‘The Black Robe’ combines some aim at psychological analysis with great inventiveness. Mr. Wilkie Collins never writes carelessly; and in this instance he has been especially careful. The great point of the piece is the peculiar mental haunting by a voice of one Romagne, who has killed a man in a duel; and a secondary interest, which is admirably worked out, is the contest between the Church of Rome, as embodied in the person of Father Benwell and Mr. Penrose, and love, as embodied in the person of a Miss Eyrecourt. It is necessary to say that Romagne, in the course of time, has become a man of considerable property, else he could not have the close attention of either party. The Jesuitical scheming of the Romanists and the astute forecast of Miss Eyrecourt are equally well done; and it goes without saying that there are some admirable underplots, with groups of characters, who are all sketched with that kind of decisive completeness which almost makes us doubt of their reality. Mr. Wilkie Collins’s stories, however, do not depend on such tests as these: they are unreal in relation to any other world save that which lies in the mind of the artist; and it is sufficient testimony to his power when we say that if you once begin to read, you must read on; for not only does one incident develop itself out of another, but there is a glamour cast over your saner mind which sometimes makes you question how you could have been so deeply interested as you really are. For around a most conventional ideal world Mr. Wilkie Collins groups so many associations and forms of everyday life—reinforces his improbabilities by the most actual-looking letters and so on—that we are completely taken possession of, and the highest tribute of praise to him is to say that he lays hold of universal springs of interest, though he really ought hardly to do so.
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