《月亮宝石》中的暗影
摘要
威廉·威尔基·柯林斯是英国维多利亚时代最富盛名的作家之一。其巅峰之作《月亮宝石》在当时可谓享誉世界,如今也被誉为侦探小说的经典作品之一。
小说的结构基本借鉴于他的上一部成功之作《白衣女人》。通过让不同的人物以其独特的视角来观察事态,形成他们对事态和人物独有的观点和理解,柯林斯将情节步步推进;而这种叙事方式也在客观上暴露了不同叙事者内心有意或无意掩藏的真实。此外,通过这种技巧,柯林斯便可以在不打断叙述者声音的前提下隐约地表达自己的观点和想法。
柯林斯善于选取现实中的犯罪题材进行文学创作,《月亮宝石》的创作灵感就来源于1860年一起引起英国全民关注而至今未破的悬案——路边小屋谋杀案。当然,故事的背景也受到了1857年震惊英国的印度兵变的影响。另外,柯林斯还借助当时盛行的心理学理论为月亮宝石这一悬案提供了合理的解释。
整个故事围绕着月亮宝石的神秘失踪一案而展开。个性张扬的亨卡什上校在英国洗劫印度的过程中获得这个无价之宝并把它带回英国。由于声名狼藉,回国后他受到家人的避讳,而视月亮宝石为圣物的印度教徒也在暗中追杀他。狡猾的亨卡什一边过着秘密的、与世隔绝的生活,一边将宝石安置在银行坚固的保险库里,并规定若自己死于非命,月亮宝石就立即被切割成数份,宝石便不再具有神性;若正常死亡,就归其侄女雷切尔所有。值得一提的是,雷切尔的母亲维林达夫人,也就是他的妹妹,曾冷漠地将他拒之门外。其侄子富兰克林作为遗嘱执行人带着这颗珍贵的钻石来到了维林达公馆,并遵照遗嘱在雷切尔的十八岁生日宴会上赠予了她。而钻石就在当晚失窃。大侦探卡夫探长受命调查此案。长相残缺,曾是小偷的女仆罗姗娜,雷切尔的表兄和爱人富兰克林,在房屋四周游荡的三个变戏法的印度人,甚至雷切尔本人都先后受到了怀疑,但调查却一无所获。随后,雷切尔发誓永不再见富兰克林,罗姗娜自杀,印度人失踪,富兰克林失意地四处旅行,卡夫探长也辞职归乡。一年后,作为遗产继承人,富兰克林回到英国并意外地寻得案件中失落的环节,再加上吉林士先生的心理实验,这起悬案的死结终被合理解开——原来当晚富兰克林在鸦片酊的作用下梦游到雷切尔的闺房拿走了宝石,而这个过程恰被当时难以入眠的雷切尔亲眼目睹。得知这一新发现卡夫再次推理,在一个叫古士白林的机灵小男孩的帮助下,最终在一个旅馆找到了真正偷走月亮宝石的人——高孚利,此时他已在床上被窒息而亡。而月亮宝石在本国和他国历经了多个世纪的磨难后,最终回归于月亮女神像上。
由于侦探小说这一文学流派带有的通俗性,以及柯林斯所创作的早期侦探、犯罪和惊悚等小说并没有其后辈成熟及影响深远,国内的研究很少触及其人其作品,国外的研究也比较有限。但近三十年来,国外掀起了对柯林斯及其“通俗”作品的重新认识和解读,笔者亦从中受到启发,同时认为侦探等一些所谓通俗作品并不等同于低俗,柯林斯及其文学作品的魅力仍值得进一步发掘和探索。在前人研究的基础上,本文将主要结合荣格分析心理学中的暗影原型对《月亮宝石》进行新的解读。暗影处于人格中的负面,受到自我的压制和排斥。如果习惯于忽视暗影的世界,将很容易导致对于他人甚至自身的一种误判及误解。笔者认为正是这种潜藏于人物内心的暗影导致人物之间的陌生感及人物关系的不协调,致使小说悬念迭起,充满神秘感和未知的因素;这一方面大大增加了小说的可读性,另一方面也促使读者对维多利亚时代及这个时代的人进行更深层次的思考。
论文的主体部分分为三章。第一章主要是对荣格分析心理学理论的介绍尤其是对其暗影原型的阐述,以便为下文的分析做好铺垫。第二章主要是结合荣格的理论,对维多利亚式家庭中男女人物内心的暗影领域进行精神分析,这包括两个部分:第一部分是对女性人物如雷切尔,罗珊娜及克拉克小姐的分析;第二部分是对男性人物如富兰克林,高孚利,吉林士以及卡夫探长的分析。通过分析笔者发现人物内心自我与暗影的尖锐对立是导致神秘和悬疑产生的原因,他们内心难以遏制的欲望既是诅咒亦是救赎,同时也发现侦探事实真相既是捉摸他人的内心亦是发掘自我的过程。笔者发现月亮宝石好比一颗探测人心的钻石,在探寻它的过程中,潜藏在小说中的暗影逐渐显露,第三章就主要分析暗影在小说中所体现出的两个方面:一是指在物化的社会中人物内心未知的欲望,另一个是指在殖民主义背景下一种被压抑的未知,如潜藏在暗处的印度教徒,而这种未知总有寻求释放的冲动与执着。论文最后做出结论:《月亮宝石》不仅由于其巧妙的情节设定及精致的人物刻画堪称一部完美的侦探小说,同时也暗含着作者柯林斯对于犯罪行为的理解,即,危险和犯罪并不一定是来源于外界而恰恰可能来自人的内心。
William Wilkie Collins is one of the most famous writers in the Victorian age. He’s most remembered by The Moonstone, a work of his literary zenith, which was then a world-famous novel and is now regarded as one of the classics of the detective fiction genre.
The format of the story is similar to the one Collins had used in The Woman in White. He presented the events sequentially from the vantagepoint of different individuals who witnessed different events and formed their own opinions and interpretations of the occurrences, and during this process, some hidden truths about the narrators themselves were exposed, intentionally or unintentionally. What’s more, with this narrative technique, Collins was able, in an invisible way, to express his own attitudes to or thoughts about the materials he was presenting without interrupting the continuity of the narration.
