Mary Shelley

Life and career

Early life

Mary Shelley was born Mary Wollstonecraft Godwin in Somers Town, London, in 1797. She was the second child of the feminist philosopher, educator, and writer Mary Wollstonecraft and the first child of the philosopher, novelist, and journalist William Godwin. Wollstonecraft died of puerperal fever shortly after Mary was born. Godwin was left to bring up Mary, along with her older half-sister, Fanny Imlay, Wollstonecraft's child by the American speculator Gilbert Imlay. A year after Wollstonecraft's death, Godwin published his Memoirs of the Author of A Vindication of the Rights of Woman (1798), which he intended as a sincere and compassionate tribute. However, because the Memoirs revealed Wollstonecraft's affairs and her illegitimate child, they were seen as shocking. Mary Godwin read these memoirs and her mother's books, and was brought up to cherish her mother's memory.

Mary's earliest years were happy, judging from the letters of William Godwin's housekeeper and nurse, Louisa Jones. But Godwin was often deeply in debt; feeling that he could not raise the children by himself, he cast about for a second wife. In December 1801, he married Mary Jane Clairmont, a well-educated woman with two young children of her own – Charles and Claire. Most of Godwin's friends disliked his new wife, describing her as quick-tempered and quarrelsome; but Godwin was devoted to her, and the marriage was a success. Mary Godwin, in contrast, came to detest her stepmother. William Godwin's 19th-century biographer Charles Kegan Paul later suggested that Mrs Godwin had favoured her own children over those of Mary Wollstonecraft.

Together, the Godwins started a publishing firm called M. J. Godwin, which sold children's books as well as stationery, maps, and games. However, the business did not turn a profit, and Godwin was forced to borrow substantial sums to keep it going. He continued to borrow to pay off earlier loans, compounding his difficulties. By 1809, Godwin's business was close to failure, and he was "near to despair". Godwin was saved from debtor's prison by philosophical devotees such as Francis Place, who lent him further money.

Though Mary Godwin received little formal education, her father tutored her in a broad range of subjects. He often took the children on educational outings, and they had access to his library and to the many intellectuals who visited him, including the Romantic poet Samuel Taylor Coleridge and the former vice-president of the United States Aaron Burr. Godwin admitted he was not educating the children according to Mary Wollstonecraft's philosophy as outlined in works such as A Vindication of the Rights of Woman (1792), but Mary Godwin nonetheless received an unusual and advanced education for a girl of the time. She had a governess and a daily tutor and read many of her father's children's books on Roman and Greek history in manuscript. For six months in 1811, she also attended a boarding school in Ramsgate. Her father described her at age 15 as "singularly bold, somewhat imperious, and active of mind. Her desire of knowledge is great, and her perseverance in everything she undertakes almost invincible."

Percy Bysshe Shelley

Mary Godwin may have first met the radical poet-philosopher Percy Bysshe Shelley in the interval between her two stays in Scotland. By the time she returned home for a second time on 30 March 1814, Percy Shelley had become estranged from his wife and was regularly visiting William Godwin, whom he had agreed to bail out of debt. Percy Shelley's radicalism, particularly his economic views, which he had imbibed from William Godwin's Political Justice (1793), had alienated him from his wealthy aristocratic family: they wanted him to follow traditional models of the landed aristocracy, and he wanted to donate large amounts of the family's money to schemes intended to help the disadvantaged. Percy Shelley, therefore, had difficulty gaining access to money until he inherited his estate because his family did not want him wasting it on projects of "political justice". After several months of promises, Shelley announced that he either could not or would not pay off all of Godwin's debts. Godwin was angry and felt betrayed.

Mary and Percy began meeting each other secretly at her mother Mary Wollstonecraft's grave in the churchyard of St Pancras Old Church, and they fell in love—she was 16, and he was 21. On 26 June 1814, Shelley and Godwin declared their love for each other as Shelley announced he could not hide his "ardent passion", leading her in a "sublime and rapturous moment" to say she felt the same way; on either that day or the next, Godwin lost her virginity to Shelley, which tradition claims happened in the churchyard. Godwin described herself as attracted to Shelley's "wild, intellectual, unearthly looks". To Mary's dismay, her father disapproved, and tried to thwart the relationship and salvage the "spotless fame" of his daughter. At about the same time, Mary's father learned of Shelley's inability to pay off the father's debts. Mary, who later wrote of "my excessive and romantic attachment to my father", was confused. She saw Percy Shelley as an embodiment of her parents' liberal and reformist ideas of the 1790s, particularly Godwin's view that marriage was a repressive monopoly, which he had argued in his 1793 edition of Political Justice but later retracted. On 28 July 1814, the couple eloped and secretly left for France, taking Mary's stepsister, Claire Clairmont, with them.

