Free PDF, epub, Kindle ebook. The Woman in White was Wilkie Collins' fifth published novel. The book famously opens with Walter Hartright's eerie encounter. Contents. The Woman in White. 1. Note on the Text. Notes. Extra Material. Wilkie Collins's Life. Wilkie Collins's Works. Adaptations. by Wilkie Collins How to Make Love All Night (and Drive a Woman Wild) and practice of soil science: the soil as a natural resource / Robert E. White.
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WILKIE COLLINS. The Woman in White. Page 2. WILLIAM WILKIE COLLINS. Born in , the son of a Royal Academician. Called to the Bar in , but. Project Gutenberg · 59, free ebooks · 54 by Wilkie Collins. The Woman in White by Wilkie Collins. No cover available. Download; Bibrec. The Woman in White by. Wilkie Collins. THE STORY BEGUN BY WALTER HARTRIGHT. (of Clement's Inn, Teacher of Drawing). This is the story of what a.
There, as if it had that moment sprung out of the earth, stood the figure of a solitary Woman, dressed from head to foot in white' The Woman in White famously opens with Walter Hartright's eerie encounter on a moonlit London road. Engaged as a drawing master to the beautiful Laura Fairlie, Walter become 'In one moment, every drop of blood in my body was brought to a stop Engaged as a drawing master to the beautiful Laura Fairlie, Walter becomes embroiled in the sinister intrigues of Sir Percival Glyde and his 'charming' friend Count Fosco, who has a taste for white mice, vanilla bonbons, and poison. Pursuing questions of identity and insanity along the paths and corridors of English country houses and the madhouse, The Woman in White is the first and most influential of the Victorian genre that combined Gothic horror with psychological realism. Matthew Sweet's introduction explores the phenomenon of Victorian 'sensation' fiction, and discusses Wilkie Collins's biographical and societal influences. Included in this edition are appendices on theatrical adaptations of the novel and its serialisation history.
Later that night, Marian spies Fosco and Percival and discovers that Percival is bankrupted and he is trying to make Laura sign a document in which it is implied that Laura is giving her savings away to both Percival and Fosco. After that night, Marian falls ill; she develops typhus, so she has to stay at Blackwater. After a while, Percival insists on Laura to get out of the house and lies to her saying that Marian has gone to London, so that she approves to leave the house.
Walter arrives from America to learn that Laura has died but later he discovers the plan and meets Marian and Laura. They hide and pretend to be siblings who are taking care of Anne Catherick somewhere in London; they made up that Anne is ill and pretends to be Laura who is presumably dead.
She then travelled to London and talked to anyone that spent time with Laura during her lasts days. She finds out that Anne Catherick is back at the asylum and she states that her real name is Laura. Apparently Fosco drugged Laura and locked her in the asylum. After Marian took her away, they went to Lammeridge House but Mr. Fairlie did not believe the girl to be Laura, so they left.
Walter talks to Mrs. Clements who gives Mrs. Walter visits Mrs. Catherick and learns that there was an scandal between her and Sir Percival while she was married to Mr.
Suddenly, the church catches fire and Percival and his secret die inside. Days after the accident, Walter receives a letter from Mrs.
They decide not to tell Laura, and after a while Walter and her marry.
One day, Pesca reappears and Walter asks him to help him investigate Fosco. Walter discovers that Fosco is a political spy and Pesca confesses that he is a member of a secret political society, which Fosco has betrayed. Back at home, Walter and Marian talk to Mr.
Fairlie and everyone agrees that Laura is really alive. At the end of the story, after Mr. An Analysis of the Main Female Characters 5. The first description of Laura is provided by Walter Hartright, who has already met Anne Catherick, a young woman who resembles Laura. His description provides an image of a young Laura who is almost angelical: 12 Her hair is of so faint and pale a brown-not flaxen, and yet almost as light; not golden, and yet almost as glossy- that it nearly melts, here and there, into the shadow of the hat.
Collins and Sutherland 49 Laura is the perfect beauty canon, everything in her reflects femininity. Why is there nothing I can do?
You will end in liking Marian better than you like me- you will, because I am so helpless! Oh, don't, don't, don't treat me like a child! My lost, afflicted sister! The first time the reader is confronted with a character in a state as delicate as Laura is when Anne Catherick meets Walter. Mr Fairlie is described as fragile and hypochondriac man, who hates being disturbed. Although his age is not clear, his behavior, voice and body language suggest that he acts as a much older person. In the wretched state of my nerves, movement of any kind is exquisitely painful to me.
But could you contrive to speak in a lower key? In the wretched state of my nerves, loud sound of any kind is indescribable torture to me.
You will pardon an invalid? The origin of the term is related to a poem with the same name by Coventry Patmore. At that time, one of the distinctions between men and women was their different social spheres; women were supposed to remain in the private sphere, at home taking care of the children and serving the husband, and men were part of the public sphere, at work and in different social events.
Whatever way it ends, it must end wretchedly for me. All I can do, Marian, is not to add the remembrance that I have broken my promise and forgotten my father's dying words, to make that wretchedness worse. She is part of the story but she does not narrate herself any event; instead it is Marian, Walter or Mr. Gilmore who tell the story. This is the culmination of her passiveness, induced by society including her father, her uncle, even 16 at some extent her sister and Walter.
