'The New Magdalene ' by Wilkie Collins ( published 1873)
Sensation Novel Transformed into a Social Concern Romance
'The New Magdalene' , serialised in 1872-1873, then as a novel in 1873, is certainly an interesting and surprisingly difficult work: Arguably contains three quite diverse sections under one title. In the 21st century Wilkie Collins ( 1824- 1889) is largely known for 'The Woman in White' ( published in 1860) and 'The Moonstone' ( 1868). The former is a major work in the development of the Victorian 'sensation novel', the latter a key player in the rise of the detective novel. It is hard to imagine 'The New Magdalene' being dramatised for modern television, or film, though a stage version did appear shortly after its publication.
This novel deals with plight of a 'fallen woman' , a social usurper, who is eventually redeemed by the love of a good Christian gentleman, but remained displaced by wider society. They both go into voluntary exile. Collins was apparently moving away from the 'sensation novel' format, where the story is largely presented for amusement,entertainment and a helping of indulgent outrage. Collins appeared to be writing a novel with a social concern message, perhaps trying to prove a point after the death of his one time close friend and contemporary Charles Dickens on 9th June 1870.
The novel opens close to the German frontier during the Franco- Prussian War in 1870. Mercy Merrick is a volunteer British nurse assisting the French army and is caring for the wounded. A young British lady raised in Canada and touring Europe, Grace Rosebery, stumbles her way into the conflict. Grace meets Mercy and explains that she is on the way to become the companion of Lady Janet, a relative living in England. Grace and Lady Janet have not seen each other ( it's not made clear why they not have exchanged photos). There is a sudden Prussian shelling, and the French start to retreat. Grace appears to have died during the fighting. Mercy rummages through Grace's bags and decides to steal her identity, taking the letter of introduction to Lady Janet and whatever else can find to become Grace.
The start of the novel is remarkable; the Franco-Prussian war as a setting for a British novel is most unusual and a scene with nurses caught up in conflict seems to predate the role of the VAD nurses at the Western Front well over forty years later.
At first this could be a sensation novel, almost going on step beyond 'Lady Audley's Secret' ( by Mary Elizabeth Braddon). Lady Audley has faked her own death to construct a new past and present to marry into wealth and a country estate. Mercy has snatched another young woman's identity to gain access into a social position that she had little hope of ever reaching.
Mercy is welcomed by Lady Janet into her country house, is soon treated like a long lost daughter. And it doesn't take long for Mercy-masquerading as 'Grace'- to become engaged to a young gentleman by the name of Horace.In fact everyone counts Mercy as being 'Grace'. What could go wrong ? The proverbial apple cart is upset by the fact that Grace has not actually died. Though Mercy and the fleeing French soldiers assumed that this was the case, a German Army doctor with standard Prussian efficiency revives her.
Once recovered from her trauma, Grace comes to England seeking her rightful position, only to be harshly treated as an impostor, a criminal or simply a candidate for an asylum. A young clergyman who is partly connected to the family is torn between an attraction to Mercy but starts to wonder if the 'new' Grace could be telling the truth.
The middle part of the novel gets interesting. Mercy is confronted with Grace, and realises that if she persists with her albeit convincing denials, Grace risks being treated as a mad woman and starts to develop pangs of conscience. Lady Janet can't bear to disown someone that she treats as a daughter in exchange for a stranger, whilst Horace whom Mercy has 'cat-fished', may also prefer to believe her lies. Tensions and double standards unravel as if in a J B Priestley play or a Noel Coward drama without the humour.
But then the story collapses into an awkward and clumsy attempt as a 'social concern' novel. Mercy surrenders but emphasises her tragic and doomed upbringing as a waif and stray existing in dire poverty, her time as a 'fallen woman' and then a convicted prisoner. Mercy could be genuinely eaten up by remorse or merely be trying to play on the sympathy of her social betters by acknowledging her wickedness and their right to harshly judge her. By this point it is difficult for a reader be bothered either way. Coming to the end of the book is a merciful release if this can writer can be permitted to attempt a feeble pun.
Ultimately 'The New Magdalene' is a curious but flawed novel. It is easy to understand why it is now quite neglected.
Pictures credit
' Jo-La Belle Irlandaise'' ('The Beautiful Irish Girl ') by Gustave Courbet, painted 1865/1866, in public domain, courtesy of 'Wikipedia'
'Showing a waiting room at Chemin de Fer 'Ouest used as a hospital . Wood engraving by P. de Kartow, in public domain courtesy of Wellcome Collection. (Reference 21817i)
Websites
The Wilkie Collins Society A great deal of material available to view . Registering/setting password optional
The Victorian Web An interesting article looking at the work of Wilkie Collins by American journalist William Winter, from 'The Philadelphia Saturday Evening Post'.
The Frozen Deep Another post from this blog concerning Wilkie Collins and his play 'The Frozen Deep', written some input from Charles Dickens.
Books
'The New Magdalene ' Wilkie Collins , 1873, Pocket Classics edition ,Sutton Publishing edition, 1993 ( does not contain notes on the text but has a biographical introduction to the life and work of Collins)
'Wilkie Collins- An Illustrated Guide', Andrew Gasson, Oxford University Press, 1998.
As ever very touched by the number of visitors to this blog from all over the world. Your interest is much appreciated.
Michael Bleak,
Brighton,
14th April 2024
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