After convincing Mary Jane Godwin, who had pursued them to Calais, that they did not wish to return, the trio travelled to Paris, and then, by donkey, mule, carriage, and foot, through a France recently ravaged by war, to Switzerland. "It was acting in a novel, being an incarnate romance," Mary Shelley recalled in 1826. Godwin wrote about France in 1814: "The distress of the inhabitants, whose houses had been burned, their cattle killed and all their wealth destroyed, has given a sting to my detestation of war...". As they travelled, Mary and Percy read works by Mary Wollstonecraft and others, kept a joint journal, and continued their own writing. At Lucerne, lack of money forced the three to turn back. They travelled down the Rhine and by land to the Dutch port of Maassluis, arriving at Gravesend, Kent, on 13 September 1814.

Lake Geneva and Frankenstein

In May 1816, Mary Godwin, Percy Shelley, and their son travelled to Geneva with Claire Clairmont. They planned to spend the summer with the poet Lord Byron, whose recent affair with Claire had left her pregnant. In History of a Six Weeks' Tour through a part of France, Switzerland, Germany and Holland (1817), she describes the particularly desolate landscape in crossing from France into Switzerland.

The party arrived in Geneva on 14 May 1816, where Mary called herself "Mrs Shelley". Byron joined them on 25 May, with his young physician, John William Polidori, and rented the Villa Diodati, close to Lake Geneva at the village of Cologny; Percy Shelley rented a smaller building called Maison Chapouis on the waterfront nearby. They spent their time writing, boating on the lake, and talking late into the night.

"It proved a wet, ungenial summer", Mary Shelley remembered in 1831, "and incessant rain often confined us for days to the house". Sitting around a log fire at Byron's villa, the company amused themselves with German ghost stories, which prompted Byron to propose that they "each write a ghost story". Unable to think of a story, young Mary Godwin became anxious: "Have you thought of a story? I was asked each morning, and each morning I was forced to reply with a mortifying negative." During one mid-June evening, the discussions turned to the nature of the principle of life. "Perhaps a corpse would be re-animated", Mary noted; "galvanism had given token of such things". It was after midnight before they retired, and unable to sleep, she became possessed by her imagination as she beheld the grim terrors of her "waking dream", her ghost story:

I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world.

She began writing what she assumed would be a short story. With Percy Shelley's encouragement, she expanded this tale into her first novel, Frankenstein; or, The Modern Prometheus, published on 1 January 1818. She later described that summer in Switzerland as the moment "when I first stepped out from childhood into life". The story of the writing of Frankenstein has been fictionalised several times and has formed the basis for a number of films.

Authorship of Frankenstein

While her husband Percy encouraged her writing, the extent of Percy's contribution to the novel is unknown and has been argued over by readers and critics. Mary Shelley wrote, "I certainly did not owe the suggestion of one incident, nor scarcely of one train of feeling, to my husband, and yet but for his incitement, it would never have taken the form in which it was presented to the world." She wrote that the preface to the first edition was Percy's work "as far as I can recollect". There are differences in the 1818, 1823 and 1831 editions, which have been attributed to Percy's editing. James Rieger concluded Percy's "assistance at every point in the book's manufacture was so extensive that one hardly knows whether to regard him as editor or minor collaborator", while Anne K. Mellor later argued Percy only "made many technical corrections and several times clarified the narrative and thematic continuity of the text." Charles E. Robinson, editor of a facsimile edition of the Frankenstein manuscripts, concluded that Percy's contributions to the book "were no more than what most publishers' editors have provided new (or old) authors or, in fact, what colleagues have provided to each other after reading each other's works in progress."

