Chapter 1
of _Mathilda_ in Lord Abinger’s notebook is headed, “Florence Nov. 9th. 1819.” Since the whole of Mathilda’s story takes place in England and Scotland, the date must be that of the manuscript. Mary was in Florence at that time.
These dates are supported by entries in Mary’s journal which indicate that she began writing _Mathilda_, early in August, while the Shelleys were living in the Villa Valosano, near Leghorn. On August 4, 1819, after a gap of two months from the time of her little son’s death, she resumed her diary. Almost every day thereafter for a month she recorded, “Write,” and by September 4, she was saying, “Copy.” On September 12 she wrote, “Finish copying my Tale.” The next entry to indicate literary activity is the one word, “write,” on November 8. On the 12th Percy Florence was born, and Mary did no more writing until March, when she was working on _Valperga_. It is probable, therefore, that Mary wrote and copied _Mathilda_ between August 5 and September 12, 1819, that she did some revision on November 8 and finally dated the manuscript November 9.
The subsequent history of the manuscript is recorded in letters and journals. When the Gisbornes went to England on May 2, 1820, they took _Mathilda_ with them; they read it on the journey and recorded their admiration of it in their journal.[vi] They were to show it to Godwin and get his advice about publishing it. Although Medwin heard about the story when he was with the Shelleys in 1820[vii] and Mary read it--perhaps from the rough draft--to Edward and Jane Williams in the summer of 1821,[viii] this manuscript apparently stayed in Godwin’s hands. He evidently did not share the Gisbornes’ enthusiasm: his approval was qualified. He thought highly of certain parts of it, less highly of others; and he regarded the subject as “disgusting and detestable,” saying that the story would need a preface to prevent readers “from being tormented by the apprehension ... of the fall of the heroine,”--that is, if it was ever published.[ix] There is, however, no record of his having made any attempt to get it into print. From January 18 through June 2, 1822, Mary repeatedly asked Mrs. Gisborne to retrieve the manuscript and have it copied for her, and Mrs. Gisborne invariably reported her failure to do so. The last references to the story are after Shelley’s death in an unpublished journal entry and two of Mary’s letters. In her journal for October 27, 1822, she told of the solace for her misery she had once found in writing _Mathilda_. In one letter to Mrs. Gisborne she compared the journey of herself and Jane to Pisa and Leghorn to get news of Shelley and Williams to that of Mathilda in search of her father, “driving--(like Matilda), towards the _sea_ to learn if we were to be for ever doomed to misery.”[x] And on May 6, 1823, she wrote, “Matilda foretells even many small circumstances most truly--and the whole of it is a monument of what now is.”[xi]
These facts not only date the manuscript but also show Mary’s feeling of personal involvement in the story. In the events of 1818-1819 it is possible to find the basis for this morbid tale and consequently to assess its biographical significance.
On September 24, 1818, the Shelleys’ daughter, Clara Everina, barely a year old, died at Venice. Mary and her children had gone from Bagni di Lucca to Este to join Shelley at Byron’s villa. Clara was not well when they started, and she grew worse on the journey. From Este Shelley and Mary took her to Venice to consult a physician, a trip which was beset with delays and difficulties. She died almost as soon as they arrived. According to Newman Ivey White,[xii] Mary, in the unreasoning agony of her grief, blamed Shelley for the child’s death and for a time felt toward him an extreme physical antagonism which subsided into apathy and spiritual alienation. Mary’s black moods made her difficult to live with, and Shelley himself fell into deep dejection. He expressed his sense of their estrangement in some of the lyrics of 1818--“all my saddest poems.” In one fragment of verse, for example, he lamented that Mary had left him “in this dreary world alone.”
Thy form is here indeed--a lovely one-- But thou art fled, gone down the dreary road, That leads to Sorrow’s most obscure abode. Thou sittest on the hearth of pale despair, Where For thine own sake I cannot follow thee.
Professor White believed that Shelley recorded this estrangement only “in veiled terms” in _Julian and Maddalo_ or in poems that he did not show to Mary, and that Mary acknowledged it only after Shelley’s death, in her poem “The Choice” and in her editorial notes on his poems of that year. But this unpublished story, written after the death of their other child William, certainly contains, though also in veiled terms, Mary’s immediate recognition and remorse. Mary well knew, I believe, what she was doing to Shelley. In an effort to purge her own emotions and to acknowledge her fault, she poured out on the pages of _Mathilda_ the suffering and the loneliness, the bitterness and the self-recrimination of the past months.