Collins inclined to select from real crimes for his literary creation. As a matter of fact, The Moonstone was inspired by the Road murder case in 1860, which received national attention and remains unsolved until now. Obviously the idea of stealing the moonstone came from the shocking and tragic India mutiny in 1857. Besides, he also employed some well-received contemporary psychological or scientific theories for knotting and unlocking his mysteries.
The content of the story focuses on unraveling of the mystery of the missing moonstone. The always wild and unruly Colonel Herncastle viciously robbed the guardian Brahmin of the moonstone during British soldiers’ransacking of Seringapatam and stealthily brought it back to England. With a notorious reputation, he was generally rejected by his relatives, while the India Brahmin were lurking around waiting for the right time to take his life and restore the holy moonstone to the statue of the moon goddess. Guileful as he was, he started a secret and isolated life and deposited the diamond in the safekeeping of the bank with such an instruction: in a case of abnormal death, the moonstone should be cut into several pieces and sold immediately, and in this way, its holy identity would be lost for ever; in a case of normal death, the diamond should be bequeathed to his niece Rachel as a gift for her 18th birthday. But it’s worth noting that Rachel’s mother and his sister Lady Verinder had coldly rejected him at his former visit at Rachel’s last birthday party. After his death, his nephew Franklin brought the moonstone to the Verinder house as an executer of his uncle’s will and gave Rachel this precious diamond at her 18th birthday party, but the moonstone went missing that very night. Great detective Sergeant Cuff was called in to solve the case. Then the deformed maid Rosanna who’s also an ex-thief, Franklin whom Rachel’s heart secretly stayed with, the three Indians lurking around the house and even Rachel herself, was or were suspected successively. Yet the case met with a dead-end: Rachel became silent and hysterically swore never to see Franklin again, Rosanna killed herself in the shivering sand, the Indians went missing and Franklin, both confused and heartbroken, went abroad to travel around, Cuff quitted his job as a retirement. One year later, when Franklin came home to inherit his father’s rank and property, some missing links of the case gradually came up. With Mr. Jennings’psychological experiment, the dead knot of the case was finally unraveled: the night the moonstone went missing, Franklin happened to be drugged by laudanum; under the pressure of a heavy anxiety for Rachel’s safety, he sleepwalked to Rachel’s room to take the moonstone away with an intent to protect her, which was mistaken by Rachel who had witnessed Franklin’s“crime”. With this new clue, Cuff began a new direction of deduction and detection which was assisted by a smart little boy Gooseberry; they caught the real thief of the moonstone in a hotel room who’s already killed in suffocation: the distinguished Godfrey Ablewhite. As for the moonstone, after centuries’trials and tribulations, it finally restored its place to the Indian moon goddess.
