The Woman in White

• Main
• YMMV
• Source
  • Chapter 1
  • Chapter 10
  • Chapter 11
  • Chapter 12
  • Chapter 13
  • Chapter 14
  • Chapter 15
  • Chapter 16
  • Chapter 17
  • Chapter 18
  • Chapter 19
  • Chapter 2
  • Chapter 20
  • Chapter 21
  • Chapter 22
  • Chapter 23
  • Chapter 24
  • Chapter 25
  • Chapter 26
  • Chapter 27
  • Chapter 28
  • Chapter 29
  • Chapter 3
  • Chapter 30
  • Chapter 31
  • Chapter 32
  • Chapter 33
  • Chapter 34
  • Chapter 35
  • Chapter 36
  • Chapter 37
  • Chapter 38
  • Chapter 39
  • Chapter 4
  • Chapter 40
  • Chapter 41
  • Chapter 42
  • Chapter 43
  • Chapter 44
  • Chapter 45
  • Chapter 46
  • Chapter 47
  • Chapter 48
  • Chapter 49
  • Chapter 5
  • Chapter 50
  • Chapter 51
  • Chapter 52
  • Chapter 53
  • Chapter 54
  • Chapter 55
  • Chapter 56
  • Chapter 57
  • Chapter 58
  • Chapter 59
  • Chapter 6
  • Chapter 60
  • Chapter 7
  • Chapter 8
  • Chapter 9
  • full
• WMG
• Wikipedia
• All Subpages
• Create New

The Woman in White

Written by:	Wilkie Collins
Central Theme:
Synopsis:
Genre(s):	Detective fiction
First published:	1860
More Information
Source:	Read The Woman in White here

The Woman in White is a serialised Victorian novel written by Wilkie Collins.

Walter Hartright, a young drawing master from Victorian London, gets a job teaching art to two young women, half-sisters Marian Halcombe and Laura Fairlie, at Limmeridge house in Cumberland. He soon is tangled in a web of dastardly deeds involving an Arranged Marriage and a Mysterious Waif in the form of escaped mental patient Anne Catherick.

The book is often considered the first Victorian sensation novel, and has been adapted into a play, several films and an Andrew Lloyd Webber musical.

Tropes used in The Woman in White include:

• Affably Evil: Count Fosco.
• Arranged Marriage: Percival Glyde to Laura Fairlie.
• Aristocrats Are Evil
• Author Appeal: Collins found the female form most beautiful when viewed from behind, so we got mention of Marian having a beautiful backside.
• Break the Cutie: Laura. It's also implied that this happened to Anne.
• Contrived Coincidence: Half the novel runs on this. But it was written in Victorian England, so nobody is surprised.
• Deadpan Snarker: Marian
• Dead Person Impersonation: Laura replacing Anne in the Asylum toward the end of the book.
• Evil Uncle: Fosco is married to Laura's aunt.
• Genre Savvy: Walter.
  • When he goes to share what he's learned with Fosco, he takes precautions so that, when he's asked "Have You Told Anyone Else?", he can assure Fosco that he has, and killing him would therefore not solve anything.
  • He happily makes a deal with Fosco that will get him what he wants but allow the latter to escape from the law scot-free because Walter assumes karma will punish him anyway.
• Girls with Moustaches: Marian Halcombe.
• Hero of Another Story: The assassin who killed Count Fosco. Discussed in Walter's notes.
• Identical Stranger: Anne and Laura, apparently (Walter discovers that Anne was Laura's half-sister.).
• Love Is a Weakness: Fosco confesses that his esteem for Marian proved to be his only weakness in the affair.
• Malaproper: Professor Pesca.
• Male Gaze: Shamelessly done by Walter on Marian.
• The Ophelia: Anne and Laura
• Person with the Clothing
• The Reveal: The truth of Professor Pesca is one of many. This is, after all, a serialized sensation novel.
• Sexless Marriage: Fortunately for Laura, implied for her and her husband; Sir Percival assures Fosco that there's no chance of Laura producing heirs.
• Tomboy and Girly Girl: Marian and Laura.
• Uncanny Family Resemblance: Two half-sisters (not Marian and Laura).
• Victorian Britain
• Victoria's Secret Compartment: Used by Fanny to smuggle letters for Marian. Fosco's wife gets them anyway.
• Villainous Glutton: Fosco.
• Woman in White: Arguably, the Trope Namer.
• Worthy Opponent: Marian Halcombe to Count Fosco. Cue rambling about how intelligent/courageous/perfect she is and how they could rule together under different circumstances (if he wasn't married, and he wasn't trying to get her sister's fortune, for starters). But one has to wonder what part of this comes from pure, candid, objective esteem, independent of the fact that the old goat is in love with her. At least in two occasions when she could have been owned by him, he just lets her off.
• Writers Cannot Do Math: Collins got annoyed by reviewers who nitpicked about mistakes in dating, which he later fixed in a future edition. He consoled himself by thinking that Shakespeare was guilty of the same thing.
• You Got Spunk: Marian, in Fosco's opinion. And he likes spunk.

The musical adaptation provides examples of:

• Adaptation Distillation
• Adaptational Attractiveness: Marian. Good GOD, Marian. In the book, she's described as being ugly and masculine. In the musical, she's this. The tradeoff, however, is that she's still considered undesirable, except this time it's due to being a Christmas Cake in her late thirties rather than young and ugly.
• Villain Song: "You Can Get Away With Anything"
• Villain Love Song: "The Seduction"