Laura grows more delicate and weaker throughout the novel. Consequently, Marian and Walter look more after her than they already did before. Her depression or weakness, also known as "early Victorian invalidishness" Pagander 7 had a remedy characteristic of the period; Laura had to rest, preferably in bed, and stay calm by avoiding any kind of physical or social activity. This treatment makes her even more dependent on her half-sister and her husband Walter, which in turn aggravates her passiveness as it can be seen in the following quote by Mr.
Hartright: We helped her mind slowly by this simple means; we took her out between us to walk, on fine days, in a quiet old City square, near at hand, where there was nothing to confuse or alarm her. Collins and Sutherland In that sense Laura ends up resembling Anne Catherick, more than just in a physical way.
They both are locked in an asylum unfairly accused of being mentally ill. This situation was not exclusive of Laura or Anne, but of most of women during the nineteenth century.
Marian is described as a young woman with a beautiful body and an unpleasant face. The reason why Walter finds Marian so unattractive is that Marian seems to have masculine features; she has a beautiful feminine body but she has a masculine face: "The lady's complexion was almost swarthy, and the dark down on her upper lip was almost a moustache. She had a large, firm, masculine mouth and jaw [ She is described as a very intelligent and bold woman who likes to play chess and who seems unable to do what women of her century enjoyed such as paying the piano or drawing.
Collins and Sutherland 32 Even though Marian considers herself masculine and she does not seem to fit in the beauty cannon of the nineteenth century, she is desired by some men, in particular by Count Fosco. Is this because I like him, or because I am afraid of him? In a postscript included as a page of the diary of the story, Fosco refers to Marian as an admirable woman, who would be a perfect wife for him, if the circumstances of their meeting would have been different: I lament afresh the cruel necessity which sets our interests at variance, and opposes us to each other.
Nevertheless, she is ashamed of showing any feeling characteristic of women: "My tears do not flow so easily as they ought-they come almost like men's tears, with sobs that seem to tear me in pieces, and that frighten every one about me. On the other hand, Marian does not want to marry and she is not interested in rising children. She states through the novel how men treated women and how being a wife implied being a submissive person, as shown in the subsequent quote on Fosco: 19 He looks like a man who could tame anything.
If he had married a tigress, instead of a woman, he would have tamed the tigress. If he had married me, I should have made his cigarettes, as his wife does—I should have held my tongue when he looked at me, as she holds hers.
Collins and Sutherland As already presented in chapter 3, marriage in the nineteenth century was an important social institution that did not favor women in many aspects.
It was not until that the outlook began to change. The Custody of Infants Act in claimed that women could gain custody of their children once divorced. Victorians could end their marriages alleging adultery or extreme cruelty. Nevertheless, it was impossible for women to allege adultery because male adultery was not considered a reason for divorce.
Eventually, in the Matrimonial Causes Act, that included a Divorce Bill, allowed women to divorce and to reclaim her properties and inheritance, and to have rights on the custody of their children.
Victorians married on their late twenties or early thirties, as men were expected to financially support their families. Men of his age married wives of her age every day; and experience had shown those marriages to be often the happiest ones. Being aware of the situation, Marian tries to protect her half-sister by warning Sir Percival of their legal rights: Take care how YOU treat your wife, and how you threaten ME.
But, I remember that I am writing in England; I remember that I was married in England—and I ask, if a woman's marriage obligations, in this country, provide for her private opinion of her husband's principles? Collins and Sutherland Marian has a very strong opinion about marriage, she does not want to marry yet she confesses she would marry Fosco if she had to.
Marian crosses gender boundaries not only through her personality or behavior but through her contrast with Laura. Determined to learn all they can about the mysterious woman in white, the three soon find themselves drawn into a chilling vortex of crime, poison, kidnapping, and international intrigue. Her dissertation concerns the Catholic conversion trend among the London avant-garde of the s.
She has also published articles in Italian-American studies. She works in New York City as an editor and critic. Why read this book? Have your say.
Rights Information Are you the author or publisher of this work? If so, you can claim it as yours by registering as an Unglue. Downloads This work has been downloaded times via unglue. Wilkie Collins, Publisher: Penguin Classics Published: The Evil Genius Wilkie Collins.
The Haunted Hotel Wilkie Collins.
The Moonstone Wilkie Collins. No Name Wilkie Collins. This is the story of what a Woman's patience can endure, and what a Man's resolution can achieve. If the machinery of the Law could be depended on to fathom every case of suspicion, and to conduct every process of inquiry, with moderate assistance only from the lubricating influences of oil of gold, the events which fill these pages might have claimed their share of the public attention in a Court of Justice.
But the Law is still, in certain inevitable cases, the pre-engaged servant of the long purse; and the story is left to be told, for the first time, in this place. As the Judge might once have heard it, so the Reader shall hear it now. No circumstance of importance, from the beginning to the end of the disclosure, shall be related on hearsay evidence. When the writer of these introductory lines Walter Hartright by name happens to be more closely connected than others with the incidents to be recorded, he will describe them in his own person.
When his experience fails, he will retire from the position of narrator; and his task will be continued, from the point at which he has left it off, by other persons who can speak to the circumstances under notice from their own knowledge, just as clearly and positively as he has spoken before them. Thus, the story here presented will be told by more than one pen, as the story of an offence against the laws is told in Court by more than one witness—with the same object, in both cases, to present the truth always in its most direct and most intelligible aspect; and to trace the course of one complete series of events, by making the persons who have been most closely connected with them, at each successive stage, relate their own experience, word for word.
Let Walter Hartright, teacher of drawing, aged twenty-eight years, be heard first.