The Woman in White Wilkie Collins (bts books to read txt) 📖

The Woman in White

By Wilkie Collins.

Table of Contents Titlepage Imprint Dedication Preface to the Present Edition The Woman in White The First Epoch The Story Begun by Walter Hartright of Clement’s Inn, Teacher of Drawing I II III IV V VI VII VIII IX X XI XII XIII XIV XV The Story Continued by Vincent Gilmore of Chancery Lane, Solicitor I II III IV The Story Continued by Marian Halcombe, in Extracts from Her Diary I II The Second Epoch The Story Continued by Marian Halcombe I II III IV V VI VII VIII IX X The Story Continued by Frederick Fairlie, Esq., of Limmeridge House The Story Continued by Eliza Michelson, Housekeeper at Blackwater Park I II The Story Continued in Several Narratives I: The Narrative of Hester Pinhorn, Cook in the Service of Count Fosco II: The Narrative of the Doctor III: The Narrative of Jane Gould IV: The Narrative of the Tombstone V: The Narrative of Walter Hartright The Third Epoch The Story Continued by Walter Hartright I II III IV V VI VII VIII IX X XI The Story Continued by Mrs. Catherick The Story Continued by Walter Hartright I II III IV V VI VII The Story Continued by Isidor, Ottavio, Baldassare Fosco; Count of the Holy Roman Empire, Knight Grand Cross of the Order of the Brazen Crown, Perpetual Arch-Master of the Rosicrucian Masons of Mesopotamia; Attached (In Honorary Capacities) to Societies Musical, Societies Medical, Societies Philosophical, and Societies General Benevolent, Throughout Europe; etc. etc. etc. The Count’s Narrative The Story Concluded by Walter Hartright I II III Endnotes Colophon Uncopyright Imprint

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To
Bryan Waller Procter;
From one of his younger brethren in literature,
who sincerely values his friendship,
and who gratefully remembers
many happy hours spent in his house.

Preface to the Present Edition

The Woman in White has been received with such marked favour by a very large circle of readers, that this volume scarcely stands in need of any prefatory introduction on my part. All that it is necessary for me to say on the subject of the present edition⁠—the first issued in a portable and popular form⁠—may be summed up in few words.

I have endeavoured, by careful correction and revision, to make my story as worthy as I could of a continuance of the public approval. Certain technical errors which had escaped me while I was writing the book are here rectified. None of these little blemishes in the slightest degree interfered with the interest of the narrative⁠—but it was as well to remove them at the first opportunity, out of respect to my readers; and in this edition, accordingly, they exist no more.

Some doubts having been expressed, in certain captious quarters, about the correct presentation of the legal “points” incidental to the story, I may be permitted to mention that I spared no pains⁠—in this instance, as in all others⁠—to preserve myself from unintentionally misleading my readers. A solicitor of great experience in his profession most kindly and carefully guided my steps, whenever the course of the narrative led me into the labyrinth of the Law. Every doubtful question was submitted to this gentleman, before I ventured on putting pen to paper; and all the proof-sheets which referred to legal matters were corrected by his hand before the story was published. I can add, on high judicial authority, that these precautions were not taken in vain. The “law” in this book has been discussed, since its publication, by more than one competent tribunal, and has been decided to be sound.

One word more, before I conclude, in acknowledgment of the heavy debt of gratitude which I owe to the reading public.

It is no affectation on my part to say that the success of this book has been especially welcome to me, because it implied the recognition of a literary principle which has guided me since I first addressed my readers in the character of a novelist.

I have always held the old-fashioned opinion that the primary object of a work of fiction should be to tell a story; and I have never believed that the novelist who properly performed this first condition of his art, was in danger, on that account, of neglecting the delineation of character⁠—for this plain reason, that the effect produced by any narrative of events is essentially dependent, not on the events themselves, but on the human interest which is directly connected with them. It may be possible, in novel writing, to present characters successfully without telling a story; but it is not possible to tell a story successfully without presenting characters: their existence, as recognisable realities, being the sole condition on