The biographical elements are clear: Mathilda is certainly Mary herself; Mathilda’s father is Godwin; Woodville is an idealized Shelley.
Like Mathilda Mary was a woman of strong passions and affections which she often hid from the world under a placid appearance. Like Mathilda’s, Mary’s mother had died a few days after giving her birth. Like Mathilda she spent part of her girlhood in Scotland. Like Mathilda she met and loved a poet of “exceeding beauty,” and--also like Mathilda--in that sad year she had treated him ill, having become “captious and unreasonable” in her sorrow. Mathilda’s loneliness, grief, and remorse can be paralleled in Mary’s later journal and in “The Choice.” This story was the outlet for her emotions in 1819.
Woodville, the poet, is virtually perfect, “glorious from his youth,” like “an angel with winged feet”--all beauty, all goodness, all gentleness. He is also successful as a poet, his poem written at the age of twenty-three having been universally acclaimed. Making allowance for Mary’s exaggeration and wishful thinking, we easily recognize Shelley: Woodville has his poetic ideals, the charm of his conversation, his high moral qualities, his sense of dedication and responsibility to those he loved and to all humanity. He is Mary’s earliest portrait of her husband, drawn in a year when she was slowly returning to him from “the hearth of pale despair.”
The early circumstances and education of Godwin and of Mathilda’s father were different. But they produced similar men, each extravagant, generous, vain, dogmatic. There is more of Godwin in this tale than the account of a great man ruined by character and circumstance. The relationship between father and daughter, before it was destroyed by the father’s unnatural passion, is like that between Godwin and Mary. She herself called her love for him “excessive and romantic.”[xiii] She may well have been recording, in Mathilda’s sorrow over her alienation from her father and her loss of him by death, her own grief at a spiritual separation from Godwin through what could only seem to her his cruel lack of sympathy. He had accused her of being cowardly and insincere in her grief over Clara’s death[xiv] and later he belittled her loss of William.[xv] He had also called Shelley “a disgraceful and flagrant person” because of Shelley’s refusal to send him more money.[xvi] No wonder if Mary felt that, like Mathilda, she had lost a beloved but cruel father.
Thus Mary took all the blame for the rift with Shelley upon herself and transferred the physical alienation to the break in sympathy with Godwin. That she turned these facts into a story of incest is undoubtedly due to the interest which she and Shelley felt in the subject at this time. They regarded it as a dramatic and effective theme. In August of 1819 Shelley completed _The Cenci_. During its progress he had talked over with Mary the arrangement of scenes; he had even suggested at the outset that she write the tragedy herself. And about a year earlier he had been urging upon her a translation of Alfieri’s _Myrrha_. Thomas Medwin, indeed, thought that the story which she was writing in 1819 was specifically based on _Myrrha_. That she was thinking of that tragedy while writing _Mathilda_ is evident from her effective use of it at one of the crises in the tale. And perhaps she was remembering her own handling of the theme when she wrote the biographical sketch of Alfieri for Lardner’s _Cabinet Cyclopaedia_ nearly twenty years later. She then spoke of the difficulties inherent in such a subject, “inequality of age adding to the unnatural incest. To shed any interest over such an attachment, the dramatist ought to adorn the father with such youthful attributes as would be by no means contrary to probability.”[xvii] This she endeavored to do in _Mathilda_ (aided indeed by the fact that the situation was the reverse of that in _Myrrha_). Mathilda’s father was young: he married before he was twenty. When he returned to Mathilda, he still showed “the ardour and freshness of feeling incident to youth.” He lived in the past and saw his dead wife reincarnated in his daughter. Thus Mary attempts to validate the situation and make it “by no means contrary to probability.”