Writing on the 200th anniversary of Frankenstein, literary scholar and poet Fiona Sampson asked, "Why hasn't Mary Shelley gotten the respect she deserves?" She noted that "In recent years Percy's corrections, visible in the Frankenstein notebooks held at the Bodleian Library in Oxford, have been seized on as evidence that he must have at least co-authored the novel. In fact, when I examined the notebooks myself, I realized that Percy did rather less than any line editor working in publishing today." Sampson published her findings in In Search of Mary Shelley (2018), one of many biographies written about Shelley.

Bath and Marlow

On their return to England in September 1816, Mary and Percy moved—with Claire Clairmont, who took lodgings nearby—to Bath, where they hoped to keep Claire's pregnancy secret. At Cologny, Mary Godwin had received two letters from her half-sister, Fanny Imlay, who alluded to her "unhappy life"; on 9 October, Fanny wrote an "alarming letter" from Bristol that sent Percy Shelley racing off to search for her, without success. On the morning of 10 October, Fanny Imlay was found dead in a room at a Swansea inn, along with a suicide note and a laudanum bottle. On 10 December, Percy Shelley's wife, Harriet, was discovered drowned in the Serpentine, a lake in Hyde Park, London. Both suicides were hushed up. Harriet's family obstructed Percy Shelley's efforts—fully supported by Mary Godwin—to assume custody of his two children by Harriet. His lawyers advised him to improve his case by marrying; so he and Mary, who was pregnant again, married on 30 December 1816 at St Mildred's Church, Bread Street, London. Her father gave consent to her marriage as required for a minor aged under twenty-one and Mr and Mrs Godwin were present as witnesses who signed the register, the marriage ending the family rift.

Claire Clairmont gave birth to a baby girl on 13 January, at first called Alba, later Allegra. In March of that year, the Chancery Court ruled Percy Shelley morally unfit to assume custody of his children and later placed them with a clergyman's family. Also in March, the Shelleys moved with Claire and Alba to Albion House at Marlow, Buckinghamshire, a large, damp building on the river Thames. There Mary Shelley gave birth to her third child, Clara, on 2 September. At Marlow, they entertained their new friends Marianne and Leigh Hunt, worked hard at their writing, and often discussed politics.

Early in the summer of 1817, Mary Shelley finished Frankenstein, which was published anonymously in January 1818. Reviewers and readers assumed that Percy Shelley was the author, since the book was published with his preface and dedicated to his political hero William Godwin. At Marlow, Mary edited the joint journal of the group's 1814 Continental journey, adding material written in Switzerland in 1816, along with Percy's poem "Mont Blanc". The result was the History of a Six Weeks' Tour, published in November 1817. That autumn, Percy Shelley often lived away from home in London to evade creditors. The threat of a debtor's prison, combined with their ill health and fears of losing custody of their children, contributed to the couple's decision to leave England for Italy on 12 March 1818, taking Claire Clairmont and Alba with them. They had no intention of returning.

Italy

One of the party's first tasks on arriving in Italy was to hand Alba over to Byron, who was living in Venice. He had agreed to raise her so long as Claire had nothing more to do with her. The Shelleys then embarked on a roving existence, never settling in any one place for long. Along the way, they accumulated a circle of friends and acquaintances who often moved with them. The couple devoted their time to writing, reading, learning, sightseeing, and socialising. The Italian adventure was, however, blighted for Mary Shelley by the deaths of both her children—Clara, in September 1818 in Venice, and William, in June 1819 in Rome. These losses left her in a deep depression that isolated her from Percy Shelley, who wrote in his notebook:

For a time, Mary Shelley found comfort only in her writing. The birth of her fourth child, Percy Florence, on 12 November 1819, finally lifted her spirits, though she nursed the memory of her lost children till the end of her life.

Italy provided the Shelleys, Byron, and other exiles with political freedom unattainable at home. Despite its associations with personal loss, Italy became for Mary Shelley "a country which memory painted as paradise". Their Italian years were a time of intense intellectual and creative activity for both Shelleys. While Percy composed a series of major poems, Mary wrote the novel Matilda, the historical novel Valperga, and the plays Proserpine and Midas. Mary wrote Valperga to help alleviate her father's financial difficulties, as Percy refused to assist him further. She was often physically ill, however, and prone to depressions. She also had to cope with Percy's interest in other women, such as Sophia Stacey, Emilia Viviani, and Jane Williams. Since Mary Shelley shared his belief in the non-exclusivity of marriage, she formed emotional ties of her own among the men and women of their circle. She became particularly fond of the Greek revolutionary Prince Alexandros Mavrokordatos and of Jane and Edward Williams.

