Wilkie Collins, página 8 de 33

Cien años antes de que Alfred Hitchcock mereciera en el cine el título de "maestro del suspense", William Wilkie Collins lo ostentó en la literatura, con obras ya clásicas como "La piedra lunar"y "La dama de blanco", precursoras de la novela policíaca y de intriga. Pero el escritor londinense también dejó constancia de su genio en el relato corto, del que son buen ejemplo estas cinco piezas maestras. "Una cama sumamente extraña", que figura entre sus mejores cuentos, narra la aterradora aventura de un estudiante británico en París, víctima de una original y demoníaca conspiración criminal. "El caldero de aceite" nos lleva a una pequeña aldea de Francia, descorriendo el velo de la idílica cotidianidad para mostrarnos su reverso oscuro y brutal. Parodia del folletín decimonónico, "La cuna fatídica" incide en el conflicto clásico de los niños intercambiados en la cuna para construir un delicioso e hilarante cuadro de costumbres. Finalmente, "El capitán y la ninfa" y "¡Vuela con el bergantín!" son relatos aventureros, de sesgo romántico el primero y de suspense, una vez más, el segundo.

Translator: Anton Oskar Forsman

There is much in this book that will interest the English artist. The story of the painters life is plainly told with just enough, scattered here and there, of filial affection and partiality to take it out of the level of ordinary biographies. The journals are rather short, and the correspondence is somewhat scanty, but the matter is generally good, and some of the criticisms will be found both original and suggestive. William Collins, the father of well-known author Wilkie Collins, was born in Great Titchfield Street, London, on the 18th of September 1788. His father was a native of Wicklow his mother was a Scottish lady, born in the neighbourhood of Edinburgh. "It was a favourite tradition in the family of the painter," writes his son, "that they were descended from the same stock as the great poet whose name they bore;"a pleasing belief rendered additionally interesting by some anecdotes.

Wilkie Collins possesses the art of writing plays and stories so as to awaken and sustain the interest of the reader. He can create and work out a plot. It is true that the subject-matter of the plot is generally rather trivial, the characters commonplace, the whole tone and cast of the work conventional and insignificant. But the story, such as it is, has the merit of being neatly and pleasantly told. The author has set himself assiduously to inquire how the materials which he has been able to collect should be strung together, what proportion the several parts should bear to each other, and how the end of the story may be constantly anticipated by introductory hints without its precise character divulged. The result of this painstaking industry is that the reader is carried gently on, and is forced to take an interest in the web of circumstance which is spun for his benefit. Few writers give themselves so much trouble. If they have anything to say, they are ordinarily wrapped up in saying it, and trust to the guidance of their own genius to give it expression. If they have nothing to say, they are so happily constituted as not to perceive their own defects. It is, rare to find an author who, without originality, or great powers of any sort, has the gift of seeing how much arrangement and contrivance may do to enhance the value of the little he has to offer. This gift has been sufficient to ensure Mr. Collins a very considerable success, and his novels have been welcomed by the public, which always relishes the treat of small ingenuities, and likes any species of unambitious, intelligible entertainment. Besides, to have the art of narration implies the possession of many good literary qualities. It indicates that sort of good sense and good taste which rejects the superfluous, the incongruous, and the extravagant. It involves the power of putting a mass of detached minute facts into a decisive and appreciable shape. It makes us sure that the writer will keep clear of all that could annoy, weary, or offend us. The Dead Secret is no secret to a numerous class of readers, nor will it long remain a mystery to those who set out in search of it for the rst time. Perhaps it is doubtful how far the intentions of a novelist should be impenetrable,what light should glimmer at the end of his shadowy vistas,-what clues should be afforded to the pilgrims of romance. Of course no one is tempted on by utter darkness, yet in a tale which appeals simply to one element in the imaginationcuriosity; it is a proof of defective development if we at once anticipate the catastrophe. The secret is buried (not dead), but its cofin is of crystal.

Although Basil is a story of today, although all its accidental environments are of the most ordinary character, although the scene is laid in a scarce-finished suburban square (say in Brompton or Camden Town), although some of the personages are nothing more romantic than London linen-drapers, although the whole action of the drama rises out of an every-day omnibus adventure, it is a story remarkable for nothing so much as its intensity for the powerful excitement which it must produce in every breast, not absolutely containing a mass of stone in place of a human heart. A romance that is are admirable in its very own way.