_Mathilda_ offers a good example of Mary Shelley’s methods of revision. A study of the manuscript shows that she was a careful workman, and that in polishing this bizarre story she strove consistently for greater credibility and realism, more dramatic (if sometimes melodramatic) presentation of events, better motivation, conciseness, and exclusion of purple passages. In the revision and rewriting, many additions were made, so that _Mathilda_ is appreciably longer than _The Fields of Fancy_. But the additions are usually improvements: a much fuller account of Mathilda’s father and mother and of their marriage, which makes of them something more than lay figures and to a great extent explains the tragedy; development of the character of the Steward, at first merely the servant who accompanies Mathilda in her search for her father, into the sympathetic confidant whose responses help to dramatise the situation; an added word or short phrase that marks Mary Shelley’s penetration into the motives and actions of both Mathilda and her father. Therefore _Mathilda_ does not impress the reader as being longer than _The Fields of Fancy_ because it better sustains his interest. And with all the additions there are also effective omissions of the obvious, of the tautological, of the artificially elaborate.[xviii]
The finished draft, _Mathilda_, still shows Mary Shelley’s faults as a writer: verbosity, loose plotting, somewhat stereotyped and extravagant characterization. The reader must be tolerant of its heroine’s overwhelming lamentations. But she is, after all, in the great tradition of romantic heroines: she compares her own weeping to that of Boccaccio’s Ghismonda over the heart of Guiscardo. If the reader can accept Mathilda on her own terms, he will find not only biographical interest in her story but also intrinsic merits: a feeling for character and situation and phrasing that is often vigorous and precise.
Footnotes:
[i] They are listed in Nitchie, _Mary Shelley_, Appendix II, pp. 205-208. To them should be added an unfinished and unpublished novel, _Cecil_, in Lord Abinger’s collection.
[ii] On the basis of the Bodleian notebook and some information about the complete story kindly furnished me by Miss R. Glynn Grylls, I wrote an article, “Mary Shelley’s _Mathilda_, an Unpublished Story and Its Biographical Significance,” which appeared in _Studies in Philology_, XL (1943), 447-462. When the other manuscripts became available, I was able to use them for my book, _Mary Shelley_, and to draw conclusions more certain and well-founded than the conjectures I had made ten years earlier.
[iii] A note, probably in Richard Garnett’s hand, enclosed in a MS box with the two notebooks in Lord Abinger’s collection describes them as of Italian make with “slanting head bands, inserted through the covers.” Professor Lewis Patton’s list of the contents of the microfilms in the Duke University Library (_Library Notes_, No. 27, April, 1953) describes them as vellum bound, the back cover of the _Mathilda_ notebook being missing. Lord Abinger’s notebooks are on Reel 11. The Bodleian notebook is catalogued as MSS. Shelley d. 1, the Shelley-Rolls fragments as MSS. Shelley adds c. 5.
[iv] See note 83 to _Mathilda_, page 89.
[v] See _Posthumous Works of the Author of a Vindication of the Rights of Woman_ (4 vols., London, 1798), IV, 97-155.
[vi] See _Maria Gisborne & Edward E. Williams ... Their Journals and Letters_, ed. by Frederick L. Jones (Norman: University of Oklahoma Press, [1951]), p. 27.
[vii] See Thomas Medwin, _The Life of Percy Bysshe Shelley_, revised, with introduction and notes by H. Buxton Forman (London, 1913), p. 252.
[viii] _Journal_, pp. 159, 160.
[ix] _Maria Gisborne, etc._, pp. 43-44.
[x] _Letters_, I, 182.
[xi] _Ibid._, I, 224.
[xii] See White, _Shelley_, II, 40-56.
[xiii] See _Letters_, II, 88, and note 23 to _Mathilda_.
[xiv] See _Shelley and Mary_ (4 vols. Privately printed [for Sir Percy and Lady Shelley], 1882), II, 338A.
[xv] See Mrs. Julian Marshall, _The Life and Letters of Mary W. Shelley_ (2 vols. London: Richard Bentley & Son, 1889), I, 255.
[xvi] Julian _Works_, X, 69.
[xvii] _Lives of the Most Eminent Literary and Scientific Men of Italy, Spain, and Portugal_ (3 vols., Nos. 63, 71, and 96 of the Rev. Dionysius Lardner’s _Cabinet Cyclopaedia_, London, 1835-1837), II, 291-292.
[xviii] The most significant revisions are considered in detail in the notes. The text of the opening of _The Fields of Fancy_, containing the fanciful framework of the story, later discarded, is printed after the text of _Mathilda_.