In December 1818, the Shelleys travelled south with Claire Clairmont and their servants to Naples, where they stayed for three months, receiving only one visitor, a physician. In 1820, they found themselves plagued by accusations and threats from Paolo and Elise Foggi, former servants whom Percy Shelley had dismissed in Naples shortly after the Foggis had married. The pair revealed that on 27 February 1819 in Naples, Percy Shelley had registered as his child by Mary Shelley a two-month-old baby girl named Elena Adelaide Shelley. The Foggis also claimed that Claire Clairmont was the baby's mother. Biographers have offered various interpretations of these events: that Percy Shelley decided to adopt a local child; that the baby was his by Elise, Claire, or an unknown woman; or that she was Elise's by Byron. Mary Shelley insisted she would have known if Claire had been pregnant, but it is unclear how much she really knew. The events in Naples, a city Mary Shelley later called a paradise inhabited by devils, remain shrouded in mystery. The only certainty is that she herself was not the child's mother. Elena Adelaide Shelley died in Naples on 9 June 1820.

Return to England and writing career

After her husband's death, Mary Shelley lived for a year with Leigh Hunt and his family in Genoa, where she often saw Byron and transcribed his poems. She resolved to live by her pen and for her son, but her financial situation was precarious. On 23 July 1823, she left Genoa for England and stayed with her father and stepmother in the Strand until a small advance from her father-in-law enabled her to lodge nearby. Sir Timothy Shelley had at first agreed to support his grandson, Percy Florence, only if he were handed over to an appointed guardian. Mary Shelley rejected this idea instantly. She managed instead to wring out of Sir Timothy a limited annual allowance (which she had to repay when Percy Florence inherited the estate), but to the end of his days, he refused to meet her in person and dealt with her only through lawyers. Mary Shelley busied herself with editing her husband's poems, among other literary endeavours, but concern for her son restricted her options. Sir Timothy threatened to stop the allowance if any biography of the poet were published. In 1826, Percy Florence became the legal heir of the Shelley estate after the death of his half-brother Charles Shelley, his father's son by Harriet Shelley. Sir Timothy raised Mary's allowance from £100 a year to £250 but remained as difficult as ever. Mary Shelley enjoyed the stimulating society of William Godwin's circle, but poverty prevented her from socialising as she wished. She also felt ostracised by those who, like Sir Timothy, still disapproved of her relationship with Percy Bysshe Shelley.

On 29 August 1823, she attended a performance of Presumption; or, the Fate of Frankenstein, the first stage adaptation of her novel, at the English Opera House in the West End. The popularity of the play caused a second printing of Shelley's novel and a proliferation of other theatrical adaptations. In the summer of 1824, Mary Shelley moved to Kentish Town in north London to be near Jane Williams. She may have been, in the words of her biographer Muriel Spark, "a little in love" with Jane. Jane later disillusioned her by gossiping that Percy had preferred her to Mary, owing to Mary's inadequacy as a wife. At around this time, Mary Shelley was working on her novel, The Last Man (1826); and she assisted a series of friends who were writing memoirs of Byron and Percy Shelley—the beginnings of her attempts to immortalise her husband. She also met the American actor John Howard Payne and the American writer Washington Irving, who intrigued her. Payne fell in love with her and in 1826 asked her to marry him. She refused, saying that after being married to one genius, she could only marry another. Payne accepted the rejection, and tried – without success – to talk his friend Irving into proposing himself. Mary Shelley was aware of Payne's plan, but how seriously she took it is unclear.

Final years and death

In 1840 and 1842, mother and son travelled together on the continent, journeys that Mary Shelley recorded in Rambles in Germany and Italy in 1840, 1842 and 1843 (1844). In 1844, Sir Timothy Shelley finally died at the age of ninety, "falling from the stalk like an overblown flower", as Mary put it. For the first time, she and her son were financially independent, though the estate proved less valuable than they had hoped.

