"The Woman in White" by Wilkie Collins

Questo romanzo d'appendice ottocentesco, che presenta una critica velata della condizione della donna nella società di allora e una trama fatta di colpi di scena, uscì a puntate nella rivista letteraria diretta da Charles Dickens.

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An illustration of the play The Woman in White that premiered in London in 1871.

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William Wilkie Collins was born in 1824, the eldest son of a successful painter. He suffered bad health, was extremely short-sighted and had an unusual appearance, with a rather large head and small delicate body. Nevertheless, he led a colourful life. He was friends with the pre-Raphaelite painters and Charles Dickens, for whose magazine, Household Words, he contributed stories.

SCANDALOUS LIFE

When Collins left home at the age of thirty-two, it was to do something unthinkable in Victorian society: he set up house with his mistress, a girl in her early twenties who already had a daughter. He also started a relationship with another mistress. When he died in 1889, his scandalous lifestyle prevented many of his friends from attending his funeral. Collins left instructions for his headstone to be inscribed with his name, date of birth and death and the words ‘Author of The Woman in White and other works of fiction.’

BRILLIANT THRILLER 

Although critics have sometimes given greater praise to his other novels, The Woman in White was almost certainly Collins’ finest novel and it stands out in literary history as a brilliant psychological thriller. It appeared as a series of installments in Dickens’ new magazine All Year Round. This serial publication forced Collins to work to a tight routine, and yet the unfolding of the intricate plot is masterly. Various characters tell the story through a series of written eye-witness accounts. This allows for frequent shifts in narrative viewpoint, creating all the elements of suspense we are familiar with in modern best-sellers.

STRANGE ENCOUNTER

Set in 1850s England, the novel opens from the point ofview of Walter Hartright, a young painter, who finds a job at Limmeridge House in Cumberland. The house belongs to Frederick Fairlie, and Walter is to teach art to Fairlie’s niece and her half-sister. On a hot summer night, just before his departure, Walter is walking home over Hampstead Heath, north London, when he receives a terrible shock — a hand suddenly touches him on the shoulder.

“There, in the middle of the broad, bright high-road —there, as if it had that moment sprung out of the earth or dropped from the heaven— stood the figure of a solitary Woman, dressed in head to foot in white garments, […] her hand pointing to the dark cloud over London, as I faced her.”

“E lì, al centro della strada luminosa – lì, come se fosse spuntata in quel momento dalla terra, o caduta giù dal cielo – vidi stagliarsi solitaria la figura di una donna, vestita di bianco dalla testa ai piedi, [...] e con la mano indicava la nuvola scura sopra Londra, guardandomi dritto negli occhi.”

MENTAL ILLNESS

Walter helps the woman to find a cab and as they walk and talk, he mentions his new job at Limmeridge House. The woman reacts with surprising distress when she hears the name of Limmeridge, a hint of the dangers and tragedies which are to follow. As soon as the woman has left, Walter discovers she has escaped from a mental asylum.

UNREQUITED LOVE

At Limmeridge, Walter meets his pupils: Laura Fairlie and her half-sister, Marian Halcombe. Laura and Walter fall in love, but Laura is already engaged to Sir Percival Glyde, the wealthy and respected owner of Blackwater Park in Hampshire. Despite her love for Walter, Laura feels duty-bound to marry Sir Percival. However, as the book progresses, Sir Percival becomes an increasingly sinister character and we learn that he was probably responsible for placing the woman in white, Anne Catherick, in the asylum. 

Tension is created by the shifting perspectives. In her diary, Marion Halcombe describes her stay at gloomy Blackwater Park, while waiting for Laura and her new husband to return from their honeymoon. When they finally arrive, Marion hears the carriage wheels and throws down her pen. Later she writes:

“She has found me unaltered, but I have found her changed.

Changed in person, and in one respect, changed in character. I cannot absolutely say that she is less beautiful than she used to be — I can only say that she is less beautiful to me.”

“Lei mi ha trovata sempre uguale, ma io l'ho trovata cambiata. 

Cambiata d'aspetto, e in un certo senso anche nel carattere. Non posso dire che sia meno bella di prima, so solo che per me è meno bella.”

EVIL PLAN

The newly-weds are accompanied by the sinister Count Fosco and his wife. It soon becomes clear that both are spying on Marion and Laura and that Fosco has masterminded a plan to help Sir Percival get his hands on Laura’s money, perhaps through her death. At one point Marion falls ill after standing for hours in the rain, secretly eavesdropping on Count Fosco and Sir Percival. Her diary concludes:

“So cold, so cold —oh, that rain last night! And the strokes of the clock, the strokes I can’t count, keep striking in my head.”

“Ho freddo, ho freddo... ah, la pioggia della notte scorsa!... e i colpi dell'orologio, i colpi che non riesco a contare, continuano a battermi dentro la testa....”

TERRIBLE SECRET

Her writing becomes illegible and, then, chillingly, the Count himself continues her diary:

“The illness of our excellent Miss Halcombe has afforded me the opportunity of enjoying an unexpected intellectual pleasure. I refer to the perusal (which I have just completed) of this interesting Diary.”

“La malattia della nostra adorata Miss Halcombe mi ha dato l'opportunità di godere di un inaspettato piacere intellettuale. Alludo alla minuziosa esplorazione (che ho appena completato) di questo interessantissimo diario.”

As the plot continues, the sisters are separated, reunited and constantly on the run from danger, but Walter Hartright returns to help them finally uncover Sir Percival Glyde’s terrible secret.

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