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Image from page 7 of "Antonina, or, The fall of Rome [electronic resource]" (1885) | by Internet Archive Book Images
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Image from page 7 of "Antonina, or, The fall of Rome [electronic resource]" (1885)


Title: Antonina, or, The fall of Rome [electronic resource]

Year: 1885 (1880s)

Authors: Collins, Wilkie, 1824-1889

Subjects: Goths

Publisher: London : Chatto & Windus

Contributing Library: Emory University, Robert W. Woodruff Library

Digitizing Sponsor: Emory University, Robert W. Woodruff Library



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Text Appearing Before Image:

THOMAS.A Fight for Life. By WALTER THORNBURY. Tales for the Marines.By T. ADOLPHUS TROLLOPE. Diamond Cut Diamond.By ANTHONY TROLLOPE. jMr. Scarboroughs Family.John Caldigate.The Golden Lion of Granpere. Way We Live Now.American Senator.Frau Frohmann.Marion Fay.Kept in the Dark.The Land Leaguers.By FRANCES ELEANOR TROLLOPE.Anne Furness. | Mabels Progress. Like Ships upon the Sea.By IVAN TURGENIEFF, &c.Stories from Foreign Novelists. By MARK TWAIN.Tom Sawyer. | An Idle Excursion. Tramp Abroad. | stolen White Elephant. A Pleasure Trip on the Continent of Europe.By SARAH TYTLER.What She Came Through.The Brides Pass.By C. C. FRASER-TVTLER.Mistress Judith.By J. S. WINTERCavalry Life. | Regimen .1 Legends. By Lady WOOD.Sabina.By EDMUND YATES.Castaway. | The Forlorn Hope. Land at Last.ANONYMOUS.Paul Ferroll.Why Paul Ferroll Killed his Wife. 2] CHATTO & WINDUS, Piccadilly, W. ANTONINA; OK. THE FALL OF ROME, LV WILKIE COLLINS, AlTIIOK OF TlIJi WOMAN IN Wlillk, THE DEAD L-liUih. r, 1TL.


Text Appearing After Image:

A NEW EDITION. Hcutifon:CHATTO & WINDUS, PICCADILLY PREFACE. Sn preparing to compose a fiction founded on history, thewriter of these pages thought it no necessary reefhisite ofsuch a work that the principal characters appearing in itshould be drawn from the historical personages of the period.On the contrary, he felt that some very weighty objectionsattached to this plan of composition. He knew well that itobliged a writer to add largely from invention to what wasactually known—to fill in with the colouring of romanticfancy the bare outline of historic fact—and thus to place thenovelists fiction in what he could not but consider mostunfavourable contrast to the historians truth. He was furtherby no means convinced that any story in which historicalcharacters supplied the main agents, could be preserved in itsfit unity of design and restrained within its due limits ofdevelopment, without some falsification or confusion of his-torical dates—a species of poetical license of



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