Mary Wollstonecraft Shelley

“ Students of Shelley occasionally scan those pages with a view to pick some obscure ‘hints and indirections’, some veiled reminiscences, in the stories of the adventures and misfortunes of The Last Man or Lodore. And the books may be good biography at times—they are never life.
Altogether there is a curious contrast between the two aspects, hitherto revealed, of Mary Shelley’s literary activities. It is as if the pulse which had been beating so wildly, so frantically, in Frankenstein (1818) , had lapsed, with Valperga (1823) and the rest, into an increasingly sluggish flow. ”

“ Such experiences could not but react on the common conception of mythology. A knowledge of the great classical sculpture of Greece could not but invest with a new dignity and chastity the notions which so far had been nurtured on the Venus de’ Medici and the Belvedere Apollo—even Shelley lived and possibly died under their spell. And ‘returning to the nature which had inspired the ancient myths’, the Romantic poets must have felt with a keener sense ‘their exquisite vitality’. [7] The whole tenor of English Romanticism may be said to have been affected thereby. ”

“ One of those periods—perhaps the happiest period in Mary’s life—was during the early months in Italy of the English ‘exiles’. ‘She never was more strongly impelled to write than at this time; she felt her powers fresh and strong within her; all she wanted was some motive, some suggestion to guide her in the choice of a subject.’ [2]
Shelley then expected her to try her hand at a drama, perhaps on the terrible story of the Cenci, or again on the catastrophes of Charles the First. Her Frankenstein was attracting more attention than had ever been granted to his own works. ”

“ It would undoubtedly be fatuous exaggeration to ascribe a very high place in literature to these little Ovidian fancies of Mrs. Shelley. The scenes, after all, are little better than adaptations—fairly close adaptations—of the Latin poet’s well-known tales.
Even Proserpine, though clearly the more successful of the two, both more strongly knit as drama, and less uneven in style and versification, cannot for a moment compare with the far more original interpretations of Tennyson, Swinburne, or Meredith. [20] But it is hardly fair to draw in the great names of the latter part of the century. ”

“ For Mary Shelley’s mythological dramas can at least claim to be the proper setting for some of the most beautiful lyrics of the poet, which so far have been read in undue isolation. And even as a literary sign of those times, as an example of that classical renaissance which the romantic period fostered, they may not be altogether negligible. ”

“ Indeed, if any personality is then evinced in the adaptation of these old world themes, it is generally connected with a more or less emphatic disparagement or grotesque distortion of their real meaning.
When Dryden, for example, makes use of the legend of Midas, in his Wife of Bath’s Tale, he makes, not Midas’s minister, but his queen, tell the mighty secret—and thus secures another hit at woman’s loquacity. ”

“ Romanticism, as a freshening up of all the sources of life, a general rejuvenescence of the soul, a ubiquitous visiting of the spirit of delight and wonder, could not confine itself to the fields of mediaeval romance. Even the records of the Greek and Roman thought assumed a new beauty; the classical sense was let free from its antiquarian trammels, and the perennial fanes resounded to the songs of a more impassioned worship.
The change, however, took some time. And it must be admitted that in England, especially, the Romantic movement was slow to go back to classical themes. ”

“ Shelley’s. The fact that the same mind which had revelled, a few years earlier, in the fantastical horrors of Frankenstein’s abortive creation, could now dwell on the melancholy fate of Proserpine or the humorous disappointment of Midas, and delight in their subtle poetical or moral symbolism—this fact has its significance. It is one of the earliest indications of the revival, in the heart of Romanticism, of the old love of classical myths and classical beauty. ”

“ The force of style which even adverse critics acknowledged in Frankenstein was sometimes perilously akin to the most disputable kinds of romantic rant. But in the historical or society novels which followed, in the contributions which graced the ‘Keepsakes’ of the thirties, and even—alas—in the various prefaces and commentaries which accompanied the publication of so many poems of Shelley, his wife succumbed to an increasing habit of almost Victorian reticence and dignity. ”