MATHILDA[1]
CHAP. I
Florence. Nov. 9th 1819
It is only four o’clock; but it is winter and the sun has already set: there are no clouds in the clear, frosty sky to reflect its slant beams, but the air itself is tinged with a slight roseate colour which is again reflected on the snow that covers the ground. I live in a lone cottage on a solitary, wide heath: no voice of life reaches me. I see the desolate plain covered with white, save a few black patches that the noonday sun has made at the top of those sharp pointed hillocks from which the snow, sliding as it fell, lay thinner than on the plain ground: a few birds are pecking at the hard ice that covers the pools--for the frost has been of long continuance.[2]
I am in a strange state of mind.[3] I am alone--quite alone--in the world--the blight of misfortune has passed over me and withered me; I know that I am about to die and I feel happy--joyous.--I feel my pulse; it beats fast: I place my thin hand on my cheek; it burns: there is a slight, quick spirit within me which is now emitting its last sparks. I shall never see the snows of another winter--I do believe that I shall never again feel the vivifying warmth of another summer sun; and it is in this persuasion that I begin to write my tragic history. Perhaps a history such as mine had better die with me, but a feeling that I cannot define leads me on and I am too weak both in body and mind to resist the slightest impulse. While life was strong within me I thought indeed that there was a sacred horror in my tale that rendered it unfit for utterance, and now about to die I pollute its mystic terrors. It is as the wood of the Eumenides none but the dying may enter; and Oedipus is about to die.[4]
What am I writing?--I must collect my thoughts. I do not know that any will peruse these pages except you, my friend, who will receive them at my death. I do not address them to you alone because it will give me pleasure to dwell upon our friendship in a way that would be needless if you alone read what I shall write. I shall relate my tale therefore as if I wrote for strangers. You have often asked me the cause of my solitary life; my tears; and above all of my impenetrable and unkind silence. In life I dared not; in death I unveil the mystery. Others will toss these pages lightly over: to you, Woodville, kind, affectionate friend, they will be dear--the precious memorials of a heart-broken girl who, dying, is still warmed by gratitude towards you:[5] your tears will fall on the words that record my misfortunes; I know they will--and while I have life I thank you for your sympathy.
But enough of this. I will begin my tale: it is my last task, and I hope I have strength sufficient to fulfill it. I record no crimes; my faults may easily be pardoned; for they proceeded not from evil motive but from want of judgement; and I believe few would say that they could, by a different conduct and superior wisdom, have avoided the misfortunes to which I am the victim. My fate has been governed by necessity, a hideous necessity. It required hands stronger than mine; stronger I do believe than any human force to break the thick, adamantine chain that has bound me, once breathing nothing but joy, ever possessed by a warm love & delight in goodness,--to misery only to be ended, and now about to be ended, in death. But I forget myself, my tale is yet untold. I will pause a few moments, wipe my dim eyes, and endeavour to lose the present obscure but heavy feeling of unhappiness in the more acute emotions of the past.[6]
I was born in England. My father was a man of rank:[7] he had lost his father early, and was educated by a weak mother with all the indulgence she thought due to a nobleman of wealth. He was sent to Eton and afterwards to college; & allowed from childhood the free use of large sums of money; thus enjoying from his earliest youth the independance which a boy with these advantages, always acquires at a public school.
Under the influence of these circumstances his passions found a deep soil wherein they might strike their roots and flourish either as flowers or weeds as was their nature. By being always allowed to act for himself his character became strongly and early marked and exhibited a various surface on which a quick sighted observer might see the seeds of virtues and of misfortunes. His careless extravagance, which made him squander immense sums of money to satisfy passing whims, which from their apparent energy he dignified with the name of passions, often displayed itself in unbounded generosity. Yet while he earnestly occupied himself about the wants of others his own desires were gratified to their fullest extent. He gave his money, but none of his own wishes were sacrifised to his gifts; he gave his time, which he did not value, and his affections which he was happy in any manner to have called into action.
I do not say that if his own desires had been put in competition with those of others that he would have displayed undue selfishness, but this trial was never made. He was nurtured in prosperity and attended by all its advantages; every one loved him and wished to gratify him. He was ever employed in promoting the pleasures of his companions--but their pleasures were his; and if he bestowed more attention upon the feelings of others than is usual with schoolboys it was because his social temper could never enjoy itself if every brow was not as free from care as his own.