As the detective fiction genre has an association with“low”fiction, for a long time, it has been critically marginalized especially in its research at home. Yet during the last 30 years, Collins and his works have been reassessed abroad, which has inspired the writer of this thesis, who thinks that detective fiction does not equal to low genre and Collins and his works are worth further digging and researching. Based on the former studies, this thesis intends to reassess The Moonstone in terms of one of the most compelling ideas of the Jungian theory, the concept of the shadow. The shadow, as the negative side of personality, is repressed and rejected by the ego. The habitual neglect of the realm of the shadow will lead to the misjudgment and misunderstanding of others, or even oneself. The writer of this thesis thinks that it is exactly the shadow which hides in people’s hearts that creates the strangeness and disharmony between human relationships, which consequently leads to suspense, mystery and uncertainty as reflected in the novel: on the one hand, the novel becomes more attracting, and on the other, the reader could arrive at a deeper understanding of the Victorian time and its people in the end.
The main body of the thesis is divided into three chapters. Chapter one includes a brief introduction to Jung’s analytical psychology and a detailed explanation of the shadow archetype. Chapter two focuses on detailed psycho-analysis about the shadow inside the characters living in a Victorian family, in terms of the Jungian theory, especially the shadow theory. And it is divided into two parts: the female characters such as Rachel Verinder, Rosanna Spearman and Miss Clack and the male characters such as Franklin Blake, Godfrey Ablewhite, Ezra Jennings and Sergeant Cuff. And it’s discovered that it’s the conflicting state of the characters’ego and shadow that leads to the complication of the mystery and acts as a curse or salvation to their souls, and moreover, that the detection of truth is actually a reassessment of others and a rediscovery of oneself. Chapter three focuses on the analysis of the two aspects of the shadow hidden inside the novel which are discovered through the detection of the moonstone: first, the unknown desires hidden in a materialized society; second, the repressed unknowns in an imperialist country, such as the patient and dedicated Indians lurking around, that have a persistent passion for their recognition. The thesis then ends with a conclusion: The Moonstone is not only a perfect detective fiction with brilliant plotting and exquisite characterization, but also conveys Collins’s understanding of criminality: the real danger or crime does not come from without but most probably from within.