This volume contains an account of a pedestrian tour by Mr. Collins in Cornwall, a county to which railways had not yet penetrated at his time. Leaving Plymouth behind him, the author, and his artist friend, Mr. Brandling, threaded the county from St. Germains to the Lizard and the Lands-End; visiting the most remarkable places, whether of art or nature, and whether the natural attractions were of the quietly beautiful, the desolate, or the magnificent kind. Mr. Collins, as a pedestrian, was of necessity thrown much among the people; and he has picked up many traits of their character, as well as some curious traditions. There are also matters of a more utilitarian cast, but popularly treatedas a mine, the pilchard fishery, an economical survey of the condition of the poor.

The setting for the six stories in this book is an episode in the life of a travelling portrait-painter, which we are made to learn through the charmingly simple narrative of his wifes diary. Disabled for a time by weakness of the eyes from working at his profession, his wife suggests that he should fill up the consequent deficit in their purse by dictating to her "after dark," when her household work is done, some of the good stories he has gathered in the course of his wanderings. The well-known necessity for getting a "sitter" to talk of something that will interest him and make him forget that he has to look dignified, renders the portrait-painter ingenious in extracting personal anecdotes and bits of striking experience, so that he has two sources of unusual knowledge about men and their fortunesobservation of his sitters themselves, and a peculiar opportunity of learning what they have to tell about others. In the prologue to each of his stories our painter, in After Dark, gives us something of what he has gathered from the former source; he describes one of his sitters or the persons with whom a certain commission brought him into contact, and tells us the conversation that led to his eliciting the succeeding story. These prologues are carefully and agreeably written, and have the negative charm, in these days of spasmodic writing fast rising into the importance of a positive meritof being free from all affectation. Of the tales themselves, the main element is the excitement either of curiosity or of terror; their great merit consists either in the effective presentation of a mystery or the effective working up of striking situations. Yet the writer does not care to interest us in his personages, but only in what happens to them. Mr. Wilkie Collins seems to be without a rival in the skillful movement of a ghost or murder story, and he knows how to give the thrill of terror, without mingling that sort of offence to refined sensibilities which causes terror to pass into horror and disgust. Three admirable stories of this class are "The terribly strange Bed,""Gabriels Wedding," and "The Yellow Mask." The author of After Dark seeks his moving incidents in modern life, and he usually, in the end, interprets the supernatural into the natural.

One of the principal characters in Mr. Collinss "Hide and Seek" is an artist; but the writer has not sketched him as labouring in his vocation amid alternations of despair and hope. "The painter in this story," he says, "only assumes to be a homely study from nature, done by a student who has had more opportunities than most men, out of the profession, of observing what the novelties of artist-life, and the eccentricities of artist-character, are really like, when they are looked at close. It may be necessary to mention this, by way of warning, as I have ventured on the startling novelty, in fiction, of trying to make an artist interesting, without representing him as friendless, consumptive, and penniless, to say nothing of the more daring innovation of attempting to extract some amusement from his character, and yet not exhibiting him as . a speaker of bad English, a reckless contractor of debts, and an utterly irreclaimable sot." Mr. Collins, has perfectly succeeded in his attempt. Valentine Blyth, the painter, is an enthusiast in his art, but an amiable, rational, sensible, though not strong-minded, man; in fact, a "naturalist," in his art and out of it; a painter who loves his profession so dearly, and fancies himself so well able to grapple with it at all points, that he hesitates at nothing, whether it be the portrait of a horse, or of a baby in swaddling clothes, a "grand classical landscape with Bacchanalian nymphs," or "Columbus in sight of the New World."Antonina and Basil have placed Mr. Collins among the most popular novelists, and "Hide and Seek" will not lessen his reputation, but the contrary. The heroine of the story is a deaf and dumb orphan girl, of great beauty, picked up by Mr. Blyth, from a company of strolling players, taken home by him, and "hidden," lest she should be found by any chance relatives, as a companion to his invalid wife; in time, however, there comes one to "seek" her; hence the title of the story. The "Madonna" of Mr. Collins is a pure and lovely creation, reminding us of the "Nina" in Bulwers "Last Days of Pompeii." The idea of making a young girl, bereft of the powers of speech and hearing, but exquisitely sensitive to that of sight, and able to appreciate all the sources of enjoyment which a true painter feelsto make such an one a helpmate in the studio, as well as the friend and companion of another woman, delicate in mind as feeble in body, was a new and most happy thought; these two characters are touchingly and charmingly described. There are others of a different description; Mr. Zachary Thorpe, who endeavours to force his son to "take kindly to religious teaching" by rendering it irksome and distastefulhow many Mr. Thorpes are there in the world!and, in consequence, he breaks through all restraint and runs riot. Then there is a strange wild fellow, called Mat, who has travelled into savage regions, lost his scalp in a foray with wild Indians, and comes home from the diggings with his tomahawk, his tobacco-pouch, some bear skins, and his pockets lined with bank-notes. These are the chief personages of Mr. Collinss tale, we shall leave our readers to find out for themselves what they do, and what becomes of them all. The writers observation of nature, animate and inanimate, and his powers of description, are clear and vigorous; he can be humorous or pathetic, gentle or boisterous; can paint the tastefully ornamented chamber of the bed-ridden invalid and its inmates, or the noisy revelries of the dissipated frequenters of the "Temple of Harmony," or the peculiarities of a painters studio, with the hand of a master.

