Double the Sensation: Mad Doubles in the Sensation Fiction of Wilkie Collins and Mary Elizabeth Braddon

2018 ◽  
pp. 27-42
Keyword(s):  
Wilkie Collins ◽  
Mary Elizabeth Braddon ◽  
Sensation Fiction

Aurora Floyd

2008 ◽  
Author(s):  
Mary Elizabeth Braddon
Keyword(s):  
Young Woman ◽  
Wilkie Collins ◽  
Mary Elizabeth Braddon ◽  
Power Struggle ◽  
First Marriage ◽  
The Feminine ◽  
Lady Audley's Secret

abstract ‘With Lady Audley’s Secret, Mary Elizabeth Braddon had established herself, alongside Wilkie Collins and Mrs Henry Wood, as one of the ruling triumvirate of ‘sensation novelists’. Aurora Floyd (1862–3), following hot on its heels, achieved almost equal popularity and notoriety. Like Lady Audley, Aurora is a beautiful young woman bigamously married and threatened with exposure by a blackmailer. But in Aurora Floyd, and in many of the novels written in imitation of it, bigamy is little more than a euphemism, a device to enable the heroine, and vicariously the reader, to enjoy the forbidden sweets of adultery without adulterous intentions. Passionate, sometimes violent, Aurora does succeed in enjoying them, her desires scarcely chastened by her disastrous first marriage. She represents a challenge to the mid-Victorian sexual code, and particularly to the feminine ideal of simpering, angelic young ladyhood. P. D. Edward’s introduction evaluates the novel’s leading place among ‘bigamy-novels’ and Braddon’s treatment of the power struggle between the sexes, as well as considering the similarities between the author and her heroine.

ON THE TRACK OF THINGS: SENSATION AND MODERNITY IN MARY ELIZABETH BRADDON'S LADY AUDLEY'S SECRET

2009 ◽  
Vol 37 (1) ◽  
pp. 157-175 ◽  
Author(s):  
Eva Badowska
Keyword(s):  
Nineteenth Century ◽  
Henry James ◽  
Wilkie Collins ◽  
Mary Elizabeth Braddon ◽  
Sensation Novel ◽  
Lady Audley's Secret ◽  
The Times ◽  
The Moment

Nineteenth-century reviewers, though they disagreed about nearly all aspects of the sensation phenomenon, were united in diagnosing the sensation novel as a symptom of modernity. In a review of novels by Mary Elizabeth Braddon and Wilkie Collins, Henry James noted that their books were typically set in “Modern England – the England of to-day's newspaper” and featured protagonists who were “English [gentlewomen] of the current year, familiar with the use of the railway and the telegraph” (593). Like Bram Stoker's Dracula some four decades later, Braddon's Lady Audley's Secret (1862) represented “nineteenth century up-to-date with a vengeance” (Stoker 67; ch. 3). But Braddon's novel was also “a sign of the times” because it betokened the rising awareness of modernity's tendency toward rapid obsoleteness (“Our Female Sensation Novelists” 485). The critical hostility directed against it at the moment of its greatest success in the 1860s also had the effect of exposing the seeds of transience that constitute the paradoxical essence of novelty.

FIGURING OUT THE FASCINATION: RECENT TRENDS IN CRITICISM ON VICTORIAN SENSATION AND CRIME FICTION

2009 ◽  
Vol 37 (1) ◽  
pp. 323-333 ◽  
Author(s):  
Mark Knight
Keyword(s):  
Common Knowledge ◽  
Wilkie Collins ◽  
Crime Fiction ◽  
First Century ◽  
Sensation Fiction ◽  
Victorian Studies ◽  
Interdisciplinary Approaches ◽  
British Fiction ◽  
Recent Trends ◽  
A Minor

Over the last thirty years or so, sensation fiction has shaken off its scandalous roots to become a respectable area of academic study. The transformation began with the publication of Winifred Hughes's The Maniac in the Cellar (1980) and Patrick Brantlinger's “What Is ‘Sensational’ about the ‘Sensation Novel’?” (1982), and gathered pace in the 1980s and 90s through the contributions of Ann Cvetkovich, Pamela Gilbert, D. A. Miller, Lyn Pykett, and Jenny Bourne Taylor. One of the results of all this scholarly interest is that the genre has begun to attract more introductory works that concentrate on consolidating what others have said. Ideas that were once considered new or controversial are now seen as common knowledge: we know that sensation fiction involves more than the influential novels written in the 1860s by Mary Elizabeth Braddon and Wilkie Collins; we are familiar with the frequent blurring between sensation fiction and other genres (including crime fiction and the gothic); we are well schooled in interdisciplinary approaches that read sensation fiction alongside science, psychology, and law; and we are used to competing claims for sensation fiction as a subversive or conservative genre. With so much attention being given to a collection of writings once described by Hughes as “irretrievably minor” (167) and by Brantlinger as “a minor subgenre of British fiction” (1), one could be forgiven for thinking that there are few secrets left to be uncovered. Yet, as the wide array of books considered here attests, the critical appeal of sensation fiction and Victorian crime shows no sign of abating. If anything, the first few years of the twenty-first century have seen even greater levels of interest: a number of Victorian Studies conferences have chosen sensation as their theme, and the genre features regularly in the pages of academic journals. Given that the extent of our ongoing fascination would probably have shocked a previous generation of scholars, this review of recent critical trends will try and figure out why the genre possesses such a powerful hold on our thinking and whether or not this hold is likely to continue.