小说的结构基本借鉴于他的上一部成功之作《白衣女人》。通过让不同的人物以其独特的视角来观察事态,形成他们对事态和人物独有的观点和理解,柯林斯将情节步步推进;而这种叙事方式也在客观上暴露了不同叙事者内心有意或无意掩藏的真实。此外,通过这种技巧,柯林斯便可以在不打断叙述者声音的前提下隐约地表达自己的观点和想法。
柯林斯善于选取现实中的犯罪题材进行文学创作,《月亮宝石》的创作灵感就来源于1860年一起引起英国全民关注而至今未破的悬案——路边小屋谋杀案。当然,故事的背景也受到了1857年震惊英国的印度兵变的影响。另外,柯林斯还借助当时盛行的心理学理论为月亮宝石这一悬案提供了合理的解释。
整个故事围绕着月亮宝石的神秘失踪一案而展开。个性张扬的亨卡什上校在英国洗劫印度的过程中获得这个无价之宝并把它带回英国。由于声名狼藉,回国后他受到家人的避讳,而视月亮宝石为圣物的印度教徒也在暗中追杀他。狡猾的亨卡什一边过着秘密的、与世隔绝的生活,一边将宝石安置在银行坚固的保险库里,并规定若自己死于非命,月亮宝石就立即被切割成数份,宝石便不再具有神性;若正常死亡,就归其侄女雷切尔所有。值得一提的是,雷切尔的母亲维林达夫人,也就是他的妹妹,曾冷漠地将他拒之门外。其侄子富兰克林作为遗嘱执行人带着这颗珍贵的钻石来到了维林达公馆,并遵照遗嘱在雷切尔的十八岁生日宴会上赠予了她。而钻石就在当晚失窃。大侦探卡夫探长受命调查此案。长相残缺,曾是小偷的女仆罗姗娜,雷切尔的表兄和爱人富兰克林,在房屋四周游荡的三个变戏法的印度人,甚至雷切尔本人都先后受到了怀疑,但调查却一无所获。随后,雷切尔发誓永不再见富兰克林,罗姗娜自杀,印度人失踪,富兰克林失意地四处旅行,卡夫探长也辞职归乡。一年后,作为遗产继承人,富兰克林回到英国并意外地寻得案件中失落的环节,再加上吉林士先生的心理实验,这起悬案的死结终被合理解开——原来当晚富兰克林在鸦片酊的作用下梦游到雷切尔的闺房拿走了宝石,而这个过程恰被当时难以入眠的雷切尔亲眼目睹。得知这一新发现卡夫再次推理,在一个叫古士白林的机灵小男孩的帮助下,最终在一个旅馆找到了真正偷走月亮宝石的人——高孚利,此时他已在床上被窒息而亡。而月亮宝石在本国和他国历经了多个世纪的磨难后,最终回归于月亮女神像上。
由于侦探小说这一文学流派带有的通俗性,以及柯林斯所创作的早期侦探、犯罪和惊悚等小说并没有其后辈成熟及影响深远,国内的研究很少触及其人其作品,国外的研究也比较有限。但近三十年来,国外掀起了对柯林斯及其“通俗”作品的重新认识和解读,笔者亦从中受到启发,同时认为侦探等一些所谓通俗作品并不等同于低俗,柯林斯及其文学作品的魅力仍值得进一步发掘和探索。在前人研究的基础上,本文将主要结合荣格分析心理学中的暗影原型对《月亮宝石》进行新的解读。暗影处于人格中的负面,受到自我的压制和排斥。如果习惯于忽视暗影的世界,将很容易导致对于他人甚至自身的一种误判及误解。笔者认为正是这种潜藏于人物内心的暗影导致人物之间的陌生感及人物关系的不协调,致使小说悬念迭起,充满神秘感和未知的因素;这一方面大大增加了小说的可读性,另一方面也促使读者对维多利亚时代及这个时代的人进行更深层次的思考。
论文的主体部分分为三章。第一章主要是对荣格分析心理学理论的介绍尤其是对其暗影原型的阐述,以便为下文的分析做好铺垫。第二章主要是结合荣格的理论,对维多利亚式家庭中男女人物内心的暗影领域进行精神分析,这包括两个部分:第一部分是对女性人物如雷切尔,罗珊娜及克拉克小姐的分析;第二部分是对男性人物如富兰克林,高孚利,吉林士以及卡夫探长的分析。通过分析笔者发现人物内心自我与暗影的尖锐对立是导致神秘和悬疑产生的原因,他们内心难以遏制的欲望既是诅咒亦是救赎,同时也发现侦探事实真相既是捉摸他人的内心亦是发掘自我的过程。笔者发现月亮宝石好比一颗探测人心的钻石,在探寻它的过程中,潜藏在小说中的暗影逐渐显露,第三章就主要分析暗影在小说中所体现出的两个方面:一是指在物化的社会中人物内心未知的欲望,另一个是指在殖民主义背景下一种被压抑的未知,如潜藏在暗处的印度教徒,而这种未知总有寻求释放的冲动与执着。论文最后做出结论:《月亮宝石》不仅由于其巧妙的情节设定及精致的人物刻画堪称一部完美的侦探小说,同时也暗含着作者柯林斯对于犯罪行为的理解,即,危险和犯罪并不一定是来源于外界而恰恰可能来自人的内心。
William Wilkie Collins is one of the most famous writers in the Victorian age. He’s most remembered by The Moonstone, a work of his literary zenith, which was then a world-famous novel and is now regarded as one of the classics of the detective fiction genre.
