dr. Bauerstein arrives unannounced. Alfred Inglethorp, who has evening business with an estate agent, walks Dr. Bauerstein back to town.
Around five in the morning, Emily Inglethorp moans in pain loudly enough to wake the household. There are three entrances to Emily’s room: from the hallway, from Alfred Inglethorp’s room, and from Cynthia’s room on the other side. All three doors are bolted from inside Emily’s room. Alfred Inglethorp is nowhere to be found.
Using collective effort, Arthur and the two brothers break down the hallway door. As Emily suffers, John orders brandy be brought up. Arthur notes a look of silent horror on Lawrence’s face, which is turned towards some undisclosed location on the far wall. As Emily Inglethorp convulses in pain, a fully dressed Dr. Bauerstein enters the room. Soon after, Emily calls out for her husband and dies.
Dr. Wilkins, Emily’s regular physician, arrives and declares the death a matter of natural causes, though Dr. Bauerstein, a toxicologist, notes that the convulsions were “of a peculiar violence” (24). The two doctors consult in private, and soon after ask for and receive John’s permission for a post-mortem examination. Mary is particularly upset at the suggestion that Emily might have been poisoned.
Arthur suggests that the famous detective Poirot should be allowed to investigate the case. Lawrence objects, but John grants permission. Arthur immediately grabs a book on strychnine poisoning and goes to enlist the notable Belgian refugee.
On his way to town, Arthur runs into Alfred Inglethorp. Distressed, Alfred announces that he forgot his latchkey, and that he stayed overnight with his business associate in order not to disturb the household.
Arthur hurriedly explains the situation at Styles Court to Poirot. Poirot cautions level-headedness and assures his friend that they will “arrange the facts, neatly, each in its proper place” (29). Hearing the whole tale, he admonishes his friend for not informing him of whether or not Emily Inglethorp “ate well” on the night before the murder, as such a fact would be relevant to the type of poison used against her (30); Arthur struggles to maintain intellectual pace with Poirot.
At Styles Court, Poirot notes as relevant a muted quality to the family’s grief. He performs a thorough examination of Emily’s room, noting that many people have trampled through it since the death. Soon after his examination, he itemizes seven important clues to Arthur: a coffee cup deliberately ground to powder; a case with a key in the lock, which Poirot takes; a still-damp cocoa stain on the floor; a piece of green fabric taken from the bolting mechanism of the door leading to Cynthia’s room; a spot of candle grease not matching any candle in the room; a burned fragment of a will found among the ashes in the fireplace; and a scrap of paper upon which variants of the word “possessed” have been written. Poirot says that he will keep an eighth clue to himself.
Poirot takes a long look at the garden, and then interviews Dorcas about the exact times she served refreshments. Dorcas recalls an argument between Emily and Alfred the day before, concerning marital disgrace and potential scandal. She saw a letter in Emily’s hand, but not where it went or what it said. Dorcas notes that the key to her mistress's case was lost yesterday, even though Poirot just found it in the case’s lock. Further inquiry reveals that Emily Inglethorp’s sleeping powders, a potential source of poison, ran out two days ago. Poirot corroborates exact times and services with another household maid, Annie.
One of the key tropes essential to the cozy murder mystery genre is a beautiful, typically upscale, secluded setting for the murder to take place. Here, we have Styles Court, a remote estate which acts as an enclosed ecosystem. So insular is this place that even a World War is of small importance to its inhabitants and guests—at most, the backdrop to charitable work. Christie emphasizes the isolated, almost walled in quality of the estate by introducing two characters who are outsiders: Arthur and Poirot. It is significant that both men are the ones most affected by the war, with Arthur having been injured in combat, and Poirot a refugee from his Belgium. After suffering a life-altering upheaval, Poirot is in the perfect position to observe the cold way Styles Court receives news of Emily Inglethorp’s murder—their disinterest in the ongoing war mirrors their lack of affect at this immediate death.
Another feature typical of the genre is the novel’s sharply, but not meaningfully, sketched cast of characters. None are portrayed to evoke tremendous empathy in the reader. Even the victim, Emily Inglethorp, is not a sympathetic character—even if she is also not a villain. Her death is a tragedy, but she has invited animosity through mismanaging the estate and using the inheritance as a threat to control and bully her family. The estate is full of possible suspects: Although Alfred Inglethorp is the only one who immediately evokes distrust, everyone we meet has a reason, however remote, to commit murder. The Cavendishes and all who surround them do not care about much except their immediate present, any deviation from which is greeted with annoyance. To the well-heeled inheritors of Styles Court, questioning of the past appears as the questioning of ancient privileges.
The final thing necessary for a mystery is a compelling detective. Poirot enters the static world of Styles Court willing to disrupt its rituals and unspoken rules. Unlike Cynthia, who responds to Emily’s generosity with servility, Poirot will not allow the fact that Emily subsidizes his refugee status to prevent him from uncovering the family’s secrets. Importantly, he proceeds with an air of showmanship—revealing some of the clues he has found to Arthur, but not all. We as the audience are never shown Poirot’s perspective—the genre depends on his work seeming like a magic trick, with a twist that comes at the end and amazes the dumbfounded bystanders.
By Agatha Christie
British Literature
View Collection
Class
View Collection
Class
View Collection
Guilt
View Collection
Horror, Thrillers, & Suspense
View Collection
Immigrants & Refugees
View Collection
Marriage
View Collection
Mystery & Crime
View Collection
Psychology
View Collection
YA Horror, Thrillers, & Suspense
View Collection
YA Mystery & Crime
View Collection