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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. Wagners business partner

The Law and the Lady is one of the most ingenious and most repulsive of Wilkie Collinss 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 husbands 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 wifes 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 wifes 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 authors 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.

Miss or Mrs.? is a story in outline, and maybe the only instance in which Mr. Wilkie Collins has wasted his material; an entire novel might be constructed in his architectural style from its Incidents. There are several specimens of Mr. Wilkie Collinss neat, precise humor in this story, and the rudiments of at least one capital character. We hope to meet Lady Winwood on a wider field of action, and should be very glad to hear details of her household policy, and the final pulverization of her ladyships step- daughters.

If the only test of fiction is that it shall secure interest, then Mr. Wilkie Collins has succeeded to the full with this novel. The construction is almost perfect, and the interest is so graduated, and the plot so skillfully developed, that no portion can be skipped without loss. Mr. Collins is facile princeps in invention, and introduces no detail that is not of importance in reference to the whole. His novels, indeed, are too complete and self-contained to wholly satisfy any taste that is still simple enough to look at life as it is with anything of the pause and wonder that must often overtake the disinterested observer. There are so many loose threads always to be seen even upon the right side of the tapestry of life, that such an one is persecuted with the wish to get a look at the other side, which remains inscrutably hidden. No real story can ever be so completely told that everything at the end can be satisfactorily wound-up and disposed of. Mr. Wilkie Collinss characters seldom go their own way. They are kept rigidly moving on the puppet-strings of his plot. He is versatile in his knack of pulling a very large number about so cleverly that, while they cross and recross each others paths in every imaginable way, they never really knock against each other. Take an instance: was it at all likely that Mr. Arnold Brinkworth, who was wholly unsuspicious of the risk he was running in visiting, as his wife, at Craig Fernie "Hottle," the woman Mr. Geoffrey Delamayn had promised to marry, should have been so oblivious as not to have looked after the letter which he had carried to Anne Silvester, and with whose contents he was fully acquainted? Had he been alive to the risks he ran, his want of attention to her and her interests might have had some excuse. But the letter needed to be lost, to make the leading complication of the novel; and accordingly Bishopriggs, the smug waiter at the "hottle," is called in to do his part. All the complications arise out of most glaring improbabilities; it is only Mr. Wilkie Collinss consummate invention which, by decoy circlings, diverts the mind from dwelling on them in a way which would prove fatal to the story.

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. Farnabys 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. Collinss 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.

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 Collinss 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 studythe 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 Carminas 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.

"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 Ladys 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 popularity of Wilkie Collins is as unquestionable as his mannerism, and when this story bears the title I Say No, it is characteristic of him that the meaning of this title is not made clear until three fourths of the novel has been read. The plot is, as usual, very carefully and strongly conceived, and the reader is allowed to think that he has the clue to the secret at an early period, whereas the secret is really quite different from what seems most probable. The general effect of I Say No is much less sensational than many of the authors former stories. The situations are not void of theatrical tone, but they are distinctly quieter and more subdued. It is in fact more the society play than the melodrama, but it is dramatic. The women of, Mr. Collinss novels are usually weaker than his men, and his old and eccentric women are better than his young girls. Perhaps this is because all his women are really men worked over, so to speak, and his old women are the most natural because age has a tendency to assimilate the characteristics of the sexes. Miss La Sor, in the new story, is decidedly disagreeable, but her vices are rather those of human nature than of a woman, and she is drawn with a certain vague indeterminateness, as though the author originally meant her to fill a much more important place, but had thought better of his purpose. The story indeed is considerably shorter than most of Mr. Collinss novels, and the plot is far less intricate. This the reader will be apt to resent, for it is plot, and plenty of it, he wants when he goes to this author. Wilkie Collins has always had a large audience, however, and unless his powers fail, as this latest of his works certainly does not appear to indicate, he always will be read widely. And this is right, for he is a thoroughly wholesome and sweet writer, whoever punishes Vice and rewards Virtue, and gives us the most fascinating and complicated of plots, and thrills us with cunning detective enterprises, and surprises us with novel modes of committing crimes, and getting married, and perpetrating, bigamy, and all kinds of exciting affairs. And the world will prob ably always prefer novelists of this school to those who delight in analyzing thoughts and sentiments, and who eschew action and plot as vulgar and coarse.

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 ones 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 authors 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 others 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.