In the mid-1840s, Mary Shelley found herself the target of three separate blackmailers. In 1845, an Italian political exile called Gatteschi, whom she had met in Paris, threatened to publish letters she had sent him. A friend of her son bribed a police chief into seizing Gatteschi's papers, including the letters, which were then destroyed. Shortly afterwards, Mary Shelley bought some letters written by herself and Percy Bysshe Shelley from a man calling himself G. Byron and posing as the illegitimate son of the late Lord Byron. Also in 1845, Percy Bysshe Shelley's cousin Thomas Medwin approached her, claiming to have written a damaging biography of Percy Shelley. He said he would suppress it in return for £250, but Mary Shelley refused.

In 1848, Percy Florence married Jane Gibson St John. The marriage proved a happy one, and Mary Shelley and Jane were fond of each other. Mary lived with her son and daughter-in-law at Field Place, Sussex, the Shelleys' ancestral home, and at Chester Square, London, and accompanied them on travels abroad.

Mary Shelley's last years were blighted by illness. From 1839, she suffered from headaches and bouts of paralysis in parts of her body, which sometimes prevented her from reading and writing. On 1 February 1851, at Chester Square, she died at the age of fifty-three from what her physician suspected was a brain tumour. According to Jane Shelley, Mary Shelley had asked to be buried with her mother and father; but Percy and Jane, judging the graveyard at St Pancras to be "dreadful", chose to bury her instead at St Peter's Church, Bournemouth, near their new home at Boscombe. On the first anniversary of Mary Shelley's death, the Shelleys opened her box-desk. Inside they found locks of her dead children's hair, a notebook she had shared with Percy Bysshe Shelley, and a copy of his poem Adonaïs with one page folded round a silk parcel containing some of his ashes and the remains of his heart.

Literary themes and styles

Mary Shelley lived a literary life. Her father encouraged her to learn to write by composing letters, and her favourite occupation as a child was writing stories. All of Mary's juvenilia were lost when she ran off with Percy in 1814, and none of her surviving manuscripts can be definitively dated before that year. Her first published work is often thought to have been Mounseer Nongtongpaw, comic verses written for Godwin's Juvenile Library when she was ten and a half; however, the poem is attributed to another writer in the most recent authoritative collection of her works. Percy Shelley enthusiastically encouraged Mary Shelley's writing: "My husband was, from the first, very anxious that I should prove myself worthy of my parentage, and enrol myself on the page of fame. He was forever inciting me to obtain literary reputation."

Novels

Certain sections of Mary Shelley's novels are often interpreted as masked rewritings of her life. Critics have pointed to the recurrence of the father–daughter motif in particular as evidence of this autobiographical style. For example, commentators frequently read Mathilda (1820) autobiographically, identifying the three central characters as versions of Mary Shelley, William Godwin, and Percy Shelley. Mary Shelley herself confided that she modelled the central characters of The Last Man on her Italian circle. Lord Raymond, who leaves England to fight for the Greeks and dies in Constantinople, is based on Lord Byron; and the utopian Adrian, Earl of Windsor, who leads his followers in search of a natural paradise and dies when his boat sinks in a storm, is a fictional portrait of Percy Bysshe Shelley. However, as she wrote in her review of Godwin's novel Cloudesley (1830), she did not believe that authors "were merely copying from our own hearts". William Godwin regarded his daughter's characters as types rather than portraits from real life. Some modern critics, such as Patricia Clemit and Jane Blumberg, have taken the same view, resisting autobiographical readings of Mary Shelley's works.

Mary Shelley employed the techniques of many different novelistic genres, most vividly the Godwinian novel, Walter Scott's new historical novel, and the Gothic novel. The Godwinian novel, made popular during the 1790s with works such as Godwin's Caleb Williams (1794), "employed a Rousseauvian confessional form to explore the contradictory relations between the self and society", and Frankenstein exhibits many of the same themes and literary devices as Godwin's novel. However, Shelley critiques those Enlightenment ideals that Godwin promotes in his works. In The Last Man, she uses the philosophical form of the Godwinian novel to demonstrate the ultimate meaninglessness of the world. While earlier Godwinian novels had shown how rational individuals could slowly improve society, The Last Man and Frankenstein demonstrate the individual's lack of control over history.

