Wilkie Collins

Wilkie Collins
Born William Wilkie Collins
(1824-01-08)8 January 1824
Marylebone, London
Died 23 September 1889(1889-09-23) (aged 65)
Period 1840s–1880s
Genre Fiction, drama
Children 3


William Wilkie Collins (8 January 1824 – 23 September 1889) was an English novelist, playwright, and short story writer. His best-known works are The Woman in White (1859), No Name (1862), Armadale (1866) and The Moonstone (1868). The last is considered the first modern English detective novel.

Born into the family of painter William Collins in London, he lived with his family in Italy and France as a child and learned French and Italian. He worked as a clerk for a tea merchant. After his first novel, Antonina, was published in 1850, he met Charles Dickens, who became a close friend, mentor and collaborator. Some of Collins's works were first published in Dickens' journals All the Year Round and Household Words and the two collaborated on drama and fiction.

Collins published his best known works in the 1860s, achieved financial stability and an international reputation. During that time he began suffering from gout. After taking opium for the pain, he developed an addiction. During the 1870s and 1880s the quality of his writing declined along with his health.

Collins was critical of the institution of marriage and never married; he split his time between Caroline Graves, except for a two-year separation, and his common-law wife Martha Rudd, with whom he had three children.

Early life

Portrait by John Everett Millais, 1850

Collins was born at 11 New Cavendish Street, Marylebone, London, the son of a well-known Royal Academician landscape painter, William Collins and his wife, Harriet Geddes. Named after his father, he swiftly became known by his middle name, which honoured his godfather, David Wilkie. The family moved to Pond Street, Hampstead, in 1826. In 1828 Collins's brother Charles Allston Collins was born. Between 1829 and 1830, the Collins family moved twice, first to Hampstead Square and then to Porchester Terrace, Bayswater.[1] Wilkie and Charles received their early education from their mother at home. The Collins family were deeply religious, and Collins's mother enforced strict church attendance on her sons, which Wilkie disliked.[2]

In 1835, Collins began attending school at the Maida Vale academy. From 1836 to 1838, he lived with his parents in Italy and France, which made a great impression on him. He learned Italian while the family was in Italy and began learning French, in which he would eventually become fluent.[3] From 1838 to 1840, he attended the Reverend Cole's private boarding school in Highbury, where he was bullied by a boy who would force Collins to tell him a story before allowing him to go to sleep. "It was this brute who first awakened in me, his poor little victim, a power of which but for him I might never have been aware...When I left school I continued story telling for my own pleasure", Collins later said.[4]

In 1840 the family moved to 85 Oxford Terrace, Bayswater. In late 1840, he left school and was apprenticed as a clerk to the firm of tea merchants Antrobus & Co, owned by a friend of Wilkie's father. He disliked his clerical work but remained employed by the company for more than five years. Collins's first story The Last Stage Coachman, was published in the Illuminated Magazine in August 1843.[5] In 1844 he travelled to Paris with Charles Ward. That same year he wrote his first novel, Iolani, or Tahiti as It Was; a Romance, which was submitted to Chapman and Hall but rejected in 1845. The novel remained unpublished during his lifetime.[1] Collins said of it: "My youthful imagination ran riot among the noble savages, in scenes which caused the respectable British publisher to declare that it was impossible to put his name on the title page of such a novel." It was during the writing of this novel that Collins's father first learned that his assumptions that Wilkie would follow him in becoming a painter were mistaken.[4]

William Collins had intended Wilkie for a clergyman and was disappointed in his son's lack of interest. In 1846 he instead entered Lincoln's Inn to study law, on the initiative of his father, who wanted him to have a steady income. Wilkie showed only a slight interest in law and spent most of his time with friends and on working on a second novel, Antonina, or the Fall of Rome.[6] After his father's death in 1847, Collins produced his first published book, Memoirs of the Life of William Collins, Esq., R. A., published in 1848. The family moved to 38 Blandford Square soon afterwards, where they used their drawing room for amateur theatricals. In 1849 Collins, exhibited a painting, "The Smugglers' Retreat", at the Royal Academy summer exhibition. Antonina was published by Richard Bentley in February 1850. Collins went on a walking tour of Cornwall with artist Henry Brandling in July and August 1850.[1] He managed to complete his legal studies and be called to the bar in 1851. Though he never formally practised, he used his legal knowledge in many of his novels.[4]

