The Mousetrap by Agatha Christie Analysis
I.
Given Circumstances A. Environmental Facts: 1.
Geographical Location Monskwell Manor plays the setting, located about an hour train’s ride from London just outside a small English country-side village. It is a large house and dates back to the 17th century when it was rebuilt on the ruins of an old monastery, thus the name Monkswell Manor as it retains the original monk’s wine cellar. Refurbished for a guest house – much like an extended-stay bed and breakfast - the furniture is of the current period, but the interior reflects its age with vaulted doors, high wainscoting, and heavy beams. The modern conveniences are evident, but they are not upto-date. The home is surrounded by gardens, but there are of no consequence at the moment as there is a nasty winter storm raging outside. Snow piles against the large leaded window where a bare-branched tree is silhouetted against an endless fall of snow.
2. Date: Years, season, time of day It is late January 1949. It is around 4 in the afternoon, but the strengthening snowstorm makes it seem later. All action occurs over a 24 hour time period. 3. Economic Environment The after affects of World War II are still being felt. Housing and food shortages have caused many people to seek new lodgings outside the London area. Rationing is still in effect and taking up residence in a guest house affords people to combine their ration cards and eat better as well as sharing the costs of fuel and other utilities. The price being charged is 7 pounds per week for food and board. Clothing is nicely tailored but not new and shows a little wear. The furniture has been updated, but there is also a sparseness to the main gathering room. All characters are middleclass – lower-income white collar, public servants sort of people. The only one who seems to have money is Miss Casewell. 4. Political Environment England is at peace at last after six long years of war. Law and Order is respected, but cynicism for the system exists. 5. Social Environment
This is England. People observe the right proprieties, but it seems to be wearing a little thin for some. They respect one another, but don’t allowed out-dated manners to interfere with what they believe in. 6. Religious Environment Nothing much is mentioned about religion, but it is interesting that the home was built over the cellar of an old monastery. Again, a layer of cynicism dusts the characters as they deal with reality. B. Previous Action Ten years ago, an infamous child abuse case occurred at Longridge Farm. Three children, ages 11, 12, and 13 were fostered to John and Maureen Stanning. The children were horribly mistreated and one of the two boys died. The remaining children are separated. In that time, World War II broke out. After the war, the Ralston’s, Mollie and Giles, meet, fall in love, and marry. the Ralston’s inherit Mollie’s aunt house, Monkswell Manor and decided to start a Guest House business. They advertised in the London Papers and are expecting their very first guests to the opening of their hostel. C. Polar Attitudes There is a great deal of criticism and sniping among the characters. With the exception of Mollie and Major Metcalf, all the characters indulge in a bit of needling morbid behavior. Trotter is accusatory of each character, casting doubt and sowing ill-will and fear. Paravinci delights in the situation and has a bit of a sadistic pleasure in taunting the others. Christopher Wren snips and snaps at the residents he doesn’t like and behaves in a very childish and circumspect manner. Mrs. Boyle cannot be satisfied, very critical, can’t see any good in anything, and only knows she is right all the time. Miss Casewell won’t tolerate any nonsense or over-bearing behavior and won’t hesitate to initiate her way. Giles is quick to anger and asserts his position of the master of the house often. Each character hold tightly onto their traits exhibiting classic characteristics of the “murder mystery.” D. Significance of the Facts The Mousetrap evokes an air of mystery from the moment the action starts. Setting the play in an old English Manor house which becomes cut off from civilization as murder starts supports the “mystery” element. The characters are all caught in a mousetrap of their own making so to say. The Longridge Farm case suggests the terrible effects of child abuse and sets a slight air of madness to the story. II.
Language Proper, intelligent language portray educated characters – definitely middle class, respectable, people. Mollie and Giles are young educated a little more upper class than some
of the others perhaps. They speak informally as they are familiar to one another. To others, Giles is slightly terse, a bit defensive in his language and seems to assume the role of lord of the manor in his tone and word choice “You may leave whenever you wish as since we are not acceptable. Shall I ring you a cab?” Mollie is more feminine as her manner is gentler with an understanding air when she cares about one, and she has a complex way of asking probing questions. Miss Casewell text consists of crisp, short sentences, thoughts which are strung together. Mrs. Boyle is very proper, stand-offish, an air of discontent and fault-finding in all she sees. Paravinci has an Italian lilt to the cadence of his dialogue. His word choices are smirky, his phrasing always taunting. Christopher Wren’s dialogue is snappy and quick. He’s able to quip his way through a conversation and his word choices are colorful and full of imagery. Major Metcalf is ost proper. A man of few words, his lines are clipped and militaristic. Sgt. Trotter’s lines are aggressive, pointing, always probing, “One of you is a murder….one of you is a murder.” Typical of the murder mystery, the text moves quickly, leaving questions and advancing at quick clip, retreating only to heighten the suspense from the action of the moment before. III.