While at school, emulation and his own natural abilities made him hold a conspicuous rank in the forms among his equals; at college he discarded books; he believed that he had other lessons to learn than those which they could teach him. He was now to enter into life and he was still young enough to consider study as a school-boy shackle, employed merely to keep the unruly out of mischief but as having no real connexion with life--whose wisdom of riding--gaming &c. he considered with far deeper interest--So he quickly entered into all college follies although his heart was too well moulded to be contaminated by them--it might be light but it was never cold. He was a sincere and sympathizing friend--but he had met with none who superior or equal to himself could aid him in unfolding his mind, or make him seek for fresh stores of thought by exhausting the old ones. He felt himself superior in quickness of judgement to those around him: his talents, his rank and wealth made him the chief of his party, and in that station he rested not only contented but glorying, conceiving it to be the only ambition worthy for him to aim at in the world.
By a strange narrowness of ideas he viewed all the world in connexion only as it was or was not related to his little society. He considered queer and out of fashion all opinions that were exploded by his circle of intimates, and he became at the same time dogmatic and yet fearful of not coinciding with the only sentiments he could consider orthodox. To the generality of spectators he appeared careless of censure, and with high disdain to throw aside all dependance on public prejudices; but at the same time that he strode with a triumphant stride over the rest of the world, he cowered, with self disguised lowliness, to his own party, and although its [chi]ef never dared express an opinion or a feeling until he was assured that it would meet with the approbation of his companions.
Yet he had one secret hidden from these dear friends; a secret he had nurtured from his earliest years, and although he loved his fellow collegiates he would not trust it to the delicacy or sympathy of any one among them. He loved. He feared that the intensity of his passion might become the subject of their ridicule; and he could not bear that they should blaspheme it by considering that trivial and transitory which he felt was the life of his life.
There was a gentleman of small fortune who lived near his family mansion who had three lovely daughters. The eldest was far the most beautiful, but her beauty was only an addition to her other qualities--her understanding was clear & strong and her disposition angelically gentle. She and my father had been playmates from infancy: Diana, even in her childhood had been a favourite with his mother; this partiality encreased with the years of this beautiful and lively girl and thus during his school & college vacations[8] they were perpetually together. Novels and all the various methods by which youth in civilized life are led to a knowledge of the existence of passions before they really feel them, had produced a strong effect on him who was so peculiarly susceptible of every impression. At eleven years of age Diana was his favourite playmate but he already talked the language of love. Although she was elder than he by nearly two years the nature of her education made her more childish at least in the knowledge and expression of feeling; she received his warm protestations with innocence, and returned them unknowing of what they meant. She had read no novels and associated only with her younger sisters, what could she know of the difference between love and friendship? And when the development of her understanding disclosed the true nature of this intercourse to her, her affections were already engaged to her friend, and all she feared was lest other attractions and fickleness might make him break his infant vows.
But they became every day more ardent and tender. It was a passion that had grown with his growth; it had become entwined with every faculty and every sentiment and only to be lost with life. None knew of their love except their own two hearts; yet although in all things else, and even in this he dreaded the censure of his companions, for thus truly loving one inferior to him in fortune, nothing was ever able for a moment to shake his purpose of uniting himself to her as soon as he could muster courage sufficient to meet those difficulties he was determined to surmount.
Diana was fully worthy of his deepest affection. There were few who could boast of so pure a heart, and so much real humbleness of soul joined to a firm reliance on her own integrity and a belief in that of others. She had from her birth lived a retired life. She had lost her mother when very young, but her father had devoted himself to the care of her education--He had many peculiar ideas which influenced the system he had adopted with regard to her--She was well acquainted with the heroes of Greece and Rome or with those of England who had lived some hundred years ago, while she was nearly ignorant of the passing events of the day: she had read few authors who had written during at least the last fifty years but her reading with this exception was very extensive. Thus although she appeared to be less initiated in the mysteries of life and society than he her knowledge was of a deeper kind and laid on firmer foundations; and if even her beauty and sweetness had not fascinated him her understanding would ever have held his in thrall. He looked up to her as his guide, and such was his adoration that he delighted to augment to his own mind the sense of inferiority with which she sometimes impressed him.[9]
When he was nineteen his mother died. He left college on this event and shaking off for a while his old friends he retired to the neighbourhood of his Diana and received all his consolation from her sweet voice and dearer caresses. This short seperation from his companions gave him courage to assert his independance. He had a feeling that however they might express ridicule of his intended marriage they would not dare display it when it had taken place; therefore seeking the consent of his guardian which with some difficulty he obtained, and of the father of his mistress which was more easily given, without acquainting any one else of his intention, by the time he had attained his twentieth birthday he had become the husband of Diana.