The Moonstone

2019 ◽  
Author(s):  
Wilkie Collins
Keyword(s):  
Nineteenth Century ◽  
Wilkie Collins ◽  
The Novel ◽  
Sensation Fiction ◽  
Country House ◽  
Men And Women ◽  
The Moonstone

‘Who, in the name of wonder, had taken the Moonstone out of Miss Rachel's drawer?’ A celebrated Indian yellow diamond is first stolen from India, then vanishes from a Yorkshire country house. Who took it? And where is it now? A dramatist as well as a novelist, Wilkie Collins gives to each of his narratorsa household servant, a detective, a lawyer, a cloth-eared Evangelical, a dying medical manvibrant identities as they separately tell the part of the story that concerns themselves. One of the great triumphs of nineteenth-century sensation fiction, The Moonstone tells of a mystery that for page after page becomes more, not less inexplicable. Collins's novel of addictions is itself addictive, moving through a sequence of startling revelations towards the final disclosure of the truth. Entranced with double lives, with men and women who only know part of the story, Collins weaves their narratives into a web of suspense. The Moonstone is a text that grows imaginatively out of the secrets that the unconventional Collins was obliged to keep as he wrote the novel.

Madwomen and Attics

2016 ◽  
Author(s):  
Laurence Talairach-Vielmas
Keyword(s):  
Nineteenth Century ◽  
Real Life ◽  
Wilkie Collins ◽  
Status Quo ◽  
Mary Elizabeth Braddon ◽  
Gothic Fiction ◽  
Moral Insanity ◽  
The Status ◽  
Lunatic Asylums

The chapter examines the evolution of the figure of the madwoman in Gothic narratives, focusing particularly on representations of emotions and on the ways in which definitions of madness evolved in the nineteenth century, from ‘passion’ to ‘moral insanity’ and ‘hystero-catalepsy’. Recognising that locking madwomen up has always been one of the most significant features of Gothic fiction, their imprisonment putting an end to deviance and thus maintaining the status quo, it also charts the changes in madwomen’s places of confinement - coffins and deadhouses more and more replacing attics in Victorian narratives that then capitalised on fears of premature interment. In the second half of the nineteenth century, such images of madwomen locked up in attics were revisited, as madness and ‘badness’ became the object of medical investigation and as research into mental physiology attempted to probe the mysteries of brain mechanisms. Sensation novelists such as Wilkie Collins and Mary Elizabeth Braddon rewrote the clichés of the genre, finding their sources of inspiration in real-life cases and denouncing the wrongful incarceration of women in lunatic asylums

scholarly journals The Detective and Sensation Fiction of Wilkie Collins: A Computational Lexical-Semantic Analysis

2020 ◽  
Author(s):  
Abdulfattah Omar
Keyword(s):  
Detective Fiction ◽  
Semantic Analysis ◽  
Research Question ◽  
Wilkie Collins ◽  
Semantic Features ◽  
Sensation Fiction ◽  
Lexical Semantic ◽  
Genre Classification ◽  
Textual Content

Theme and genre classifications in the works of Wilkie Collins (1824-89) have been extensively investigated using different literary approaches; these are usually based on textual content and biographical considerations. Different critics place Collins’ works under the two main headings of detective fiction and sensation fiction. Such analyses have been generated by what is referred to as the ‘philological method’; that is, by an individual critic’s reading of the relevant material and their intuitive abstraction of generalizations from that reading. A problem with such an approach is that it is not objective, and it is therefore unreliable. The research question is thus asked in response to the subjectivity of previous genre classifications of the novels of Wilkie Collins and the lack of agreement among literary critics and researchers about such classifications. As such, I ask whether an objective and conceptually useful reading of the themes and subjects of Wilkie Collins’ prose fiction texts can be developed. As thus, computational lexical-semantics is suggested to understand the issues of thematic classification. For this purpose, vector space clustering (VSC) was used for capturing the lexical-semantic features of his novels and linking them explicitly to the relevant themes and genres. It is suggested that through this method, an objective, replicable, and reliable genre classification of Collins’ novels is possible. The results of this study can serve as a basis for future studies and criticisms of Wilkie Collins’ fiction.

Artful Experiments

2018 ◽  
Author(s):  
Philipp Erchinger
Keyword(s):  
Natural History ◽  
George Eliot ◽  
Ways Of Knowing ◽  
Mary Elizabeth Braddon ◽  
Literature And Science ◽  
Sensation Fiction ◽  
Scientific Texts ◽  
Philosophical Debate ◽  
The Arts ◽  
Max Müller

What is the connection between Victorian writing and experiment? Artful Experiments seeks to answer this question by approaching the field of literature and science in a way that is not so much centred on discourses of established knowledge as it is on practices of investigating what is no longer or not yet knowledge. The book assembles various modes of writing, from poetry and sensation fiction to natural history and philosophical debate, reading them as ways of knowing or structures in the making, rather than as containers of accomplished arguments or story worlds. Offering innovative interpretations of works by George Eliot, Robert Browning, Mary Elizabeth Braddon and others, alongside in-depth studies of philosophical and scientific texts by writers such as John S. Mill, Thomas H. Huxley, George H. Lewes and F. Max Müller, Artful Experiments explicates and re-conceives the relations between the arts and the sciences, experience and language as well as practice and theory. For many Victorians, the book argues, experimentation was just as integral to the making of literature as writing was integral to the making of science.

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