Summary of Dramatic Action
The plot bangs open with a murder , the prolonged strangling of a woman, and the plot picks up from there. Scene I introduces the characters and their little quirks. As the snow falls, isolating the party from the outside world, the radio informs the audience of the murder details. Each guest seems to harbor some secret and the introductions are not as civil as the Ralstons might have hoped. Giles finds one of Mollies gloves and removes a train ticket hidden inside. At the end of I-I, Parvacini appears very unexpectedly and casts a pall over the entire party. The next afternoon, the guests gather to discuss their situation when the police ring up stating they were sending an officer out and it was a matter of life or death. When Mollie announces that the police are on their way, the guests react in superstitious ways to the news. Suddenly a face appears at the window and Sgt. Trotter enters the situation informing the guests that the recent murder in London is tied to Monkswell Manor. He reveals the fact that the murder woman was connected to the Longridge Farm child abuse case as the victim had been no other than the very woman convicted of the crime and recently paroled. Trotter implores the guests to tell him at once if they have any connection. He reveals clues about who the murder might be, describing a disturbed young man or possibly woman, suggesting they are related to the farm case. He interrogates the party to see if anyone has had any relation to the case. Mollie and the rest of the guests deny it, but it surfaces that Mrs. Boyle had been the judge who placed the children on the farm. Major Metcalf discovers that the phone isn’t working. Trotter wants to ring up headquarters, but when told the phone line is down, insists on investigating the cause. Trotter returns informing them all that the line has been cut. As the afternoon progresses on, each guest goes off by themselves. Mrs.Boyle enters the main room, she sees someone up the stairs, recognizing them. The radio comes on describing a scene of terror and when the narrator says the lights go off, the lights go off and the tune of three blind mice is heard. The radio switches stations and blares up in volume playing loud music. Over this cacophony, we hear Mrs. Boyle being strangled. When she expires, Mollie calls out and footsteps run off. Mollie enters and turns on the lights. She sees Mrs. Boyle and screams. Act II – Begins ten minutes later with everyone gathered around Mollie as Trotter
interrogates them about their whereabouts. Giles points the finger at Chris, stating he fits the bill. Mollie defends Chris and asks to speak with Trotter alone. Everyone exits to the dining room. Mollie asks Trotter if he believes the killer is the eldest boy from the Longridge Farm case. Trotter rides Mollie letting her know that it could’ve been anyone, including Giles or even herself. He plants seeds of doubts and Mollie faces uncertainty as when Trotter reveals the London paper in Giles overcoat and leaves her shaken. Christopher Wren appears and confesses his unhappy life without his mother. He childishly teases that he will run away on the Sgt.’s skis. Giles enters and orders Christopher to leave his wife alone. Aware of Mollie’s doubts, Chris refuses to leave. Mollie persuades him to go. Giles confronts her about Christopher and she in turn confronts him about London. Giles then reveals her ticket and demands to know what is going on between her and Christopher. As the fight is about to escalate into a more than hurtful situation, Paravacini enters, scolding them for quarreling and informs them that the Sgt.’s skis are missing. Trotter enters and questions everyone about the whereabouts of his skis. He tells them that one of them is a killer and one of them is the killer’s next victim. No one reveals any knowledge which could connect him. Trotter proceeds to interrogate them individually. Major Metcalf is offended. Paravacini amused. When he speaks with Miss Casewell, he twirls his hair in a nervous habit. Miss Casewell is shaken by this. Trotter then calls everyone back in and reports that he has a plan to catch he murderer. He wants everyone to repeat the actions of earlier in the afternoon when the murder occurred, but he wants each to reenact everyone’s earlier movement, but by not their own. He assigns the roles. He plays Mrs. Boyle. When everyone has exited and is set, he calls Mollie into room. Mollie enters and he tells her he knows she was Miss Waring the teacher to whom the dead child had written in vain for help. Mollie explains she had become ill and had been hospitalized with pneumonia, thus she didn’t receive the letter until it was too late. Trotter takes out a gun and Mollie states she didn’t think policeman were supposed to carry guns. Trotter laughs and informs Mollie he isn’t a policeman – he’s Georgie the older brother. He regresses as he talks about his “three blind mice” murder spree and his vow to kill everyone he felt who was responsible. Just as he is about to strangle Mollie, Major Metcalf and Miss Casewell appear. She speaks to Georgie, revealing she is his sister. He completely breaks down and as she guides him offstage, Major Metcalf pulls a needle out his pocket and follows Casewell and Trotter. Giles and Mollie express their great relief over the discovery. Metcalf returns and reveals he is the policeman who was sent there. He exchanged places with the real Major Metcalf and when Miss Casewell recognized Georgie by the hair twirling, confided in him and they waited to expose Trotter. He reveals that Georgie will be placed in an insane asylum. He tells them that he hid the skis and goes back upstairs to check on Georgie. In the background, we see Paravinci exiting with the skis. They each reveal that there were in London and exchange anniversary gifts. Major Metcalf rushes down the stairs followed by Christopher Wren, shouting about something burning and as Mollie runs off. Christopher Wren points to window where we see Paravinci sking off.