The format of the story is similar to the one Collins had used in The Woman in White. He presented the events sequentially from the vantagepoint of different individuals who witnessed different events and formed their own opinions and interpretations of the occurrences, and during this process, some hidden truths about the narrators themselves were exposed, intentionally or unintentionally. What’s more, with this narrative technique, Collins was able, in an invisible way, to express his own attitudes to or thoughts about the materials he was presenting without interrupting the continuity of the narration.
Collins inclined to select from real crimes for his literary creation. As a matter of fact, The Moonstone was inspired by the Road murder case in 1860, which received national attention and remains unsolved until now. Obviously the idea of stealing the moonstone came from the shocking and tragic India mutiny in 1857. Besides, he also employed some well-received contemporary psychological or scientific theories for knotting and unlocking his mysteries.
The content of the story focuses on unraveling of the mystery of the missing moonstone. The always wild and unruly Colonel Herncastle viciously robbed the guardian Brahmin of the moonstone during British soldiers’ransacking of Seringapatam and stealthily brought it back to England. With a notorious reputation, he was generally rejected by his relatives, while the India Brahmin were lurking around waiting for the right time to take his life and restore the holy moonstone to the statue of the moon goddess. Guileful as he was, he started a secret and isolated life and deposited the diamond in the safekeeping of the bank with such an instruction: in a case of abnormal death, the moonstone should be cut into several pieces and sold immediately, and in this way, its holy identity would be lost for ever; in a case of normal death, the diamond should be bequeathed to his niece Rachel as a gift for her 18th birthday. But it’s worth noting that Rachel’s mother and his sister Lady Verinder had coldly rejected him at his former visit at Rachel’s last birthday party. After his death, his nephew Franklin brought the moonstone to the Verinder house as an executer of his uncle’s will and gave Rachel this precious diamond at her 18th birthday party, but the moonstone went missing that very night. Great detective Sergeant Cuff was called in to solve the case. Then the deformed maid Rosanna who’s also an ex-thief, Franklin whom Rachel’s heart secretly stayed with, the three Indians lurking around the house and even Rachel herself, was or were suspected successively. Yet the case met with a dead-end: Rachel became silent and hysterically swore never to see Franklin again, Rosanna killed herself in the shivering sand, the Indians went missing and Franklin, both confused and heartbroken, went abroad to travel around, Cuff quitted his job as a retirement. One year later, when Franklin came home to inherit his father’s rank and property, some missing links of the case gradually came up. With Mr. Jennings’psychological experiment, the dead knot of the case was finally unraveled: the night the moonstone went missing, Franklin happened to be drugged by laudanum; under the pressure of a heavy anxiety for Rachel’s safety, he sleepwalked to Rachel’s room to take the moonstone away with an intent to protect her, which was mistaken by Rachel who had witnessed Franklin’s“crime”. With this new clue, Cuff began a new direction of deduction and detection which was assisted by a smart little boy Gooseberry; they caught the real thief of the moonstone in a hotel room who’s already killed in suffocation: the distinguished Godfrey Ablewhite. As for the moonstone, after centuries’trials and tribulations, it finally restored its place to the Indian moon goddess.
As the detective fiction genre has an association with“low”fiction, for a long time, it has been critically marginalized especially in its research at home. Yet during the last 30 years, Collins and his works have been reassessed abroad, which has inspired the writer of this thesis, who thinks that detective fiction does not equal to low genre and Collins and his works are worth further digging and researching. Based on the former studies, this thesis intends to reassess The Moonstone in terms of one of the most compelling ideas of the Jungian theory, the concept of the shadow. The shadow, as the negative side of personality, is repressed and rejected by the ego. The habitual neglect of the realm of the shadow will lead to the misjudgment and misunderstanding of others, or even oneself. The writer of this thesis thinks that it is exactly the shadow which hides in people’s hearts that creates the strangeness and disharmony between human relationships, which consequently leads to suspense, mystery and uncertainty as reflected in the novel: on the one hand, the novel becomes more attracting, and on the other, the reader could arrive at a deeper understanding of the Victorian time and its people in the end.