The Black Robe combines some aim at psychological analysis with great inventiveness. Mr. Wilkie Collins never writes carelessly; and in this instance he has been especially careful. The great point of the piece is the peculiar mental haunting by a voice of one Romagne, who has killed a man in a duel; and a secondary interest, which is admirably worked out, is the contest between the Church of Rome, as embodied in the person of Father Benwell and Mr. Penrose, and love, as embodied in the person of a Miss Eyrecourt. It is necessary to say that Romagne, in the course of time, has become a man of considerable property, else he could not have the close attention of either party. The Jesuitical scheming of the Romanists and the astute forecast of Miss Eyrecourt are equally well done; and it goes without saying that there are some admirable underplots, with groups of characters, who are all sketched with that kind of decisive completeness which almost makes us doubt of their reality. Mr. Wilkie Collinss stories, however, do not depend on such tests as these: they are unreal in relation to any other world save that which lies in the mind of the artist; and it is sufficient testimony to his power when we say that if you once begin to read, you must read on; for not only does one incident develop itself out of another, but there is a glamour cast over your saner mind which sometimes makes you question how you could have been so deeply interested as you really are. For around a most conventional ideal world Mr. Wilkie Collins groups so many associations and forms of everyday lifereinforces his improbabilities by the most actual-looking letters and so onthat we are completely taken possession of, and the highest tribute of praise to him is to say that he lays hold of universal springs of interest, though he really ought hardly to do so.

The story of two people who begin to love each other as boy and girl. Some mysterious agency seems to be at work, all through the story, in their behalf; for though apparently separated as children forever, they are brought together again by a most singular chain of circumstances. Apparitions and other strange hallucinations abound in the work. Altogether a pleasantly weird and odd story, and very much different from Wilkie Collins other novels.

The Haunted Hotel is a story which, like others of Mr. Wilkie Collinss 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 couriers 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.

Wilkie Collins last-but-one novel was originally published in 1889. The Reverend Abel Gracedieu raises two daughters. One of them was adopted seventeen years before the story starts because her mother was executed for murdering her husband. The main question of the plot is whether this adoption will not end in a very bad away because the daughter is allegedly as evil and wicked as her mother .

Wilkie Collins"The Frozen Deep" is a gripping melodrama that explores the complexities of love, sacrifice, and the human psyche amidst the harsh realities of Arctic exploration. Written in 1856, this work combines an intricate narrative style with elements of gothic fiction and psychological insight, characteristic of Collins broader oeuvre. The dramatic tension unfolds through a series of intense character interactions, heightened by themes of obsession and moral ambiguity, all set against the chilling backdrop of the Arctic. The play was originally a collaborative piece, influenced by Collins own involvement in dramatic literature and the fascination with exploration narratives prevalent during the Victorian era. Wilkie Collins, a contemporary and close associate of Charles Dickens, is often heralded as one of the pioneers of detective and sensation fiction. His personal experiences, including his interest in theatricality and the psychological aspects of storytelling, deeply informed his writing. "The Frozen Deep" serves not only as an artistic endeavor but also reflects Collins engagement with the cultural and societal debates of his time, particularly regarding gender roles and human resilience in the face of adversity. This compelling work is recommended for readers interested in Victorian literature and those who appreciate a nuanced exploration of psychological depth coupled with dramatic flair. Collins masterful handling of suspense and character emotion makes "The Frozen Deep" a vital read for anyone seeking to understand the evolution of the genre and the intricate interplay of love and sacrifice.

In "Heart and Science," Wilkie Collins explores the intricate interplay between emotion and rationality, a recurring theme in Victorian literature. Through the lens of a medical experiment gone awry, Collins delves into the moral implications of scientific advancement, creating a provocative narrative that combines elements of sensationalism with psychological depth. The novel stands out for its rich character development and complex plot, inviting readers to grapple with the ethical dilemmas of an age enamored with progress and discovery. Collins employs a compelling narrative style, replete with vivid imagery and philosophical musings, further immersing readers in the tumultuous world of 19th-century medicine and morality. Wilkie Collins, a contemporary and close friend of Charles Dickens, was at the forefront of the sensation novel genre. His own experiences with illness, alongside his interest in the burgeoning field of science, undoubtedly inspired his reflections on the human condition in "Heart and Science." Collins was deeply engaged in contemporary debates about morality, gender, and progress, making this work a critical commentary on the societal anxieties of his time. I highly recommend "Heart and Science" to readers who appreciate literature that challenges the boundaries between emotion and intellect. Collins masterful storytelling and incisive social critique make this novel not only an enjoyable read but also a significant contribution to the discourse surrounding the ethics of science in society.