Shelley uses the historical novel to comment on gender relations; for example, Valperga is a feminist version of Scott's masculinist genre. Introducing women into the story who are not part of the historical record, Shelley uses their narratives to question established theological and political institutions. Shelley sets the male protagonist's compulsive greed for conquest in opposition to a female alternative: reason and sensibility. In Perkin Warbeck, Shelley's other historical novel, Lady Gordon stands for the values of friendship, domesticity, and equality. Through her, Shelley offers a feminine alternative to the masculine power politics that destroy the male characters. The novel provides a more inclusive historical narrative to challenge the one which usually relates only masculine events.

Short stories

In the 1820s and 1830s, Mary Shelley frequently wrote short stories for gift books or annuals, including sixteen for The Keepsake, which was aimed at middle-class women and bound in silk, with gilt-edged pages. Mary Shelley's work in this genre has been described as that of a "hack writer" and "wordy and pedestrian". However, critic Charlotte Sussman points out that other leading writers of the day, such as the Romantic poets William Wordsworth and Samuel Taylor Coleridge, also took advantage of this profitable market. She explains that "the annuals were a major mode of literary production in the 1820s and 1830s", with The Keepsake the most successful.

Many of Shelley's stories are set in places or times far removed from early 19th-century Britain, such as Greece and the reign of Henry IV of France. Shelley was particularly interested in "the fragility of individual identity" and often depicted "the way a person's role in the world can be cataclysmically altered either by an internal emotional upheaval, or by some supernatural occurrence that mirrors an internal schism". In her stories, female identity is tied to a woman's short-lived value in the marriage market while male identity can be sustained and transformed through the use of money. Although Mary Shelley wrote twenty-one short stories for the annuals between 1823 and 1839, she always saw herself, above all, as a novelist. She wrote to Leigh Hunt, "I write bad articles which help to make me miserable—but I am going to plunge into a novel and hope that its clear water will wash off the mud of the magazines."

Travelogues

When they ran off to France in the summer of 1814, Mary Godwin and Percy Shelley began a joint journal, which they published in 1817 under the title History of a Six Weeks' Tour, adding four letters, two by each of them, based on their visit to Geneva in 1816, along with Percy Shelley's poem "Mont Blanc". The work celebrates youthful love and political idealism and consciously follows the example of Mary Wollstonecraft and others who had combined travelling with writing. The perspective of the History is philosophical and reformist rather than that of a conventional travelogue; in particular, it addresses the effects of politics and war on France. The letters the couple wrote on the second journey confront the "great and extraordinary events" of the final defeat of Napoleon at Waterloo after his "Hundred Days" return in 1815. They also explore the sublimity of Lake Geneva and Mont Blanc as well as the revolutionary legacy of the philosopher and novelist Jean-Jacques Rousseau.

Mary Shelley's last full-length book, written in the form of letters and published in 1844, was Rambles in Germany and Italy in 1840, 1842 and 1843, which recorded her travels with her son Percy Florence and his university friends. In Rambles, Shelley follows the tradition of Mary Wollstonecraft's Letters Written in Sweden, Norway, and Denmark and her own A History of a Six Weeks' Tour in mapping her personal and political landscape through the discourse of sensibility and sympathy. For Shelley, building sympathetic connections between people is the way to build civil society and to increase knowledge: "knowledge, to enlighten and free the mind from clinging deadening prejudices—a wider circle of sympathy with our fellow-creatures;—these are the uses of travel". Between observations on scenery, culture, and "the people, especially in a political point of view", she uses the travelogue form to explore her roles as a widow and mother and to reflect on revolutionary nationalism in Italy. She also records her "pilgrimage" to scenes associated with Percy Shelley. According to critic Clarissa Orr, Mary Shelley's adoption of a persona of philosophical motherhood gives Rambles the unity of a prose poem, with "death and memory as central themes". At the same time, Shelley makes an egalitarian case against monarchy, class distinctions, slavery, and war.

