407:
250:
321:
husband. As Maria's uncle is leaving for the continent, he warns Maria of the consequences should she leave her husband. This is the first time that separation or divorce are discussed in the novel and Maria seems to take his words as inspiration rather than the warning they are meant to be. After
Venables attempts to pay one of his friends to seduce Maria (a man referred to only as 'Mr. S') so that he can leave her for being an adulteress, Maria tries to leave him. She initially escapes and manages to live in several different locations, often with other women who have also been wronged by their husbands, but he always finds her. When she tries to leave England with her newborn child and the fortune her now deceased uncle has left them, her husband seizes the child and imprisons Maria in the asylum. At this point the completed manuscript breaks off.
885:
776:
648:
957:(the model for Darnford), Wollstonecraft attempted to commit suicide. Her despair over these events is written into the book as well as many other experiences from the mid-1790s. Moreover, Maria Venables's family history shows clear similarities to Wollstonecraft's own. Like Maria, Wollstonecraft had a mother who favored an elder brother and she also devotedly cared for that mother during her dying days, only to be pushed away during the final moments of her life. Wollstonecraft also looked after her sisters like Maria does, albeit without the help of a wealthy uncle. Perhaps most strikingly, Wollstonecraft's sister Eliza left her husband, at Wollstonecraft's prodding, much as Maria leaves hers. As Kelly explains, autobiography is common in
970:
815:. She imagines Darnford as its "hero", St. Preux, the sometime lover but not husband of Julie. Maria's reading and the plots she conjures in her imagination as a result of that reading are the cause of her downfall in this interpretation: unable or unwilling to separate fiction from reality, she incorporates Darnford into her romantic fantasies. Other critics, while agreeing that Maria is led astray by Darnford, argue that it is not her sexuality and eroticism that are the problem, but her choice of partner. They argue that Wollstonecraft is not portraying female sexuality as inherently detrimental, as she had in
2774:
863:(1726)). The novel presents prostitutes as "an exploited class", akin to wives who are dependent on men, and demonstrates how they are a product of their environment. By making both Jemima and Maria prostitutes, Wollstonecraft rejects two contemporary stereotypes of the prostitute: the image of the woman who takes pleasure in her actions and is in love with her keeper and the image of the victim desirous of pity. Thus, rather than simply repulsing or eliciting the compassion of the reader, Jemima and Maria presumably forge a stronger, more lasting bond with the female reader who shares their plight.
29:
330:
When she discovers this treachery, Maria loses the child she was carrying by
Darnford (either through an abortion or a miscarriage). In one ending, Maria commits suicide. In another, more complete ending, Maria is saved from suicide by Jemima who has found her first daughter. Maria agrees to live for her child (as Wollstonecraft herself had done after her second suicide attempt). Jemima, Maria and Maria's daughter form a new family.
1113:
2628:
209:
in several forms, which she successively rejected, after they were considerably advanced. She wrote many parts of the work again and again, and, when she had finished what she intended for the first part, she felt herself more urgently stimulated to revise and improve what she had written, than to proceed, with constancy of application, in the parts that were to follow.
666:
it was also believed that women were more emotional than men. The emotional excess associated with sensibility also theoretically produced an ethic of compassion: those with sensibility could easily sympathize with people in pain. Thus historians have credited the discourse of sensibility and those who promoted it with the increased humanitarian efforts, such as
714:, but exactly what her goals are in doing so is unclear. For example, Maria and Jemima can seemingly be identified with the traditional categories of "reason" (Jemima) and "sensibility" (Maria), but since such couples were usually male and female, Wollstonecraft's characterization challenges conventional definitions of gender.
677:, sensibility had already been under sustained attack for a number of years. Sensibility, which had initially promised to draw individuals together through sympathy, was now viewed as "profoundly separatist"; novels, plays, and poems that employed the language of sensibility asserted individual rights,
803:
continued to single me out at the dance, press my hand at parting, and utter expressions of unmeaning passion, to which I gave a meaning naturally suggested by the romantic turn of my thoughts. ... When he left us, the colouring of my picture became more vivid—Whither did not my imagination lead
451:
of a text. Wollstonecraft juxtaposes the events of the novel with both Maria's own retelling of them and her innermost feelings. The first-person stories allow Maria and Jemima to address each other as equals: their stories of suffering, while still allowing each character to retain an individualized
329:
The fragmentary notes for the remainder of the novel indicate two different trajectories for the plot and five separate conclusions. In both major plot arcs, George
Venables wins a lawsuit against Darnford for seducing his wife; Darnford then abandons Maria, flees England, and takes another mistress.