The main body of the thesis is divided into three chapters. Chapter one includes a brief introduction to Jung’s analytical psychology and a detailed explanation of the shadow archetype. Chapter two focuses on detailed psycho-analysis about the shadow inside the characters living in a Victorian family, in terms of the Jungian theory, especially the shadow theory. And it is divided into two parts: the female characters such as Rachel Verinder, Rosanna Spearman and Miss Clack and the male characters such as Franklin Blake, Godfrey Ablewhite, Ezra Jennings and Sergeant Cuff. And it’s discovered that it’s the conflicting state of the characters’ego and shadow that leads to the complication of the mystery and acts as a curse or salvation to their souls, and moreover, that the detection of truth is actually a reassessment of others and a rediscovery of oneself. Chapter three focuses on the analysis of the two aspects of the shadow hidden inside the novel which are discovered through the detection of the moonstone: first, the unknown desires hidden in a materialized society; second, the repressed unknowns in an imperialist country, such as the patient and dedicated Indians lurking around, that have a persistent passion for their recognition. The thesis then ends with a conclusion: The Moonstone is not only a perfect detective fiction with brilliant plotting and exquisite characterization, but also conveys Collins’s understanding of criminality: the real danger or crime does not come from without but most probably from within.
引文
Allingham, Philip.V. (Ed.).“The Moonstone and British India (1857, 1868, and 1876)”. http://www.victorianweb.org/authors/collins/pva30.html.
Baker, William. 2002. Wilkie Collins's Library: A Reconstruction. Westport, Connecticut & London: Greenwood Press.
Blair, David. 1999.“Introduction”in The Moonstone by Wilkie Collins. Hertfordshire: Wordsworth Editions Limited.
Campbell, Joseph. (Ed.). 1971. The Portable Jung. (R. F. C. Hull. Trans.). New York: Penguin Books.
Clark, William M. 1991. The Secret Life of Wilkie Collins. Chicago: Ivan R. Dee.
Collins, Wilkie. 1999. The Moonstone. Hertfordshire: Wordsworth Editions Limited.
____. 1999.“Preface”in The Moonstone. Hertfordshire: Wordsworth Editions Limited.
David, Deirdre. (Ed.). 2001. The Cambridge Companion to the Victorian Novel. Cambridge: CUP.
Davis, Nuel Pharr. 1956. The Life of Wilkie Collins. Chicago & Urbana: University of Illinois Press.
Dickens, Charles. 2004. A Tale of Two Cities. New York: Pocket Books.
Grinstein, Alexander. 2003. Wilkie Collins: Man of Mystery and Imagination. Madison & Connecticut: International University Press, Inc.
Guire, William Mc., et al. (Eds.). 1972a. The Collected Works of C. G. Jung. (Vol.7): Two Essays on Analytical Psychology. (R. F. C. Hull. Trans.). N.J.: Princeton University Press.
____. 1972b. The Collected Works of C.G. Jung. (Vol.15): Spirit in Man, Art, and Literature. (R. F. C. Hull. Trans.). N.J.: Princeton University Press.
Heller, Tamar. 1992. Dead Secrets: Wilkie Collins and the Female Gothic. New Haven & London: Yale University Press.
James, Henry. 1984.“Mary Elizabeth Braddon”, in Henry James Literary Criticism: Essays on Literature, American Writers, English Writers. New York: Library of America.
Karl, Frederick R. 1984.“Introduction”in The Moonstone by Wilkie Collins. Scarborough, Ontario: Signet.
Kucich, John. 1994. The Power of Lies: Transgression in Victorian Fiction. New York: Cornell University Press.
Landow, George P.“The 1857 Indian Mutiny (also known as the Sepoy Rebellion, the Great Mutiny, and the Revolt of 1857)”. http://www.victorianweb.org/history/empire/1857.html
Levin, Caroline. 2003. The Serious Pleasures of Suspense: Victorian Realism and Narrative Doubt.Charlottesville & London: University of Virginia Press.