The Ostler" was originally published in 1855 as a short story, which later became the foundation for the much longer story The Dream Woman. It is one of Wilkie Collins first supernatural stories, revolving around the forty-year-old Isaac Scatchard, who has a very strange dream of a young woman or wasnt it a dream, but a ghost? Seven years later he even gets more lost when he encounters a woman who looks very much like his strange dream creature .

A good bookshelf is not complete without this charming little tale. It is founded on what was related to the author as a fact, as to the first obtaining of the well-known cast of the face of Shakespeare, by a stonemason, who was repairing the church at Stratford-on Avon. He was found out, and by the local authorities forthwith threatened with severe penalties; and not knowing how far his deed was culpable, and their threats dangerous, he thought it best to make a hasty retreat from the place with his treasure. It was only for love and admiration of the poet that he had been prompted to procure the memorial for himself, but he was advised afterwards to turn it to profitable account. His casts, neatly mounted on black marble, were soon spread far and wide through England and America. From this fact, or tradition, the story of Mr. Wray and his family is conceived. The title of the story, as of a Mysterious Cash-Box," arises from the opening scene, where a pretty and interesting girl comes into a chemists shop, which is also the branch bank of a little country town. She asks leave to put a written bill in the window, advertising that "Mr. Reuben Wray, pupil of the late celebrated John Kemble, gives lessons on elocution and delivery at two-and-sixpence an hour." That pupils are prepared for the stage, and various announcements, the long advertisement also sets forth. Speculation was soon afloat in the town of Tidbury-on-the-Marsh, about this Mr. Wray and the fair stranger who had brought the announcement to the bank window. Mr. Dark, one of the partners, had seen one of the gentlemen who lodged at No. 12, with a large cash-box, and it puzzled him how a man with a cash-box needed to give lessons in reading at half-a-crown an hour. The connection between the mask and the mystery may now be guessed. The story is very pleasantly told, and what Mr. Collins calls a slight sketch, is a beautifully-drawn picture of domestic life and quite a tale for an English or American winter fireside.

Thoroughly annotated, this seminal study of the darkest side of Romanticism includes pictures and an extensive section on Wilkie Collinss life and works. In love with the beautiful heiress Laura Fairlie, impoverished art teacher Walter Henright finds his romantic designs thwarted by the scheming of wicked Sir Percival Glyde and his sinister ally Count Fosco. The mystery and intrigue are deepened by the ghostly appearances of a woman in white, harboring a secret that concerns Sir Percivals past. A tale of love, madness, and identity, boasting sublime Gothic settings and pulse-quickening suspense, The Woman in White was the first bestselling Victorian sensation novel, sparking off a huge trend in the fiction of the time with its compulsive, fascinating narrative.

In "Blind Love," Wilkie Collins deftly intertwines the themes of love and deception within a narrative that challenges societal norms and the construct of human emotions. Drawing from his signature style of intricate plot development and explorative character studies, Collins employs a layered approach to storytelling, with a focus on the psychological dilemmas faced by his characters. The novel is set against the backdrop of Victorian England, a time marked by strict moral codes and expectations, which Collins subtly critiques through the entangled lives of his characters, creating a rich tapestry of moral ambiguity and emotional complexity. Wilkie Collins, a contemporary of Charles Dickens and a pioneer of the detective fiction genre, was known for his innovative narrative techniques and exploration of social issues, such as marital discord and the complexities of human relationships. His own life experiences, including his tumultuous relationships with women and his knowledge of legal practices, heavily influenced his writing. Collinss keen insight into the human psyche and his use of first-person narratives allow readers to immerse themselves in the emotional turmoil experienced by his characters. "Blind Love" is highly recommended for readers seeking a profound exploration of the intersection between love and moral integrity. Collinss blend of suspense and social commentary encourages an introspective engagement with the text, making it a significant read for those interested in Victorian literature and the evolution of narrative form.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- An Author Biography reveals milestones in the authors life, illuminating the personal insights behind the text.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

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 hearts 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.