The Real Shelley. New Views of the Poet's Life. Vol. 2 (of 2)Jeaffreson, John Cordy
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The Real Shelley. New Views of the Poet's Life. Vol. 2 (of 2)
Jeaffreson, John Cordy
Poets, English -- 19th century -- Biography; Shelley, Percy Bysshe, 1792-1822
Passing in this manner from Imlay to Godwin, in less than a year from her
final separation from the former, Mary Wollstonecraft was living with the
latter in Free Love at his house in The Polygon, Somers Town, in the last
month of 1796. So living with him, was she (to use Mr. Kegan Paul’s words)
a wife in the eyes of God and man? She certainly was not so in the eyes of
man. She and Godwin had lived in this manner for weeks, for months, before
any clear announcement of the nature of their intimacy was made to their
most intimate friends. People who had the _entrée_ of the little house in
Somers Town, gossiped together,--asking one another what it meant. Had
Godwin, in his compassion for Mary’s forlorn condition, merely brought her
to his house as a guest for a long visit, or as a housekeeper, or in a
closer and more affectionate relation? What the various gossips said, and
how they said it, may be left to the reader’s imagination. In February,
1797, Mary Wollstonecraft, living as the somehow or other mistress of
Godwin’s house in The Polygon, entertained her sister Everina for some
time; but so far was she from considering herself a wife in the eyes of
man, she did not venture to reveal the nature of her position in the house
even to her own sister. Throughout her visit in ‘The Polygon,’ Everina
was kept in the dark, and she went off to her place of governess in the
Wedgwood family, at Etruria, without having learnt that her sister and
Godwin were living in Free Love. In the following month (March, 1797),
Southey, whilst in London, saw Mary Wollstonecraft, and on the 13th of
that month wrote of her to Cottle:--
‘Of all the lions or _literati_ I have seen here, Mary Imlay’s
countenance is the best, infinitely the best; the only fault in it is
an expression somewhat similar to what the prints of Horne Tooke
display,--an expression indicating superiority; not haughtiness, not
sarcasm, in Mary Imlay, but still it is unpleasant. Her eyes are light
brown, and although the lid of one of them is affected by a little
paralysis, _they_ are the most meaning I ever saw.’
Public-domain text, read in full here on John Shaqi.
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