Wilkie Collins
Список книг автора Wilkie CollinsJezebel's Daughter
The novel revolves around two totally different ladies, both of which happen to be widows. In England, we have Mrs. Wagner, who wants to run the business of her deceased husband and hire more women; she has a philanthropic vein and takes Jack Straw from the Bedlam asylum right into her own house. Then we have Madame Fontaine, whose husband was a scientist and an expert on toxins. She has had monetary problems since the death of Mr. Fontaine, and gets very excited, when her daughter Minna starts to date Fritz Keller, the son of Mrs. Wagner's business partner …
Armadale
Wilkie Collins has given us in this novel one more instance of his strange capacity for weaving extra plots. Armadale, from beginning to end, is a lurid labyrinth of improbabilities. It produces upon the reader the effect of a literary nightmare. Miss Gwilt, Mrs. Oldershaw, and Doctor Le Doux of the Sanatorium are enough to make any story in which they figure disagreeably sensational; and Mr. Collins seizes every possible opportunity of working up the horror they inspire to the highest point. If it were the object of art to make one's audience uncomfortable without letting them know why, Mr. Wilkie Collins would be beyond all doubt a consummate artist. To the accomplishment of this object he devotes great ingenuity, a curious genius for arranging and contriving mysteries, and a good deal of what may be called galvanic power. There is a sort of unearthly and deadly look about the heroes and heroines of his narrative, and though it is necessary for the purpose of the plot that they should keep moving, we feel, that every, one of their motions is due, not to a natural process, but to the sheer force and energy of the author's will. They dodge each other up and down the stage after the manner of puppets at a puppet-show, and after watching their twistings and turnings from first to last we come away full of admiration of the strings and the unseen fingers that are directing everything from behind the curtain. An ordinary novelist would let the villains murder their intended victim at once, and have done with it. Not so Mr. Wilkie Collins. A hundred agencies are brought into play to suspend our interest through this long volume. Spies, detective officers, lawyers, and two or three virtuous and watchful amateurs counterplot day and night against the villains. Each dogs the other till he is tired, and when he is tired the other dogs him. They overhear each other's secrets from behind trees, or lurk unsuspected under windows, keeping diaries sometimes of their proceedings. To heighten the absorbing interest of this contest of intelligences, railways, telegraphy, post-offices, presentiments, and dreams are freely used ; and the wonders of science do duty side by side with the marvels of the supernatural world. As a whole the effect is clever, powerful, and striking, though grotesque, monotonous, and, to use a French word, bizarre. There can be no mistake about the talent displayed. What strikes one as wanting is that humor which is the salt of all great genius, and that sense of proportion and beauty which is the soul of all real art.
Antonina
In 'Antonina, or The Fall of Rome', Mr. Collins reproduces in very vivid and gorgeous colors the striking and important events that marked the first steps in the decline of the Roman power. The period affords ample scope to a fertile imagination and a brilliant fancy. We have before us Rome in all its luxury, refinement, and depravity, we watch the spread of the moral gangrene that has eaten into its heart's core. We would direct the attention of our readers particularly to the description and details of the famine while making its grand strides through the devoted city as one of the most powerful and masterly chapters of the book. The story abounds with passages of surpassing beauty and striking eloquence, and we are presented with a succession of artistically arranged scenes, portrayed with all the exuberant fancy of a poet and all the brilliant prismatic coloring of a painter. This book has a powerful attraction to the lovers of imaginative literature and there is a charm about the story which has ensured its popularity and success.
My Lady's Money
"In relation to the purely literary side of the question," as Mr. Wilkie Collins says, there can be no doubt that his studies of character in 'My Lady's Money' do seem to be drawn from nature. The story is constructed with his accustomed skill, the details fit together as usual with the precision of the facts in a criminal trial.
