Mary Wollstonecraft

by Elizabeth Robins Pennell

Of the “Letters to Imlay,” which fill the third and a part of the fourth volume, nothing more need be said. They have been fully explained, and sufficient extracts from them have been made in the account of that period of her life during which they were written. The next in importance of these writings is “Maria; or, The Wrongs of Woman,” a novel. It is but a fragment. Mary intended to revise the first chapters carefully, and of the last she had written nothing but the headings and a few detached hints and passages. Godwin, in his Preface, says, “So much of it as is here given to the public, she was far from considering as finished; and in a letter to a friend directly written on this subject, she says, ‘I am perfectly aware that some of the incidents ought to be transposed and heightened by more luminous shading; and I wished in some degree to avail myself of criticism before I began to adjust my events into a story, the outline of which I had sketched in my mind.’” It therefore must be more gently criticised than such of her books as were published during her life-time, and considered by her ready to be given to the public. But, as the last work upon which she was engaged, and as one which engrossed her thoughts for months, and to which she devoted, for her, an unusual amount of labor, it must be read with interest.

The incidents of the story are, in a large measure, drawn from real life. Her own experience, that of her sister, and events which had come within her actual knowledge, are the materials which she used. These served her purpose as well as, if not better than, any she could have invented. The only work of her imagination is the manner in which she grouped them together to form her plot. The story is, briefly, as follows: Maria, the heroine, whose home-life seems to be a description of the interior of the Wollstonecraft household, marries to secure her freedom, rather than from affection for her lover, as was probably the case with “poor Bess.” Her husband, who even in the days of courtship had been a dissolute rascal, but hypocrite enough to conceal the fact, throws off his mask after marriage. He speculates rashly, drinks, and indulges in every low vice. All this she bears until he, calculating upon her endurance, seeks to sell her to a friend, that her dishonor may be his gain financially. Then he learns that he has gone too far. She flies from his house, to which she refuses, on any consideration, to return. All attempts to bring her back having failed, he, by a successful stratagem, seizes her as she is on her way to Dover with her child, and, taking possession of the latter, has his wife confined in an insane asylum. Here, after days of horror, Maria succeeds in softening the heart of her keeper, Jemima by name, and through her makes the acquaintance of Henry Darnford, a young man who, like her, has been made a prisoner under the false charge of lunacy. Jemima’s friendship is so completely won that she allows these two companions in misery to see much of each other. She even tells them her story, which, as a picture of degradation, equals that of some of Defoe’s heroines. Darnford then tells his, and the reader at once recognizes in him another Imlay. Finally, by a lucky accident the two prisoners make their escape, and Jemima accompanies them. The latter part of the story consists of sketches and the barest outlines; but these indicate the succession of its events and its conclusion. Maria and Darnford live together as husband and wife in London. The former believes that she is right in so doing, and cares nothing for the condemnation of society. She endures neglect and contumely because she is supported by confidence in the rectitude of her conduct. Her husband now has her lover tried for adultery and seduction, and in his absence Maria undertakes his defence. Her separation from her husband is the consequence, but her fortune is thrown into chancery. She refuses to leave Darnford, but he, after a few years, during which she has borne him two children, proves unfaithful. In her despair, she attempts to commit suicide, but fails. When consciousness and reason return, she resolves to live for her child.

“Maria” is a story with a purpose. Its aim is the reformation of the evils which result from the established relations of the sexes. Certain rights are to be vindicated by a full exposition of the wrongs which their absence causes. Mary wished, as her Preface sets forth, to exhibit the misery and oppression peculiar to women, that arise out of the partial laws and customs of society. “Maria,” in fact, was to be a forcible proof of the necessity of those social changes which she had urged in the “Vindication of the Rights of Women.” In the career of the heroine the wrongs women suffer from matrimonial despotism and cruelty are demonstrated; while that of Jemima shows how impossible it is for poor or degraded women to find employment. The principal interest in the book arises from the fact that in it Mary explains more definitely than she had in any previous work, her views about the laws and restrictions of matrimony. Otherwise the principles laid down in it do not differ from those which she had already stated in print. Her justification of Maria’s conduct is in reality a declaration of her belief that cruelty, depravity, and infidelity in a man are sufficient reasons for his wife to separate herself from him, this separation requiring no legal permit; and that a pure honest love sanctifies the union of two people which may not have been confirmed by a civil or religious ceremony. The following passage is a partial statement of these views, which proved very exasperating to her contemporaries. It is the advice given to Maria, after her flight, by a friendly uncle:—

“The marriage state is certainly that in which women, generally speaking, can be most useful; but I am far from thinking that a woman, once married, ought to consider the engagement as indissoluble (especially if there be no children to reward her for sacrificing her feelings) in case her husband merits neither her love nor esteem. Esteem will often supply the place of love, and prevent a woman from being wretched, though it may not make her happy. The magnitude of a sacrifice ought always to bear some proportion to the utility in view; and for a woman to live with a man for whom she can cherish neither affection nor esteem, or even be of any use to him, excepting in the light of a housekeeper, is an abjectness of condition, the enduring of which no concurrence of circumstances can ever make a duty in the sight of God or just men. If indeed she submits to it merely to be maintained in idleness, she has no right to complain bitterly of her fate; or to act, as a person of independent character might, as if she had a title to disregard general rules.