“ Shelley never ventured to publish are quite as worthy of consideration as her more ambitious prose works.
For one thing they give us the longest poetical effort of the writer. The moon of Epipsychidion never seems to have been thrilled with the music of the highest spheres. Yet there were times when Shelley’s inspiration and example fired her into something more than her usual calm and cold brilliancy. ”

“ For the classical revival in Romanticism appears to be closely connected with it.
It is an alluring subject to investigate. How the progress of scholarship, the recent ‘finds’ of archaeology, the extension of travelling along Mediterranean shores, the political enthusiasms evoked by the stirrings of young Italy and young Greece, all combined to reawaken in the poetical imagination of the times the dormant memories of antiquity has not yet been told by the historians of literature. ”

“ So much, no doubt, to the credit of Mary Shelley. But more creditable, surely, is the fact that she was not tempted, as ‘Monk’ Lewis had been, to persevere in those lugubrious themes.
Although her publishers—et pour cause—insisted on styling her ‘the author of Frankenstein’, an entirely different vein appears in her later productions. Indeed, a quiet reserve of tone, a slow, sober, and sedate bearing, are henceforth characteristic of all her literary attitudes. It is almost a case of running from one to the other extreme. ”

“ God Pan with his blithe pipe which the Fauns love
Has challenged Phœbus of the golden lyre [,]
Saying his Syrinx can give sweeter notes
Than the stringed instrument Apollo boasts.
I judge between the parties. Welcome, King,
I am old Tmolus, God of that bare Hill,
You may remain and hear th’ Immortals sing.
MIDAS.
[aside] My judgement is made up before I hear;
Pan is my guardian God, old-horned Pan,
The Phrygian’s God who watches o’er our flocks;
No harmony can equal his blithe pipe.
(Shelley.)
Apollo (sings) . ”

“ And, more damnable still, the poetical essence of the legend, the identification of Proserpine’s twofold existence with the grand alternation of nature’s seasons, has been entirely neglected by the author. Surely his work, though published, is quite as deservedly obscure as Mrs. Shelley’s derelict manuscript. Midas has the privilege, if it be one, of not challenging any obvious comparison. The subject, since Lyly’s and Dryden’s days, has hardly attracted the attention of the poets. ”

“ Surely, this curious theory of the equal ‘inspiration’ of Polytheism and the Jewish or Christian religions, whether it was invented or simply espoused by Mrs. Shelley, evinces in her—for the time being at least—a very considerable share of that adventurous if somewhat uncritical alacrity of mind which carried the poet through so many religious and political problems. ”

“ They might indeed have been allowed to speak for themselves. A new frame often makes a new face; and some of the best known and most exquisite of Shelley’s lyrics, when restored to the surroundings for which the poet intended them, needed no other set-off to appeal to the reader with a fresh charm of quiet classical grace and beauty. ”

“ The Xtians better off than any but the Jews as blind as the Heathens—Much more conformable to an idea of [the] goodness of God that he should have revealed himself to the Greeks than that he left them in ignorance. Vergil & Ovid not truth of the heathen Mythology, but the interpretation of a heathen—as Milton’s Paradise Lost is the interpretation of a Christian religion of the Bible. The interpretation of the mythology of Vergil & the interpretation of the Bible by Milton compared—whether one is more inconsistent than the other—In what they are contradictory. ”

“ Not Dante only, but a motley series of books, great and small, ancient and modern, English and foreign, bespoke her attention. Not content with Latin, and the extemporized translations which Shelley could give her of Plato’s Republic, she started Greek in 1820, and soon came to delight in it. And again she thought of original composition. ‘Write’, ‘work,’—the words now occur daily in her Journal. ”

“ The revelation of God as Jupiter to the Greeks—-a more successful revelation than that as Jehovah to the Jews—Power, wisdom, beauty, & obedience of the Greeks—greater & of longer continuance—than those of the Jews. Jehovah’s promises worse kept than Jupiter’s—the Jews or Prophets had not a more consistent or decided notion concerning after life & the Judgements of God than the Greeks [—] Angels disappear at one time in the Bible & afterwards appear again. ”

