
Armadale
Failed to add items
Add to Cart failed.
Add to Wish List failed.
Remove from wishlist failed.
Adding to library failed
Follow podcast failed
Unfollow podcast failed
3 months free
Buy for $52.26
No default payment method selected.
We are sorry. We are not allowed to sell this product with the selected payment method
-
Narrated by:
-
Nicholas Boulton
-
Rachel Atkins
-
David Rintoul
-
John Sackville
-
Lucy Scott
-
By:
-
Wilkie Collins
Two young men linked by a familial murder mystery, a beautiful yet wicked governess who spins a web of deceit, and five individuals named Allan Armadale
Wilkie Collins' follow-up to The Woman in White and No Name is an innovative take on mistaken identity, the nature of evil, and the dark underbelly of Victorian England. The story concerns two distant cousins, both named Allan Armadale, and the impact of a family tragedy, which makes one of them a target of the murderous Lydia Gwilt, a vicious and malevolent charmer determined to get her hands on the Armadale fortune. Will the real Allan Armadale be revealed, and will he survive the plot against his life?
Download the accompanying reference guide.Public Domain (P)2020 Naxos AudiobooksListeners also enjoyed...




















People who viewed this also viewed...


















Great narration
Something went wrong. Please try again in a few minutes.
Wilkie Collins at his best
Something went wrong. Please try again in a few minutes.
Classic Collins
Something went wrong. Please try again in a few minutes.
Wilke Collins
Something went wrong. Please try again in a few minutes.
Wonderfully engaging!
Something went wrong. Please try again in a few minutes.
extremely stupid protagonists
Something went wrong. Please try again in a few minutes.
Excellent
Something went wrong. Please try again in a few minutes.
Epic bromance
Something went wrong. Please try again in a few minutes.
Another success.
Something went wrong. Please try again in a few minutes.
Chekov once observed that if there’s a gun over the mantle in the first act, it had better go off in the third. Given their dates, it’s doubtful if Wilkie Collins ever heard that sound bit of dramatic advice. But he used it to great effect, perhaps never better than here.
Some have complained that the first act is a bit long. But Collins has more than one gun to place over his mantle, and they all need to be primed and loaded. As the story gets going, the wait for the inevitable fusillade—in conjunction with Collins’ flair for the unexpected twist and turn—creates more than enough exquisite dramatic tension to sustain interest over 30 hours. Of course, like any good Victorian novel, this one repays that investment of time with more than thrills and spills. There’s humor:
“A man who is entering on a course of reformation ought, if virtue is its own reward, to be a man engaged in an essentially inspiriting pursuit. But virtue is not always its own reward; and the way that leads to reformation is remarkably ill-lighted for so respectable a thoroughfare.”- Book the Second, Chapter IV
And memorable observations of our human condition:
“The influence exercised by the voice of public scandal is a force which acts in opposition to the ordinary law of mechanics. It is strongest, not by concentration, but by distribution. To the primary sound we may shut our ears; but the reverberation of it in echoes is irresistible.” – Book the Third, Chapter VII
Mercifully, this story lacks one other hallmark of the Victorian novel, the sentimental soapbox of social justice. These characters are too interesting and complex to be reduced to mere emblems and exemplars.
Some reviewers cavil at the myriad coincidences. Collins himself has his female lead, Lydia Gwilt, exclaim, “How unnatural all this would be if it was written in a book!” But this is not just a Victorian novel; it is a Victorian "novel of sensation", of mysteries, secrets and veiled motives, where, as the lawyer writes in the second to last chapter, “…rogues perpetually profit by the misfortunes and necessities of honest men.” Everything revolves around curses, fate, superstition, and whether we can escape what, for lack of a less melodramatic term, I’ll call destiny. In that context, each coincidence functions not as a cheap plot device, but a deepening of the central conundrum: is it of natural or supernatural origin? In an endnote, Collins leaves that up to us. For myself, history is rather too liberally studded with coincidence for me to think them wholly coincidental.
Third in the series of four remarkable novels Collins produced in the 1860’s, this strikes me as his best. It is certainly his most complex and ambitious from the standpoint of theme, plot, motivation, and character development. Whether he’s reading Lord Byron, Chretien de Troyes, Alessandro Manzoni or Wilkie Collins, Nicholas Boulton hands in a flawless performance. And the same goes for the rest of the cast, especially Rachael Atkins and Lucy Scott.
Perhaps the Best of Collins’ Four Best Novels
Something went wrong. Please try again in a few minutes.