Biographies

Between 1832 and 1839, Mary Shelley wrote many biographies of notable Italian, Spanish, Portuguese, and French men and a few women for Dionysius Lardner's Lives of the Most Eminent Literary and Scientific Men. These formed part of Lardner's Cabinet Cyclopaedia, one of the best of many such series produced in the 1820s and 1830s in response to growing middle-class demand for self-education. Until the republication of these essays in 2002, their significance within her body of work was not appreciated. In the view of literary scholar Greg Kucich, they reveal Mary Shelley's "prodigious research across several centuries and in multiple languages", her gift for biographical narrative, and her interest in the "emerging forms of feminist historiography". Shelley wrote in a biographical style popularised by the 18th-century critic Samuel Johnson in his Lives of the Poets (1779–1781), combining secondary sources, memoir and anecdote, and authorial evaluation. She records details of each writer's life and character, quotes their writing in the original as well as in translation, and ends with a critical assessment of their achievement.

For Shelley, biographical writing was supposed to, in her words, "form as it were a school in which to study the philosophy of history", and to teach "lessons". Most frequently and importantly, these lessons consisted of criticisms of male-dominated institutions such as primogeniture. Shelley emphasises domesticity, romance, family, sympathy, and compassion in the lives of her subjects. Her conviction that such forces could improve society connects her biographical approach with that of other early feminist historians such as Mary Hays and Anna Jameson. Unlike her novels, most of which had an original print run of several hundred copies, the Lives had a print run of about 4,000 for each volume: thus, according to Kucich, Mary Shelley's "use of biography to forward the social agenda of women's historiography became one of her most influential political interventions".

Editorial work

Soon after Percy Shelley's death, Mary Shelley determined to write his biography. In a letter of 17 November 1822, she announced: "I shall write his life—& thus occupy myself in the only manner from which I can derive consolation." However, her father-in-law, Sir Timothy Shelley, effectively banned her from doing so. Mary began her fostering of Percy's poetic reputation in 1824 with the publication of his Posthumous Poems. In 1839, while she was working on the Lives, she prepared a new edition of his poetry, which became, in the words of literary scholar Susan J. Wolfson, "the canonizing event" in the history of her husband's reputation. The following year, Mary Shelley edited a volume of her husband's essays, letters, translations, and fragments, and throughout the 1830s, she introduced his poetry to a wider audience by publishing assorted works in the annual The Keepsake.

Evading Sir Timothy's ban on a biography, Mary Shelley often included in these editions her own annotations and reflections on her husband's life and work. "I am to justify his ways," she had declared in 1824; "I am to make him beloved to all posterity." It was this goal, argues Blumberg, that led her to present Percy's work to the public in the "most popular form possible". To tailor his works for a Victorian audience, she cast Percy Shelley as a lyrical rather than a political poet. As Mary Favret writes, "the disembodied Percy identifies the spirit of poetry itself". Mary glossed Percy's political radicalism as a form of sentimentalism, arguing that his republicanism arose from sympathy for those who were suffering. She inserted romantic anecdotes of his benevolence, domesticity, and love of the natural world. Portraying herself as Percy's "practical muse", she also noted how she had suggested revisions as he wrote.

Despite the emotions stirred by this task, Mary Shelley arguably proved herself in many respects a professional and scholarly editor. Working from Percy's messy, sometimes indecipherable, notebooks, she attempted to form a chronology for his writings, and she included poems, such as Epipsychidion, addressed to Emilia Viviani, which she would rather have left out. She was forced, however, into several compromises, and, as Blumberg notes, "modern critics have found fault with the edition and claim variously that she miscopied, misinterpreted, purposely obscured, and attempted to turn the poet into something he was not". According to Wolfson, Donald Reiman, a modern editor of Percy Bysshe Shelley's works, still refers to Mary Shelley's editions, while acknowledging that her editing style belongs "to an age of editing when the aim was not to establish accurate texts and scholarly apparatus but to present a full record of a writer's career for the general reader". In principle, Mary Shelley believed in publishing every last word of her husband's work; but she found herself obliged to omit certain passages, either by pressure from her publisher, Edward Moxon, or in deference to public propriety. For example, she removed the atheistic passages from Queen Mab for the first edition. After she restored them in the second edition, Moxon was prosecuted and convicted of blasphemous libel, though the prosecution was brought out of principle by the Chartist publisher Henry Hetherington, and no punishment was sought. Mary Shelley's omissions provoked criticism, often stinging, from members of Percy Shelley's former circle, and reviewers accused her of, among other things, indiscriminate inclusions. Her notes have nevertheless remained an essential source for the study of Percy Shelley's work. As Bennett explains, "biographers and critics agree that Mary Shelley's commitment to bring Shelley the notice she believed his works merited was the single, major force that established Shelley's reputation during a period when he almost certainly would have faded from public view".