Early writing career

Portrait by Charles Allston Collins, 1853

An instrumental event in his career was an introduction in March 1851 to Charles Dickens by a mutual friend, through the painter Augustus Egg. They became lifelong friends and collaborators. In May of that year, Collins acted with Dickens in Edward Bulwer-Lytton's play Not So Bad As We Seem. Among the audience was Queen Victoria and Prince Albert.[7] Collins's story "A Terribly Strange Bed," his first contribution to Household Words, appeared in April, 1852. In May 1852 he went on tour with Dickens's company of amateur actors, again performing Not So Bad As We Seem, but with a more substantial role.[8] Collins's novel Basil was published by Bentley in November. During the writing of Hide and Seek, in early 1853, Collins suffered what was probably his first attack of gout, which would plague him for the rest of his life. He was ill from April to early July. After that he stayed with Dickens in Boulogne from July to September 1853, then toured Switzerland and Italy with Dickens and Egg from October to December. Collins published Hide and Seek in June 1854.[9]

During this period Collins extended the variety of his writing, publishing articles in George Henry Lewes's paper The Leader, short stories and essays for Bentley's Miscellany, dramatic criticism and the travel book Rambles Beyond Railways.[4] His first play, The Lighthouse, was performed by Dickens's theatrical company at Tavistock House, in 1855. His first collection of short stories, After Dark, was published by Smith, Elder in February 1856. His novel A Rogue's Life was serialised in Household Words in March 1856. Around then, Collins began using laudanum regularly to treat his gout. He became addicted and struggled with that problem later in life.[10]

Collins joined the staff of Household Words in October 1856. In 1856–57 he collaborated closely with Dickens on a play, The Frozen Deep, first performed in Tavistock. Collins's novel The Dead Secret was serialised in Household Words from January to June 1857 and published in volume form by Bradbury and Evans. Collins's play The Lighthouse was performed at the Olympic Theatre in August. The Lazy Tour of Two Idle Apprentices, based on Dickens's and Collins's walking tour in the north of England, was serialised in Household Words in October 1857. In 1858 he collaborated with Dickens and other writers on the story "A House to Let".[11]


According to biographer Melisa Klimaszewski, "The novels Collins published in the 1860s are the best and most enduring of his career. The Woman in White, No Name, Armadale, and The Moonstone, written in less than a decade, show Collins not just as a master of his craft, but as an innovater and provocateur. These four works, which secured him an international reputation, and sold in large numbers, ensured his financial stability, and allowed him to support many others".[12]

The Woman in White was serialised in All the Year Round from November 1859 to August 1860 and was a great success. The novel was published in book form soon after serial publication ended, and it reached an eighth edition by November 1860. His increased stature as a writer made Collins resign his position with All the Year Round in 1862 to focus on novel writing. During the planning of his next novel, No Name, he continued to suffer from gout, and it now especially affected his eyes. Serial publication of No Name began in early 1862 and finished in 1863. By this time the laudanum he was taking for his continual gout became a serious problem.[13]

At the beginning of 1863, he travelled to German spas and Italy for his health, with Caroline Graves. In 1864, he began work on his novel Armadale, travelling in August to do research for it. It was published serially in The Cornhill Magazine in 1864–66. His play No Thoroughfare, co-written with Dickens, was published as the 1867 Christmas number of All the Year Round and dramatised at the Adelphi Theatre on 26 December. It enjoyed a run of 200 nights before being taken on tour.[14]

Collins's search for background information for Armadale took him to the Norfolk Broads and the small village of Winterton-on-Sea. His novel The Moonstone was serialised in All the Year Round from January to August 1868. His mother, Harriet Collins, died that year.[4]

Later years

Photograph by Napoleon Sarony, 1874

In 1870, his novel Man and Wife was published. This year also saw the death of Charles Dickens, which caused him great sadness. He said of their early days together, "We saw each other every day, and were as fond of each other as men could be."[15]

The Woman in White was dramatised and produced at the Olympic Theatre in October 1871.

