Memoirs of the Author of a Vindication of the Rights of Woman

by William Godwin

The work is certainly a very bold and original production. The strength and firmness with which the author repels the opinions of Rousseau, Dr. Gregory, and Dr. James Fordyce, respecting the condition of women, cannot but make a strong impression upon every ingenuous reader. The public at large formed very different opinions respecting the character of the performance. Many of the sentiments are undoubtedly of a rather masculine description. The spirited and decisive way in which the author explodes the system of gallantry, and the species of homage with which the sex is usually treated, shocked the majority. Novelty produced a sentiment in their mind, which they mistook for a sense of injustice. The pretty, soft creatures that are so often to be found in the female sex, and that class of men who believe they could not exist without such pretty, soft creatures to resort to, were in arms against the author of so heretical and blasphemous a doctrine. There are also, it must be confessed, occasional passages of a stern and rugged feature, incompatible with the true stamina of the writer's character. But, if they did not belong to her fixed and permanent character, they belonged to her character pro tempore; and what she thought, she scorned to qualify.

Yet, along with this rigid, and somewhat amazonian temper, which characterised some parts of the book, it is impossible not to remark a luxuriance of imagination, and a trembling delicacy of sentiment, which would have done honour to a poet, bursting with all the visions of an Armida and a Dido.

The contradiction, to the public apprehension, was equally great, as to the person of the author, as it was when they considered the temper of the book. In the champion of her sex, who was described as endeavouring to invest them with all the rights of man, those whom curiosity prompted to seek the occasion of beholding her, expected to find a sturdy, muscular, raw-boned virago; and they were not a little surprised, when, instead of all this, they found a woman, lovely in her person, and, in the best and most engaging sense, feminine in her manners.

The Vindication of the Rights of Woman is undoubtedly a very unequal performance, and eminently deficient in method and arrangement. When tried by the hoary and long-established laws of literary composition, it can scarcely maintain its claim to be placed in the first class of human productions. But when we consider the importance of its doctrines, and the eminence of genius it displays, it seems not very improbable that it will be read as long as the English language endures. The publication of this book forms an epocha in the subject to which it belongs; and Mary Wollstonecraft will perhaps hereafter be found to have performed more substantial service for the cause of her sex, than all the other writers, male or female, that ever felt themselves animated in the behalf of oppressed and injured beauty.

The censure of the liberal critic as to the defects of this performance, will be changed into astonishment, when I tell him, that a work of this inestimable moment, was begun, carried on, and finished in the state in which it now appears, in a period of no more than six weeks.

It is necessary here that I should resume the subject of the friendship that subsisted between Mary and Mr. Fuseli, which proved the source of the most memorable events in her subsequent history. He is a native of the republic of Switzerland, but has spent the principal part of his life in the island of Great-Britain. The eminence of his genius can scarcely be disputed; it has indeed received the testimony which is the least to be suspected, that of some of the most considerable of his contemporary artists. He has one of the most striking characteristics of genius, a daring, as well as persevering, spirit of adventure. The work in which he is at present engaged, a series of pictures for the illustration of Milton, upon a very large scale, and produced solely upon the incitement of his own mind, is a proof of this, if indeed his whole life had not sufficiently proved it.

Mr. Fuseli is one of Mr. Johnson's oldest friends, and was at this time in the habit of visiting him two or three times a week. Mary, one of whose strongest characteristics was the exquisite sensations of pleasure she felt from the associations of visible objects, had hitherto never been acquainted, or never intimately acquainted, with an eminent painter. The being thus introduced therefore to the society of Mr. Fuseli, was a high gratification to her; while he found in Mary, a person perhaps more susceptible of the emotions painting is calculated to excite, than any other with whom he ever conversed. Painting, and subjects closely connected with painting, were their almost constant topics of conversation; and they found them inexhaustible. It cannot be doubted, but that this was a species of exercise very conducive to the improvement of Mary's mind.

Nothing human however is unmixed. If Mary derived improvement from Mr. Fuseli, she may also be suspected of having caught the infection of some of his faults. In early life Mr. Fuseli was ardently attached to literature; but the demands of his profession have prevented him from keeping up that extensive and indiscriminate acquaintance with it, that belles-lettres scholars frequently possess. Of consequence, the favourites of his boyish years remain his only favourites. Homer is with Mr. Fuseli the abstract and deposit of every human perfection. Milton, Shakespear, and Richardson, have also engaged much of his attention. The nearest rival of Homer, I believe, if Homer can have a rival, is Jean Jacques Rousseau. A young man embraces entire the opinions of a favourite writer, and Mr. Fuseli has not had leisure to bring the opinions of his youth to a revision. Smitten with Rousseau's conception of the perfectness of the savage state, and the essential abortiveness of all civilization, Mr. Fuseli looks at all our little attempts at improvement, with a spirit that borders perhaps too much upon contempt and indifference. One of his favourite positions is the divinity of genius. This is a power that comes complete at once from the hands of the Creator of all things, and the first essays of a man of real genius are such, in all their grand and most important features, as no subsequent assiduity can amend. Add to this, that Mr. Fuseli is somewhat of a caustic turn of mind, with much wit, and a disposition to search, in every thing new or modern, for occasions of censure. I believe Mary came something more a cynic out of the school of Mr. Fuseli, than she went into it.

But the principal circumstance that relates to the intercourse of Mary, and this celebrated artist, remains to be told. She saw Mr. Fuseli frequently; he amused, delighted and instructed her. As a painter, it was impossible she should not wish to see his works, and consequently to frequent his house. She visited him; her visits were returned. Notwithstanding the inequality of their years, Mary was not of a temper to live upon terms of so much intimacy with a man of merit and genius, without loving him. The delight she enjoyed in his society, she transferred by association to his person. What she experienced in this respect, was no doubt heightened, by the state of celibacy and restraint in which she had hitherto lived, and to which the rules of polished society condemn an unmarried woman. She conceived a personal and ardent affection for him. Mr. Fuseli was a married man, and his wife the acquaintance of Mary. She readily perceived the restrictions which this circumstance seemed to impose upon her; but she made light of any difficulty that might arise out of them. Not that she was insensible to the value of domestic endearments between persons of an opposite sex, but that she scorned to suppose, that she could feel a struggle, in conforming to the laws she should lay down to her conduct.

There cannot perhaps be a properer place than the present, to state her principles upon this subject, such at least as they were when I knew her best. She set a great value on a mutual affection between persons of an opposite sex. She regarded it as the principal solace of human life. It was her maxim, "that the imagination should awaken the senses, and not the senses the imagination." In other words, that whatever related to the gratification of the senses, ought to arise, in a human being of a pure mind, only as the consequence of an individual affection. She regarded the manners and habits of the majority of our sex in that respect, with strong disapprobation. She conceived that true virtue would prescribe the most entire celibacy, exclusively of affection, and the most perfect fidelity to that affection when it existed.—There is no reason to doubt that, if Mr. Fuseli had been disengaged at the period of their acquaintance, he would have been the man of her choice. As it was, she conceived it both practicable and eligible, to cultivate a distinguishing affection for him, and to foster it by the endearments of personal intercourse and a reciprocation of kindness, without departing in the smallest degree from the rules she prescribed to herself.