Abstract In the following paper, Edgar Allan Poe’s “The Murders in the Rue Morgue” and Agatha Christie’s Murder on the Orient Express are considered, and compared, as exemplars of what Andrea Goulet has labelled “Global French,” which is to say that both texts convey non-English, and especially French, language use through their own original English. Both texts will be shown to be born in, stage, and depart from primal linguistic scenes: the Babelian confusion of Poe’s multiple foreign witnesses will be embodied in the impediments that keep them from the scene of the crime; in Christie’s case, the multilingual investigation on board the Orient Express will stand in place of stilted and curtailed conversation held, in the Global French of Christie’s English, on the platform of another train. As sites of original translation and communicative excess and failure, these classic texts are about language first and crime second; indeed, the murder on Christie’s Murder on the Orient Express embodies taking place but, ultimately, does not take place at all.

中文翻译：

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Ex Uno Plures：停尸间街和东方快车的全球法语

摘要 在下面的论文中，埃德加·爱伦·坡的《停尸间街谋杀案》和阿加莎·克里斯蒂的《东方快车谋杀案》被视为安德烈·古莱特所说的“全球法国人”的范例，也就是说两者文本通过自己的原始英语传达非英语，尤其是法语的语言使用。这两个文本都将被证明是出生于、舞台和远离原始语言场景：坡的多个外国证人的巴别式混乱将体现在使他们远离犯罪现场的障碍中；在佳士得的案例中，东方快车上的多语种调查将取代在另一列火车的月台上用佳士得英语的全球法语进行的生硬和缩减的谈话。这些经典文本作为原译和交际过度和失败的场所，首先是语言，其次是犯罪；事实上，佳士得东方快车谋杀案中的谋杀体现了正在发生，但最终根本没有发生。