Collins's novel Poor Miss Finch was serialised in Cassell's Magazine from October to March 1872. His short novel Miss or Mrs? was published in the 1872 Christmas number of the Graphic. His novel The New Magdalen was serialised from October 1872 to July 1873. His younger brother, Charles Allston Collins, died later in 1873. Charles had married Dickens's younger daughter, Kate.[1]

Portrait by Rudolph Lehmann, 1880

In 1873–74, Collins toured the United States and Canada, giving readings of his work. The American writers he met included Oliver Wendell Holmes, Sr. and Mark Twain, and began a friendship with the photographer Napoleon Sarony, who took several portraits of him.[16]

His novel The Law and the Lady, serialised in the Graphic from September to March 1875, was followed by a short novel, The Haunted Hotel, which was serialised from June to November 1878. His later novels include Jezebel's Daughter (1880), The Black Robe (1881), Heart and Science (1883) and The Evil Genius (1886). In 1884, Collins was elected Vice-President of the Society of Authors, which had been founded by his friend and fellow novelist Walter Besant.[1]

The inconsistent quality of Collins's dramatic and fictional works in the last decade of his life was accompanied by a general decline in his health, including diminished eyesight. He was often unable to leave home and had difficulty writing. During these last years, he focused on mentoring younger writers, including the novelist Hall Caine, and helped to protect other writers from copyright infringement of their works. His writing became a way for him to fight his illness without allowing it to keep him bedridden. Carrie also served as an amanuensis for several years. His last novel, Blind Love, was finished posthumously by Walter Besant.[17]


Monument, Kensal Green Cemetery
Monument detail, Kensal Green Cemetery

Collins died at 82 Wimpole Street, following a paralytic stroke. He is buried in Kensal Green Cemetery, West London. His headstone describes him as the author of The Woman in White.[18] Caroline Graves died in 1895 and was buried with Collins. Martha Rudd died in 1919.[1]

Personal life

In 1858 Collins began living with Caroline Graves and her daughter Harriet. Caroline came from a humble family, having married young, had a child, and been widowed. Collins lived close to the small shop kept by Caroline, and the two may have met in the neighborhood in the mid-1850s. He treated Harriet, whom he called Carrie, as his own daughter, and helped to provide for her education. Excepting one short separation, they lived together for the rest of Collins's life. Collins disliked the institution of marriage, but remained dedicated to Caroline and Harriet, considering them to be his family.[19] Caroline had wanted to marry Collins. She left him while he wrote The Moonstone and was suffering an attack of acute gout. She then married a younger man named Joseph Clow, but returned to Collins after two years.[4]

In 1868, Collins met Martha Rudd in Winterton-on-Sea in Norfolk, and the two began a liaison. She was 19 years old and from a large, poor family. She moved to London to be closer to him a few years later. Their daughter Marian was born in 1869, their second daughter, Harriet Constance, in 1871 and their son, William Charles,in 1874. When he was with Martha he assumed the name William Dawson, and she and their children used the last name of Dawson themselves.

For the last 20 years of his life Collins divided his time between Caroline, who lived with him at his home in Gloucester Place, and Martha who was nearby.[4]


Collins's works were classified at the time as "sensation novels", a genre seen nowadays as the precursor to detective and suspense fiction. He also wrote penetratingly on the plight of women and on the social and domestic issues of his time. For example, his 1854 Hide and Seek contained one of the first portrayals of a deaf character in English literature. As did many writers of his time, Collins published most of his novels as serials in magazines such as Dickens's All the Year Round and was known as a master of the form, creating just the right degree of suspense to keep his audience reading from week to week. Sales of All The Year Round increased when The Woman in White followed A Tale of Two Cities.