In "The Black Robe," Wilkie Collins merges elements of Gothic fiction with the intricacies of Victorian morality, creating a compelling tale centered around the themes of justice, truth, and the pervasive influence of societal norms. The narrative unfolds through a masterful use of suspense and rich characterization, as Collins deftly navigates the shadowy realms of crime and punishment. The novels atmospheric setting, marked by the looming figure of the enigmatic Black Robe, invites readers to explore the tension between appearance and reality, reflecting the broader anxieties of an era teetering between enlightenment and superstition. Wilkie Collins, a contemporary of Charles Dickens, was deeply influenced by the social issues of his time, including the legal system, gender roles, and moral dilemmas. His firsthand experiences in the legal profession and close relationships with women often shaped his perspectives and narratives. Collins was also a pioneer of the mystery genre, and "The Black Robe" encapsulates his innovative approach, combining thrilling plots with critical social commentary that critiques the judicial practices of Victorian England. This book is an essential read for those who appreciate psychological depth intertwined with a thrilling plot. CollinsAo intricate narrative and compelling exploration of moral ambiguity offer rich insights into human nature and societal expectations. "The Black Robe" invites readers to reflect on the oft-blurred lines between virtue and vice, making it a timeless exploration of human existence that resonates profoundly even today.

Late one moonlit night, drawing master Walter Hartright encounters a solitary, terrified and beautiful woman, dressed all in white. He saves her from capture by her pursuers, and determines to solve the mystery of her distress and terror. This gripping tale of murder, intrigue, madness and mistaken identity has never been out of print since its first publication in 1860.

Described by T.S. Eliot as "the first, the longest and the best of modern English detective novels," Wilkie Collins's classic "The Moonstone" is also an important precursor of the modern mystery and suspense genres. When Rachel Verinder's legacy of a priceless Indian diamond is stolen, all the evidence indicates that it is her beloved, Franklin Blake, who is guilty. Around this central axis of a crime and a thwarted love, Collins constructs an ingenious plot of teasing twists and surprises, and an elaborate multi-voiced narrative that never flags in human interest. A huge hit when first published and ever since, "The Moonstone" keeps the reader guessing until the end, and together with "The Woman in White" places Collins among the greatest storytellers in the English language.

In "Rambles Beyond Railways; or, Notes in Cornwall taken A-foot," Wilkie Collins embarks on an evocative journey through the picturesque landscapes of Cornwall, offering readers an intricate tapestry of travel writing intertwined with vivid personal reflections. Written in a time when railway expansion began to dominate travel, Collinss literary style combines thoughtful observation with a conversational tone, as he articulates the stark contrasts between the industrial advancements and the untouched beauty of nature. His rich descriptions and detailed accounts not only capture the geography of the region but also resonate with emerging themes in Victorian literature regarding modernity and the reverence for nature. Wilkie Collins, a contemporary of Charles Dickens, was deeply influenced by the natural environment and the social changes of his time. Having faced challenges, including health issues and societal expectations, Collins sought refuge in the wild landscapes of Cornwall, where he found inspiration. His experiences as a popular novelist and playwright inform his narrative, blending a desire for escapism with keen observations on the human condition. This book is highly recommended for readers interested in travel literature, Victorian history, and the early critiques of industrialization. Collinss unique perspective invites readers to savor the beauty of Cornwall while pondering deeper existential themes, making it a delightful yet thought-provoking read.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 "The Haunted Hotel: A Mystery of Modern Venice," Wilkie Collins delves into a labyrinthine narrative that intertwines mystery, the supernatural, and elements of societal critique. Set against the enchanting backdrop of Venice, Collins employs a rich, descriptive prose style that captures the citys eerie beauty and its potential for malevolence. The novel showcases Collinss hallmark blend of gothic elements with a modern sensibility, reflecting the complex interplay of personal and societal anxieties in the Victorian era, particularly regarding issues of identity, morality, and the unknown. Wilkie Collins, a contemporary and close associate of Charles Dickens, was a pioneer in the mystery genre, known for his intricate plots and psychological depth. His background in law and personal experiences in the literary circles of the mid-19th century informed his exploration of the darker aspects of human nature. "The Haunted Hotel" is significantly influenced by Collinss fascination with the theater of the macabre and the social dynamics of his time, embodying his concern for justice and the human condition. This novel is highly recommended for readers who appreciate gothic fiction laced with suspense and psychological complexity. Collinss adept storytelling invites readers into a captivating world where every shadow evokes curiosity and every corner conceals a secret, making it an essential read for both fans of the genre and lovers of classic literature.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.