“But the misfortune is, that many women only submit in appearance, and forfeit their own respect to secure their reputation in the world. The situation of a woman separated from her husband is undoubtedly very different from that of a man who has left his wife. He, with lordly dignity, has shaken off a clog; and the allowing her food and raiment is thought sufficient to secure his reputation from taint. And, should she have been inconsiderate, he will be celebrated for his generosity and forbearance. Such is the respect paid to the master-key of property! A woman, on the contrary, resigning what is termed her natural protector (though he never was so but in name), is despised and shunned for asserting the independence of mind distinctive of a rational being, and spurning at slavery.”

The incidents selected by Mary to prove her case are, it must be admitted, disagreeable, and the minor details too frequently revolting. The stories of Maria, Darnford, and Jemima are records of shame, crime, and human bestiality little less unpleasant than the realism of a Zola. It is an astonishing production, even for an age when Fielding and Smollett were not considered coarse. But, as was the case in the “Rights of Women,” this plainness of speech was due not to a delight in impurity and uncleanness for their own sakes, but to Mary’s certainty that by the proper use of subjects vile in themselves, she could best establish principles of purity. Whatever may be thought of her moral creed and of her manner of promulgating it, no reader of her books can deny her the respect which her courage and sincerity evoke. One may mistrust the mission of a Savonarola, and yet admire his inexorable adherence to it. Mary Wollstonecraft’s faith in, and devotion to, the doctrines she preached was as firm and unflinching as those of any religiously inspired prophet.

This story gives little indication of literary merit. The style is stilted, and there is no attempt at delineation of character. It is wholly without dramatic action; for this, Mary explains, would have interfered with her main object. But then its straightforward statement of facts, by concentrating the attention upon them, adds very strongly to the impression they produce. Maria is as complete a departure from the conventional heroine of the day, as, at a later period, Charlotte Brontë’s Rochester was from the heroes of contemporary novelists. And the book contains at least one description which should find a place here. This is the account Maria gives of a visit she makes to her country home a few years after her marriage and realization of its bitterness, and is really a record of the sentiments awakened in her when she visited Beverly, her early home, just before she left England for Sweden. The passage, in its contrast to the oppressive narrative which it interrupts, is as refreshing as a cool sea-breeze after the suffocating sirocco of the desert:—

“This was the first time I had visited my native village since my marriage. But with what different emotions did I return from the busy world, with a heavy weight of experience benumbing my imagination, to scenes that whispered recollections of joy and hope most eloquently to my heart! The first scent of the wild-flowers from the heath thrilled through my veins, awakening every sense to pleasure. The icy hand of despair seemed to be removed from my bosom; and, forgetting my husband, the nurtured visions of a romantic mind, bursting on me with all their original wildness and gay exuberance, were again hailed as sweet realities. I forgot, with equal facility, that I ever felt sorrow or knew care in the country; while a transient rainbow stole athwart the cloudy sky of despondency. The picturesque forms of several favorite trees, and the porches of rude cottages, with their smiling hedges, were recognized with the gladsome playfulness of childish vivacity. I could have kissed the chickens that pecked on the common; and longed to pat the cows, and frolic with the dogs that sported on it. I gazed with delight on the wind-mill, and thought it lucky that it should be in motion at the moment I passed by: and entering the dear green lane which led directly to the village, the sound of the well-known rookery gave that sentimental tinge to the varying sensations of my active soul, which only served to heighten the lustre of the luxuriant scenery. But spying, as I advanced, the spire peeping over the withered tops of the aged elms that composed the rookery, my thoughts flew immediately to the church-yard; and tears of affection, such was the effect of my imagination, bedewed my mother’s grave! Sorrow gave place to devotional feelings. I wandered through the church in fancy as I used sometimes to do on a Saturday evening. I recollected with what fervor I addressed the God of my youth; and once more with rapturous love looked above my sorrows to the Father of nature. I pause, feeling forcibly all the emotions I am describing; and (reminded, as I register my sorrows, of the sublime calm I have felt when, in some tremendous solitude, my soul rested on itself, and seemed to fill the universe) I insensibly breathe softly, hushing every wayward emotion, as if fearing to sully with a sigh a contentment so ecstatic.”

“Maria” seemed to many of its readers an unanswerable proof of the charge of immorality brought against its authoress. Mrs. West, in her “Letters to a Young Man,” pointed to it as evidence of Mary’s unfitness for the world beyond the grave. The “Biographical Dictionary” undoubtedly referred to it when it declared that much of the four volumes of Mary’s posthumous writings “had better been suppressed, as ill calculated to excite sympathy for one who seems to have rioted in sentiments alike repugnant to religion, sense, and decency.” Modern readers have been kinder. The following is Miss Mathilde Blind’s criticism, which, though a little too enthusiastic perhaps, shows a keen appreciation of the redeeming merits of the book:—

“For originality of invention, tragic incident, and a certain fiery eloquence of style, this is certainly the most remarkable and mature of her works, although one may object that for a novel the moral purpose is far too obvious, the manner too generalized, and many of the situations revolting to the taste of a modern reader. But, with all its faults, it is a production that, in the implacable truth with which it lays open the festering sores of society, in the unshrinking courage with which it drags into the light of day the wrongs the feeble have to suffer at the hands of the strong, in the fiery enthusiasm with which it lifts up its voice for the voiceless outcasts, may be said to resemble ‘Les Misérables,’ by Victor Hugo.”