IV.
Characters
Character
Desire
Will
Moral Stance
Decorum
Adjective Summary
Character Mood
Mollie
To forget the past and move forward in a new age – material desire to make the Guest House work
Strong, but haunted by memories
Decent, would always do the right thing, feels guilty and willing to believe the best about everybody – she’s a solid friend and can be a tiger if you cross someone she cares for.
Somewhat shaky, but resilient, yet vulnerable. Later this vulnerability begins to crack and she becomes tense, more awkward than before.
Determined, loyal, vulnerable, slightly clumsy, amusingly defiant
Slightly awkward, yet energetic, alert, darting, quick heartbeat, breathless quality
Giles
To be selfsufficient, a true gentleman
Wants his way, quick to anger if he can’t get it
Very stiff upper lip in a youngish manner as he knows he can’t behave any other way.
In control, courageous, but also insecure
Cocky, Persistent, Aggressive
Hostile, belligerent, hard line, steady heartbeat, hot flashes of temper, snorting
Christopher Wren
To be childishly happy
Stubborn, much like a child’s stomping of the foot
Is very gentle at heart, but has been hurt and doesn’t hesitate to snip first to hide his own pain – good at heart
Totally uninhibited, just like an inquisitive child, deliriously happy
Pan Like, Ethereal askew, off balance, tilted,
A very different angle, hyper active very quick heartbeat, flighty
Mrs. Boyle
To have the entire world adhere to her view of the world
Abrasive, domineering
She knows what is right and that’s the only way it is. No one else knows better than her.
Stiff upper lip, condescending,
Snobbish, bullish, disapproving
Critical, overbearing, wheezy type of breathing, waddling intimidation
Major Metcalf
To put it alright again
Straightforward, to the point, nonsense, but tr
True boy scout, a gentlemen to the ladies
A true British civil servant.
Straight-arrow, clever, nondiscerning
Attentive, alert, steady, calm, ready for battle, but subtle
Miss Casewell
To make it right
To go on with life, no stones unturned
Intelligent, won’t be bullied, believes in closure
Cool and aloof.
Smooth, levelheaded
Cat-like, cleverly evasive,
Parvacini
To get away with it
To be the cat after the mouse, or is it
To survive
Jester like, dark, a touch of the sinister clouds him
Cat who swallowed the canary, mirthful, sprite
Light on his feet, almost a dancer, quick heartbeat, a dark gleeful mischief
Trotter
To revenge his family
To be the cat this time in a game of cat & mouse, to be a righteous avenger
Twisted, abused, he can’t tell right from wrong – he believes he is justified
Aggressive, always the ever pursuing detective, a sense of urgency pervades all his actions
Darting, probing, relentless
Fast heartbeat, quick urgent movements, purposeful, attacking
V.
Idea A. Meaning of the title The Mousetrap is just that. An old manor house is snowed in on its opening night and murder’s afoot as the characters are trapped by a insane murderer. The characters involved are the bait in the murder mystery. They are not the mouse to get caught in the trap, but rather that which entices the mouse to strike out. In the same sense, though they are the mouse. Georgie, the abused child, along with his siblings, were caught in a trap by the Farmer and his wife, just like the old nursery rhyme. Wishing to inflict the same fear and power over someone, Georgie sets up an elaborate “mousetrap” so he can exercise his idea of justice. B. Philosophical Statements in the Play Miss Casewell sums it all up when she states, “Life’ s what you make of it – Go straight ahead-don’t look back.” (I-1, 296) In another line from the same scene, she states, “ Don’t give in, turn your back on them" This is telling in another sense as WWII is still fresh in everyone’s mind and the advice to go forward and leave the old wounds and atrocities behind is meant for that audience as well. C. How Does the Action Relate to the Meaning? The very presence of the isolating snowstorm sets the scene as the characters are trapped, the bait being Monkswell Manor, until they release that the guest house is one big mousetrap and there’s no escape.
VI.
Moods The snow is oppressive, but the mood is quicksilver as the action propels the story from one possible solution to the next suspicion. The air of mystery is well-accomplished plants of intrigue throughout the play, such as the opening action of Mollie and Giles hiding something. Tension builds as the snow piles up the many mysteries of this drama.
VII.
Tempo The play immediately begins with a murder and the action builds from there. Each guest causes unanswered questions, as the play clips along. It continues at a fast pace, with each major beat increasing in suspense.
VIII.
Tone A quick-paced venture into child abuse, inept bureaucracy, and the need for absolution.
IX.
Style of the Play A mystery melodrama chocked full with stock characters and teasingly macabre incidents which keeps the audience guessing until the very end. Suspense and secrecy propel the action towards its surprise ending.
X.
Dramaturgy Still playing in the theatre in which it opened, The Mousetrap is an icon of the murder mystery melodrama, now in it’s 59th year in London.