The Law and the Lady
'The Law and the Lady' is one of the most ingenious and most repulsive of Wilkie Collins's novels, and we doubt, if having begun, that anyone would leave it unfinished. The heroine marries a man and soon discovers that she is his second wife, and that he has been tried in Scotland for the murder of his first, – the jury returning a verdict of" Not proven," which, not establishing his innocence, simply declared that the evidence was not sufficient to convict him. She resolves to devote her life to the task of proving her husband's guiltlessness, and sets to work, without his knowledge. When he becomes aware that she has learned his secret, he leaves the country, convinced that she must despise him. The narrative of the wife's labors is intensely interesting, and marked by the ingenuity in handling and adapting evidence in which Mr. Collins is pre-eminent. In time the two are reunited, and later the wife's task is accomplished. Two characters, so original as horrible, figure in the story, – Miserrinius Dexter and his niece, Ariel. Though Dexter could not possibly belong to real life, he is the most striking and absorbing personage in the book. Whether the author violates physiological probabilities by endowing this mere atomy with the furious passions which controlled him, we shall not undertake to decide ; but it is certain that the rules of Scottish courts must differ widely from ours if they permit a witness under examination to argue and declaim as did Mr. Dexter at the trial of Macallan. Like all the author's novels, this one is wholly devoid of warmth and tenderness and the light of human affections : even in the love of Macallan and Valeria there is a somber reserve. But his admirers will find in the story no reason to abate their admiration for his power of construction and development.
Blind Love
It is on the true story of Baron Carl Ludwig von Scheurer, in which so many insurance companies were interested, that Wilkie Collins based the plot of his novel 'Blind Love,' a work which he did not live to complete by his own hand. In August 1889, when its publication in serial form had been under way for a couple of months, Mr. Collins realized that he would not be able to finish the story. So he sent for Mr. Walter Besant, and that versatile and rapid worker undertook the completion of the book. He has done it, as he says in the preface, to the best of his ability, but he is so conscious of the difference between the style of his own work and that of Wilkie Collins that he invites the critic to lay his finger on the spot where Wilkie Collins' writing ends and his own begins. Every scene and situation in the novel from beginning to end had been, however, outlined by Mr. Collins before the hand of death was laid upon his pen, and the story, as a story, must therefore be credited to him. In 'Blind Love' we find Baron von Scheurer transformed into Lord Harry Norland, the wild and reckless younger son of an Irish peer, while Dr. Castelnau furnishes the prototype of Dr. Vimpany, an impecunious and unscrupulous medical man practising in the English provinces. After some preliminaries in Ireland and England which serve to present the wild Irish Lord in a vivid way, and to lead the heroine, Iris Henley, into his clutches through the blind love which drives her to her ruin, the scene shifts to a suburb of Paris, where the conspiracy to swindle the insurance company is hatched and successfully consummated. In dealing with a plot of this character Wilkie Collins is on familiar ground, and it is needless to say that the whole business is managed in a masterly way. 'Blind Love' possesses, as the last work of the author of 'The Moonstone' and 'The Woman in White', a peculiar and melancholy interest.
The New Magdalen
Though perhaps this story does not equal, from a literary point of view, some of Collins's previous efforts—it being less sensational and less complicated in its plot—it is, nevertheless, one of the best he has ever written. It is an able and eloquent protest against the false state of society and that cruel sentiment which prevents an erring woman ever returning to the path of virtue. Aside from its moral purpose, the story is exceedingly interesting. It should be read thoughtfully by everyone.
The Fallen Leaves
In 'Fallen Leaves', Mr. Wilkie Collins has touched on some very difficult problems, and has done it with delicacy. Though the main interest of the story does not lie in the plot, but rather in the characters and in the novel situations he has found, yet there is a sense of consistency and completeness, which draws from the reader as he proceeds the keenest interest, in spite of an occasional touch of melodrama, which Mr. Wilkie Collins finds it very difficult to leave behind him. Amelius Goldenheart, the representative of an old English family, has been educated at a socialist institution in America ; and having fallen under a misconstruction, is glad to make his way to England, a tour for which his independent income of £500 a year is a happy sine qua non. On the voyage he makes acquaintance with a certain Rufus Dingwell, an admirable type of the better class Yankee ; and these two gentlemen are speedily on intimate terms with the family of a Mr. Farnaby, a rich City man, of some incidents in whose earlier life we have had a very significant glimpse in the opening. Mr. Farnaby had, in fact, for purposes of his own, to steal and to convey away his own illegitimate child, that he might compel Mr. Ronald, his rich master, to acquiesce in his wishes for marriage with his daughter. In this he completely succeeds ; and the story turns on the interest of the search for this lost daughter, on the success of which the poor mother finds her one hope. The sketches of Regina, Mr. Farnaby's niece, of Phoebe, the maid, and her lover Jervy, are admirably done, and we should not forget the inevitable Mrs. Lowler, who, though her counterparts have been well done by Dickens and others, still, in Mr. Collins's hands, has traits wholly her own. The scene in the low public-house, where Phoebe fell under the anger of Mrs. Lowler, and was cleverly saved from the results of it by Jervy, is very cleverly executed. Mrs. Farnaby soon takes Amelius into her confidence, and charges him to aid her in the search for her lost child, to which he agrees ; and whilst she is allowing herself to pass into the hands of swindlers, Amelius has all unconsciously found the lost child in ' Simple Sally,' whom he has rescued from the cruel treatment of a foul wretch who held her as his property. The style of life to which these incidents conduct us is what gives the title to the book ; but Mr. Wilkie Collins has taken care to treat everything with such caution and reserve that he would be either a very sensitive or a very coarse person indeed who would feel any other than touched and elevated by the picture here presented.