Reputation

In her own lifetime Mary Shelley was taken seriously as a writer, though reviewers often missed her writings' political edge. After her death, however, she was chiefly remembered as the wife of Percy Bysshe Shelley and as the author of Frankenstein. In fact, in the introduction to her letters published in 1945, editor Frederick Jones wrote, "a collection of the present size could not be justified by the general quality of the letters or by Mary Shelley's importance as a writer. It is as the wife of [Percy Bysshe Shelley] that she excites our interest." This attitude had not disappeared by 1980 when Betty T. Bennett published the first volume of Mary Shelley's complete letters. As she explains, "the fact is that until recent years scholars have generally regarded Mary Wollstonecraft Shelley as a result: William Godwin's and Mary Wollstonecraft's daughter who became Shelley's Pygmalion." It was not until Emily Sunstein's Mary Shelley: Romance and Reality in 1989 that a full-length scholarly biography was published.

The attempts of Mary Shelley's son and daughter-in-law to "Victorianise" her memory by censoring biographical documents contributed to a perception of Mary Shelley as a more conventional, less reformist figure than her works suggest. Her own timid omissions from Percy Shelley's works and her quiet avoidance of public controversy in her later years added to this impression. Commentary by Hogg, Trelawny, and other admirers of Percy Shelley also tended to downplay Mary Shelley's radicalism. Trelawny's Records of Shelley, Byron, and the Author (1878) praised Percy Shelley at the expense of Mary, questioning her intelligence and even her authorship of Frankenstein. Lady Shelley, Percy Florence's wife, responded in part by presenting a severely edited collection of letters she had inherited, published privately as Shelley and Mary in 1882.

From Frankenstein's first theatrical adaptation in 1823 to the cinematic adaptations of the 20th century, including the first cinematic version in 1910 and now-famous versions such as James Whale's 1931 Frankenstein, the seven films in the Hammer Horror series beginning with The Curse of Frankenstein (1957), Mel Brooks' satirical 1974 Young Frankenstein, and Kenneth Branagh's 1994 Mary Shelley's Frankenstein, many audiences first encounter the work of Mary Shelley through adaptation. Over the course of the 19th century, Mary Shelley came to be seen as a one-novel author at best, rather than as the professional writer she was; most of her works remained out of print until the 1980s, obstructing a larger view of her achievement. The republication of almost all her writing since the 1980s has stimulated a new recognition of its value, and she is now viewed as one of the most versatile and significant literary figures from the 19th century. Her habit of intensive reading and study, revealed in her journals and letters and reflected in her works, is now better appreciated. Shelley's conception of herself as an author has also been recognised; after Percy's death, she wrote of her authorial ambitions: "I think that I can maintain myself, and there is something inspiriting in the idea." Scholars now consider Mary Shelley to be a major Romantic figure, significant for her literary achievement and her political voice as a woman and a liberal.

Selected works

History of a Six Weeks' Tour (1817)

Frankenstein; or, The Modern Prometheus (1818)

Mathilda (1819)

Valperga; or, The Life and Adventures of Castruccio, Prince of Lucca (1823)

Posthumous Poems of Percy Bysshe Shelley (1824)

The Last Man (1826)

The Fortunes of Perkin Warbeck (1830)

Lodore (1835)

Falkner (1837)

The Poetical Works of Percy Bysshe Shelley (1839)

Contributions to Lives of the Most Eminent Literary and Scientific Men (1835–39), part of Dionysius Lardner's Cabinet Cyclopaedia

Rambles in Germany and Italy in 1840, 1842, and 1843 (1844)

Collections of Mary Shelley's papers are housed in Lord Abinger's Shelley Collection on deposit at the Bodleian Library, the New York Public Library (particularly The Carl H. Pforzheimer Collection of Shelley and His Circle), the Huntington Library, the British Library, and in The John Murray Archive.