Collins enjoyed ten years of great success following publication of The Woman in White in 1859. His next novel, No Name combined social commentary – the absurdity of the law as it applied to children of unmarried parents (see Illegitimacy in fiction) – with a densely plotted revenge thriller. Armadale, the first and only of Collins's major novels of the 1860s to be serialised in a magazine other than All the Year Round, provoked strong criticism, generally centred upon its transgressive villainess Lydia Gwilt, and provoked in part by Collins's typically confrontational preface. The novel was simultaneously a financial coup for its author and a comparative commercial failure: the sum paid by Cornhill for the serialisation rights was exceptional, eclipsing by a substantial margin the prices paid for the vast majority of similar novels, yet the novel failed to recoup its publisher's investment. The Moonstone, published in 1868, and the last novel of what is generally regarded as the most successful decade of its author's career, was, despite a somewhat cool reception from both Dickens and the critics, a significant return to form and reestablished the market value of an author whose success on the competitive Victorian literary market had been gradually waning in the wake of his first perceived masterpiece. Viewed by many to represent the advent of the detective story within the tradition of the English novel, The Moonstone remains one of Collins's most critically acclaimed productions, identified by T. S. Eliot as "the first, the longest, and the best of modern English detective novels... in a genre invented by Collins and not by Poe,"[20] and Dorothy L. Sayers referred to it as "probably the very finest detective story ever written".[21]

After The Moonstone, Collins's novels contained fewer thriller elements and more social commentary. The subject matter continued to be sensational, but his popularity declined. The poet Algernon Charles Swinburne commented: "What brought good Wilkie's genius nigh perdition? / Some demon whispered'Wilkie! have a mission.'"[22]

Factors most often cited have been the death of Dickens in 1870, and with it the loss of his literary mentoring, Collins's increased dependence upon laudanum, and his penchant for using his fiction to rail against social injustices. His novels and novellas of the 1870s and 1880s are generally regarded as inferior to his previous productions and receive comparatively little critical attention today.

The Woman in White and The Moonstone share an unusual narrative structure, somewhat resembling an epistolary novel, in which different portions of the book have different narrators, each with a distinct narrative voice (Armadale has this to a lesser extent through the correspondence between some characters.



Cover of the first edition of The Haunted Hotel by Wilkie Collins, 1879

Screen adaptations of his novels


  1. 1 2 3 4 5 6 The Cambridge Companion to Wilkie Collins; Chronology. Cambridge University Press. 2006. pp. xiii–xix. ISBN 0-521-84038-4.
  2. Klimaszewski 2011, p. 15.
  3. Klimaszewski 2011, pp. 17-18.
  4. 1 2 3 4 5 6 7 Clarke, William M. (2003). Introduction to The Legacy of Cain. UK: Alan Sutton. pp. v–x. ISBN 0-7509-0453-4.
  5. Klimaszewski 2011, pp. 19-21.
  6. Klimaszewski 2011, p. 28.
  7. Klimaszewski 2011, pp. 33-34.
  8. Klimazewski 2011, p. 37.
  9. Klimaszewski 2011, pp. 40-45.
  10. Klimaszewski 2011, p. 52.
  11. Klimaszewski 2011, pp. 53-63.
  12. Klimaszewski 2011, p. 67.
  13. Klimaszewski 2011, pp. 70-77.
  14. Klimaszewski 2011, pp. 77-84.
  15. Klimaszewski 2011, p. 97.
  16. Klimaszewski 2011, pp. 104-105.
  17. Klimaszewski 2011, pp. 113-131.
  18. Kensal Green Cemetery, Grave Number 31754, Square 141, Row 1.
  19. Klimaszewski 2011, pp. 64-66.
  20. Deirdre David, The Cambridge Companion to the Victorian Novel, Cambridge University Press, 2001, p.179.
  21. Sharon K. Hall, Twentieth Century Literary Criticism, University of Michigan Press, 1979, p.531.
  22. Algernon Charles Swinburne, Studies in Prose and Poetry, Chatto & Windus, 1915, p. 127.

Further reading

This article is issued from Wikipedia - version of the 11/28/2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.