The Haunted Hotel
'The Haunted Hotel' is a story which, like others of Mr. Wilkie Collins's stories, fascinates the reader, and compels him to finish it at a sitting. It has, too, this merit, that as the story progresses one is forced to recall the facts of the earlier part, and see the object for which they were related and the bearing they have upon subsequent events. It is often possible to put together a mass of intricate details none of which is irrelevant, but it is a rare skill which can make it plain to a reader reading at full speed that they all had their necessity and proper effect. Few writers can do this so well as Mr. Wilkie Collins. The mystery in 'The Haunted Hotel' is grim enough to please a keen appetite for grisly horrors, without glutting it by matter of fact description. A good deal is left for imagination to fill up. Whether or not the reader is meant to guess the explanation of the courier's disappearance, as he probably will if he is at all practiced in mysteries, is not of much importance. Having guessed it, he will still read with undiminished interest to see how it is worked out. There is, it seems, one defect in the story. It is a mystery with an explanation; but one particular fact which is not a mystery has no explanation….
Heart and Science
Mr. Wilkie Collins has here presented us with a 'novel with a purpose', and yet he has sacrificed none of his freedom and adroit resource of treatment. He has evidently, as he claims in the preface, devoted far more time and care to the study of character than in some former cases; but he is as ingenious as ever in managing his plot, in working one incident into another, and surprising us with developments which nevertheless have been well prepared for. His psychology in this case is closer and more realistic than we remember aforetime; though perhaps a certain section of the medical profession may feel a call to fight hard with him over some points. For he aims at exposing the dehumanizing effects of vivisection, believing with Dr. Haughton that persevered in without very effective checks on the side of ordinary sympathy, it may soon transform a man into a devil. But Mr. Wilkie Collins's great art is seen in tracing the purely psychological lines of the novel, a romance pure and simple, which cannot but affect the most ignorant and stolid. Readers who will not appreciate many of the points so cleverly made against vivisection, will sympathize with Hope Vere and Carmina in their sufferings and their final deliverance; with Miss Minerva, the governess, in her notable triumph over selfish passion; with poor Mr. Gallilee in his awkward position, and his noble decision though taken late; and with 'Zo' in her naive simplicities, and odd likings and dis likings, and her untainted healthy impulse, which enables her unconsciously to act with decision in a critical moment. It would not be fair for us to outline Mr. Wilkie Collins' well-laid plot: suffice it to say that in Mrs. Gallilee, the gradual ossification of the heart and healthy sympathies through excessive de mand for knowledge and the power it is supposed to bring with it, is a most original study—the gradual slipping into crime itself seeming to be but a necessary outcome of the false theory of life she has sought to exhibit in practice. Dr. Benjulia, who isolates himself in his big laboratory, and is keen to wink at bad practice in poor practitioners like Null that he may carry on his own experiments in brain disease, is drawn with decisive pencil; and Mr. Le Frank forms as original a villain as Carmina's old Italian nurse does an attached dependant. Mr. Mool, the lawyer, is one of the weakest characters, but luckily very much does not depend on him. Mr. Collins expresses his thanks to Miss Power Cobbe and some others for aid given to him: he will doubtless furnish them with aid in their noble crusade against scientific cruelty. On the whole, Mr. Collins has secured success in a most difficult experiment; one chief cause of which is that he has dealt with results and general impressions, leaving detail of technicalities behind. The story is strong as a story; and only those who have more or less deeply into the subject will be able to realize the labor Mr. Wilkie Collins has gone through by way of preparation for this work.