He loved her with passion and her tenderness had a charm for him that would not permit him to think of aught but her. He invited some of his college friends to see him but their frivolity disgusted him. Diana had torn the veil which had before kept him in his boyhood: he was become a man and he was surprised how he could ever have joined in the cant words and ideas of his fellow collegiates or how for a moment he had feared the censure of such as these. He discarded his old friendships not from fickleness but because they were indeed unworthy of him. Diana filled up all his heart: he felt as if by his union with her he had received a new and better soul. She was his monitress as he learned what were the true ends of life. It was through her beloved lessons that he cast off his old pursuits and gradually formed himself to become one among his fellow men; a distinguished member of society, a Patriot; and an enlightened lover of truth and virtue.--He loved her for her beauty and for her amiable disposition but he seemed to love her more for what he considered her superior wisdom. They studied, they rode together; they were never seperate and seldom admitted a third to their society.
Thus my father, born in affluence, and always prosperous, clombe without the difficulty and various disappointments that all human beings seem destined to encounter, to the very topmost pinacle of happiness: Around him was sunshine, and clouds whose shapes of beauty made the prospect divine concealed from him the barren reality which lay hidden below them. From this dizzy point he was dashed at once as he unawares congratulated himself on his felicity. Fifteen months after their marriage I was born, and my mother died a few days after my birth.
A sister of my father was with him at this period. She was nearly fifteen years older than he, and was the offspring of a former marriage of his father. When the latter died this sister was taken by her maternal relations: they had seldom seen one another, and were quite unlike in disposition. This aunt, to whose care I was afterwards consigned, has often related to me the effect that this catastrophe had on my father’s strong and susceptible character. From the moment of my mother’s death untill his departure she never heard him utter a single word: buried in the deepest melancholy he took no notice of any one; often for hours his eyes streamed tears or a more fearful gloom overpowered him. All outward things seemed to have lost their existence relatively to him and only one circumstance could in any degree recall him from his motionless and mute despair: he would never see me. He seemed insensible to the presence of any one else, but if, as a trial to awaken his sensibility, my aunt brought me into the room he would instantly rush out with every symptom of fury and distraction. At the end of a month he suddenly quitted his house and, unatteneded [_sic_] by any servant, departed from that part of the country without by word or writing informing any one of his intentions. My aunt was only relieved of her anxiety concerning his fate by a letter from him dated Hamburgh.
How often have I wept over that letter which untill I was sixteen was the only relick I had to remind me of my parents. “Pardon me,” it said, “for the uneasiness I have unavoidably given you: but while in that unhappy island, where every thing breathes _her_ spirit whom I have lost for ever, a spell held me. It is broken: I have quitted England for many years, perhaps for ever. But to convince you that selfish feeling does not entirely engross me I shall remain in this town untill you have made by letter every arrangement that you judge necessary. When I leave this place do not expect to hear from me: I must break all ties that at present exist. I shall become a wanderer, a miserable outcast--alone! alone!”--In another part of the letter he mentioned me--“As for that unhappy little being whom I could not see, and hardly dare mention, I leave her under your protection. Take care of her and cherish her: one day I may claim her at your hands; but futurity is dark, make the present happy to her.”
My father remained three months at Hamburgh; when he quitted it he changed his name, my aunt could never discover that which he adopted and only by faint hints, could conjecture that he had taken the road of Germany and Hungary to Turkey.[10]
Thus this towering spirit who had excited interest and high expectation in all who knew and could value him became at once, as it were, extinct. He existed from this moment for himself only. His friends remembered him as a brilliant vision which would never again return to them. The memory of what he had been faded away as years passed; and he who before had been as a part of themselves and of their hopes was now no longer counted among the living.
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