“ Instead of ruling the adversaries back to back out of court, he bethought himself of venturing a plea in favour of the older and weaker one. It may have been in 1817 that he contemplated an ‘Essay in favour of polytheism’. [10] He was then living on the fringe of a charmed circle of amateur and adventurous Hellenists who could have furthered the scheme. His great friend, Thomas Love Peacock, ‘Greeky Peaky’, was a personal acquaintance of Thomas Taylor ‘the Platonist’, alias ‘Pagan Taylor’. And Taylor’s translations and commentaries of Plato had been favourites of Shelley in his college days. ”

“ Winckelmann and Goethe, and Chénier—the last, indeed, practically all unknown to his contemporaries—had long rediscovered Antiquity, and felt its pulse anew, and praised its enduring power, when English poetry had little, if anything, to show in answer to the plaintive invocation of Blake to the Ancient Muses.
The first generation of English Romantics either shunned the subject altogether, or simply echoed Blake’s isolated lines in isolated passages as regretful and almost as despondent. From Persia to Paraguay Southey could wander and seek after exotic themes ”

“ Even in Gray’s—‘Pindaric Gray’s’—treatment of classical themes, there is a sort of pervading ennui, or the forced appreciativeness of a gouty, disappointed man. The daughter of Jove to whom he dedicates his hymns too often is ‘Adversity’. And classical reminiscences have, even with him, a dull musty tinge which recalls the antiquarian in his Cambridge college-rooms rather than the visitor to Florence and Rome. For one thing, his allusions are too many, and too transitory, to appear anything but artistic tricks and verse-making tools. ”

“ Leon, ‘There is nothing which the human mind can conceive which it may not execute’. [3]
But in the year that followed these auspicious days, the strain and stress of her life proved more powerful on Mary Shelley than the inspiration of literature. ”

“ For grief that I depart they weep & frown [;]
What look is more delightful than the smile
With which I soothe them from the western isle [?]
I am the eye with which the Universe
Beholds itself & knows it is divine.
All harmony of instrument or verse,
All prophecy, all medecine is mine;
All light of art or nature;—to my song
Victory and praise, in its own right, belong.
(Shelley.)
Pan (sings) . ”

“ However that may be, the two little mythological dramas on Proserpine and Midas assume, in the light of that enthusiasm, a special interest. They stand—or fall—both as a literary, and to a certain extent as an intellectual effort. They are more than an attitude, and not much less than an avowal. Not only do they claim our attention as the single poetical work of any length which seems to have been undertaken by Mrs. Shelley ”

“ A more purely artistic mood, instinct with the serene joy and clear warmth of Italian skies, combining a good deal of youthful buoyancy with a sort of quiet and unpretending philosophy, is here represented. ”

“ And those later novels and tales, though they sold well in their days and were kindly reviewed, can hardly boast of any reputation now. Most of them are pervaded by a brooding spirit of melancholy of the ‘moping’ rather than the ‘musical’ sort, and consequently rather ineffective as an artistic motive. ”

“ Nor fear that I shall loiter in my task.
(Exit.)
(By Shelley.)
PROSERPINA.
(sings as she gathers her flowers.)
Sacred Goddess, Mother Earth,
Thou from whose immortal bosom
Gods, and men, and beasts have birth,
Leaf, and blade, and bud, and blossom,
Breathe thine influence most divine
On thine own child Proserpine.
If with mists of evening dew
Thou dost nourish these young flowers
Till they grow in scent and hue
Fairest children of the hours [,]
Breathe thine influence most divine
On thine own child Proserpine. ”

“ Shelley’s attempt.
How deficient had been the sense of classical beauty in the so-called classical age of English literature, is a trite consideration of criticism. The treatment of mythology is particularly conclusive on this point. ”

“ Shelley’s lyrics, which these dramas include, were published by his wife (Posthumous Poems, 1824) among the ‘poems written in 1820’. Another composition, in blank verse, curiously similar to Mary’s own work, entitled Orpheus, has been allotted by Dr. Garnett (Relics of Shelley, 1862) to the same category. [8] Again, it may well be more than a coincidence, that the Proserpine motive occurs in that passage from Dante’s Purgatorio, canto 28, on ‘Matilda gathering flowers’, which Shelley is known to have translated shortly before Medwin’s visit in the late autumn of 1820. ”