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Literary Devices
Definition of Allusion
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals, historical events, or philosophical ideas... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to... read full definition
Chapter 1
Explanation and Analysis—Triumphal Progress:
In Chapter 1, Christie uses allusion in her description of the young and reckless Anthony Marston. As Marston drives towards Soldier Island, the narrator remarks:
Oh, well, he supposed there’d be a few girls there…. Coming out of the hotel, he stretched himself, yawned, looked up at the blue sky and climbed into the Dalmain. Several young women looked at him admiringly—his six feet of well-proportioned body, his crisp hair, tanned face, and intensely blue eyes. He let in the clutch with a roar and leapt up the narrow street. Old men and errand boys jumped for safety. The latter looked after the car admiringly. Anthony Marston proceeded on his triumphal progress.
Despite his good looks that attract attention from others, Marston has a weak sense of morality and drives dangerously despite having previously hit and killed two children while driving in a similar manner. Christie describes his drive to the island as a “triumphal progress,” alluding to the Ancient Roman practice by which military generals who had been successful in battle would lead a parade through the streets of Rome. Here, Christie’s allusion is somewhat ironic. The arrogant and handsome Marston has made no great accomplishments, but is nevertheless as confident as someone who has won a war.
Chapter 2
Explanation and Analysis—Tartar :
Christie alludes to the Tartars, a historical ethnic group based in Eastern Europe and Asia, in a scene in which Fred Narracott reflects upon the guests whom he has ferried to Soldier Island:
Fred Narracott sat by the engine thinking to himself that this was a queer lot. Not at all his idea of what Mr. Owen’s guests were likely to be. He’d expected something altogether more classy. Togged up women and gentlemen in yachting costume and all very rich and important looking. Not at all like Mr. Elmer Robson’s parties [...] Not this lot—none of them looked likely to have anything to do with a film star. He summed them up dispassionately. One old maid—the sour kind—he knew them well enough. She was a tartar he could bet.
Narracott notes the clear difference between the “film star” guests, who were previously invited to the house by its original owner Elmer Robson, and Mr. Owen’s guests, who appear to him to be ordinary and unglamorous in comparison. In his characterization of Emily Brent, Narracott states that she “was a tartar,” alluding to an ethnic group that is generally associated with Genghis Khan and the Mongol Empire. Because the tartars were often considered to be tough and ruthless by European historical sources, this allusion suggests that Brent is a harsh and unmerciful individual.
Chapter 15
Explanation and Analysis—Priest's Hole:
Christie alludes to the historical practice of constructing a “priest's hole” in a scene in which Lombard and Claythorne consider and ultimately reject the possibility that Dr. Armstrong is hiding from the others somewhere in the mansion:
Vera said urgently: “If you didn’t find him last night, you won’t find him now… That’s common sense.”
Lombard said reluctantly: “Yes, but—”
“He must have prepared a secret place beforehand—naturally—of course it’s just what he would do. You know, like a Priest’s Hole in old manor houses.”
“This isn’t an old house of that kind.” “He could have had one made.” Philip Lombard shook his head. He said: “We measured the place—that first morning. I’ll swear there’s no space unaccounted for.”
Vera proposes that Dr. Armstrong might be hiding in some secret part of the building “like a Priest’s Hole in old manor houses.” Here, she alludes to the hidden spots and passageways that were installed in many buildings during the Elizabethan period in order to hide Catholic priests from the Protestant authorities. During this time, Catholic priests were outlawed across England and Wales due to fears that they were conspiring against Queen Elizabeth I, who was Protestant. However, Lombard quickly dismisses Vera’s notion, arguing that there are no such hidden places in this modern, streamlined building, increasing the sense of mystery surrounding Dr. Armstrong’s apparent disappearance.