Lonoff, Sue. 1982. Wilkie Collins and his Victorian Readers: A Study in the Rhetoric of Authroship. New York: AMS Press.
Miller, D. A. 1988. The Novel and the Police. Berkeley: University of California Press.
Munjal, Savi.“Collins's representation of the 'cursed Indian jewel': Orientalism in the sensational novel”. http://www.victorianweb.org/authors/collins/munjal4.html
Morris, James. 1992. Heaven's Command: An Imperial Progress. London: Folio Society.
Murch, A.E. 1958. The Development of the Detective Novel. London: Peter Owen Limited.
O’Neill, Philip. 1988. Wilkie Collins: Women, Property and Propriety. London: Macmillan Press Limited.
Page, Norman. 1996. Wilkie Collins: The Critical Heritage. London & New York: Routledge.
Peters, Catherine. 1991. The King of Inventors: A Life of Wilkie Collins. London: Minerva.
Pykett, Lyn. 1994. The Sensation Novel: From“The Woman in White”to“The Moonstone”. Plymouth: Northcote House.
____. (Ed.). 1998. New Casebooks: Wilkie Collins. New York: St. Martin’s Press.
____. 2005. Authors in Context: Wilkie Collins. New York: Oxford University Press.
Said, Edward E. 1993. Culture and Imperialism. New York: Vintage Books.
Taylor, Jenny Bourne. 1988. In the Secret Theatre of Home: Wilkie Collins, Sensation Narrative, and Nineteenth-Century Psychology. London: Routledge.
____. (Ed.). 2006. The Cambridge Companion to Wilkie Collins. Cambridge: CUP.
Thomas, Ronald R. 1990. Dreams of Authority: Freud and the Fictions of the Unconscious. Ithaca & London: Cornell University Press.
Trodd, Anthea. 1989. Domestic Crime and the Victorian Novel. London: Macmillan.
曹正文(著),1998,《世界侦探小说史略》,上海:上海译文出版社.
董学文(编),2005,《西方文学理论史》,北京:北京出版社.
河合隼雄(著),罗珮甄(译), 2000,《如影随形—影子现象学》,台北:扬智文化.
钱青(主编), 2006,《英国19世纪文学史》,北京:外语教学与研究出版社.
荣格(著),冯川(译),1997,《荣格文集》,北京:改革出版社.
荣格(著),冯川、苏克(译),1987,《心理学与文学》,北京:三联书店.
威尔基·柯林斯(著),陈登颐(译),2004,《月亮宝石》,北京:群众出版社.
许绮,黄晓红,2004,《白衣女人》中的几个女性形象,《韩山师范学院学报》第一期.
许绮,2006,解读《月亮宝石》,《广西社会科学》第六期.
许绮,林洁华,2007,《白衣女人》中的几个男性形象,《广西社会科学》第三期.
Baker, William. 2002. Wilkie Collins's Library: A Reconstruction. Westport, Connecticut & London: Greenwood Press.
Blair, David. 1999.“Introduction”in The Moonstone by Wilkie Collins. Hertfordshire: Wordsworth Editions Limited.
Campbell, Joseph. (Ed.). 1971. The Portable Jung. (R. F. C. Hull. Trans.). New York: Penguin Books.
Clark, William M. 1991. The Secret Life of Wilkie Collins. Chicago: Ivan R. Dee.
Collins, Wilkie. 1999. The Moonstone. Hertfordshire: Wordsworth Editions Limited.
____. 1999.“Preface”in The Moonstone. Hertfordshire: Wordsworth Editions Limited.
David, Deirdre. (Ed.). 2001. The Cambridge Companion to the Victorian Novel. Cambridge: CUP.
Davis, Nuel Pharr. 1956. The Life of Wilkie Collins. Chicago & Urbana: University of Illinois Press.
Dickens, Charles. 2004. A Tale of Two Cities. New York: Pocket Books.
Grinstein, Alexander. 2003. Wilkie Collins: Man of Mystery and Imagination. Madison & Connecticut: International University Press, Inc.
Guire, William Mc., et al. (Eds.). 1972a. The Collected Works of C. G. Jung. (Vol.7): Two Essays on Analytical Psychology. (R. F. C. Hull. Trans.). N.J.: Princeton University Press.
____. 1972b. The Collected Works of C.G. Jung. (Vol.15): Spirit in Man, Art, and Literature. (R. F. C. Hull. Trans.). N.J.: Princeton University Press.
Heller, Tamar. 1992. Dead Secrets: Wilkie Collins and the Female Gothic. New Haven & London: Yale University Press.
James, Henry. 1984.“Mary Elizabeth Braddon”, in Henry James Literary Criticism: Essays on Literature, American Writers, English Writers. New York: Library of America.
Karl, Frederick R. 1984.“Introduction”in The Moonstone by Wilkie Collins. Scarborough, Ontario: Signet.
Kucich, John. 1994. The Power of Lies: Transgression in Victorian Fiction. New York: Cornell University Press.
Landow, George P.“The 1857 Indian Mutiny (also known as the Sepoy Rebellion, the Great Mutiny, and the Revolt of 1857)”. http://www.victorianweb.org/history/empire/1857.html
Levin, Caroline. 2003. The Serious Pleasures of Suspense: Victorian Realism and Narrative Doubt.Charlottesville & London: University of Virginia Press.
Lonoff, Sue. 1982. Wilkie Collins and his Victorian Readers: A Study in the Rhetoric of Authroship. New York: AMS Press.
Miller, D. A. 1988. The Novel and the Police. Berkeley: University of California Press.
Munjal, Savi.“Collins's representation of the 'cursed Indian jewel': Orientalism in the sensational novel”. http://www.victorianweb.org/authors/collins/munjal4.html
Morris, James. 1992. Heaven's Command: An Imperial Progress. London: Folio Society.
Murch, A.E. 1958. The Development of the Detective Novel. London: Peter Owen Limited.
O’Neill, Philip. 1988. Wilkie Collins: Women, Property and Propriety. London: Macmillan Press Limited.
Page, Norman. 1996. Wilkie Collins: The Critical Heritage. London & New York: Routledge.
Peters, Catherine. 1991. The King of Inventors: A Life of Wilkie Collins. London: Minerva.
Pykett, Lyn. 1994. The Sensation Novel: From“The Woman in White”to“The Moonstone”. Plymouth: Northcote House.
____. (Ed.). 1998. New Casebooks: Wilkie Collins. New York: St. Martin’s Press.
____. 2005. Authors in Context: Wilkie Collins. New York: Oxford University Press.
Said, Edward E. 1993. Culture and Imperialism. New York: Vintage Books.
Taylor, Jenny Bourne. 1988. In the Secret Theatre of Home: Wilkie Collins, Sensation Narrative, and Nineteenth-Century Psychology. London: Routledge.
____. (Ed.). 2006. The Cambridge Companion to Wilkie Collins. Cambridge: CUP.
Thomas, Ronald R. 1990. Dreams of Authority: Freud and the Fictions of the Unconscious. Ithaca & London: Cornell University Press.
Trodd, Anthea. 1989. Domestic Crime and the Victorian Novel. London: Macmillan.
曹正文(著),1998,《世界侦探小说史略》,上海:上海译文出版社.
董学文(编),2005,《西方文学理论史》,北京:北京出版社.
河合隼雄(著),罗珮甄(译), 2000,《如影随形—影子现象学》,台北:扬智文化.
钱青(主编), 2006,《英国19世纪文学史》,北京:外语教学与研究出版社.
荣格(著),冯川(译),1997,《荣格文集》,北京:改革出版社.
荣格(著),冯川、苏克(译),1987,《心理学与文学》,北京:三联书店.
威尔基·柯林斯(著),陈登颐(译),2004,《月亮宝石》,北京:群众出版社.
许绮,黄晓红,2004,《白衣女人》中的几个女性形象,《韩山师范学院学报》第一期.
许绮,2006,解读《月亮宝石》,《广西社会科学》第六期.
许绮,林洁华,2007,《白衣女人》中的几个男性形象,《广西社会科学》第三期.