300:
In chapters seven through fourteen (about half of the completed manuscript), Maria relates her own life story in a narrative she has written for her daughter. She explains how her mother and father loved their eldest son, Robert, more than their other children and how he ruled "despotically" over his
208:
She was sensible how arduous a task it is to produce a truly excellent novel; and she roused her faculties to grapple with it. All her other works were produced with a rapidity, that did not give her powers time fully to expand. But this was written slowly and with mature consideration. She began it
1055:
constitute, in Maria's opinion, A MOST FLAGRANT WRONG TO WOMEN. Such is the moral tendency of this work, such are the lessons which may be learned from the writings of Mrs. Wollstonecraft; such the advantages which the public may derive from this performance given to the world by Godwin, celebrated
926:
story regarding the kidnapping of her child that first interests Jemima in her plight. The novel fragments also suggest that the tale might not end with a marriage, but rather with the creation of a new kind of family, one constituted by two mothers for Maria's child. With Jemima's rescue of Maria,
855:
Jemima is the most fleshed out of the lower-class women in the novel; through her
Wollstonecraft refuses to accept the submissiveness traditionally associated with femininity and expresses a frustrated anger that would have been viewed as unseemly in Maria. Jemima's tale also challenges assumptions
851:
they are women. In her narration, Jemima asks "who ever risked anything for me?—Who ever acknowledged me to be a fellow-creature?" It is not until Maria grasps her hand in sympathy that she feels this; furthermore, it is Jemima's story that first prods Maria's own "thoughts take a wider range" and
665:
in the second half of the eighteenth century was considered both a physical and a moral phenomenon. Physicians and anatomists believed that the more sensitive people's nerves, the more emotionally affected they would be by their surroundings. Since women were thought to have keener nerves than men,
320:
Maria quickly learned of her husband's true character. She tried to ignore him by cultivating a greater appreciation for literature and the arts, but he became increasingly dissolute: he whored, gambled, and bankrupted the couple. Maria soon became pregnant after unwanted sexual encounters with her
296:
to a master who beat her, starved her, and raped her. When the man's wife discovers that Jemima is pregnant with his child, she is thrown out of the house. Unable to support herself, she aborts her child and becomes a prostitute. She becomes the kept woman of a man of some wealth who seems obsessed
1017:
I am vexed and surprised at your not thinking the situation of Maria sufficiently important, and can only account for this want of – shall I say it? delicacy of feeling, by recollecting that you are a man – For my part I cannot suppose any situation more distressing than for a woman of sensibility
904:
female, with the emotional violence and intellectual debilitation" that accompanies it (emphasis in original). It is in
Wollstonecraft's depiction of a female mind educating itself and creating a specifically feminine sense of self that she "breaks new ground". Maria's role as mother allows her to
2631:
1001:
revealed
Wollstonecraft's illegitimate child and her love affairs. Most reviewers and readers transferred the unconventional and unorthodox life Wollstonecraft herself had lived onto Maria and much that Maria had said and done onto Wollstonecraft, thereby realizing Wollstonecraft's fears that her
934:
While more recent critics have emphasized the revolutionary aspects of the cross-class friendship between Jemima and Maria, others have questioned the extent of that radicalism, arguing that Jemima's story occupies a small section of the novel and is abruptly truncated. Mary Poovey also maintains
914:
Furthermore, while patriarchal marriages are one of the great wrongs perpetrated upon women, Wollstonecraft argues that a greater wrong is women's lack of independence. Because they are unable to find respectable, well-paid work, they are reliant upon men. Women such as Jemima are reduced to hard
692:
is no exception. As feminist scholar Mitzi Myers has observed, Wollstonecraft is usually described as an "enlightened philosopher strenuously advocating the cultivation of reason as the guide to both self-realization and social progress", but her works do not unambiguously support such a model of
213:
After sending the manuscript to an acquaintance, George Dyson, for feedback, Wollstonecraft wrote to him, saying, “I am vexed and surprised at your not thinking the situation of Maria sufficiently important.” Wollstonecraft attributed this lack of “delicacy of feeling” to Dyson's male gender. She
1060:
Political
Justice.—But as there have been writers, who have in theory promulgated opinions subversive of morality, yet in their conduct have not been immoral, Godwin has laboured to inform the world, that the theory of Mrs. Wollstonecraft was reduced to practice; that she lived and acted, as she
808:
One of the important questions raised by the novel is whether Maria is deluded in her relationship with
Darnford. Maria writes an autobiography for her daughter in which she admits that she was misled by Venables, but critics disagree over the extent to which she is also misled by Darnford. Some
280:
with the upper-class Maria's unjust imprisonment by her husband, George
Venables. Not only has he condemned Maria to live in an insane asylum, but he has also taken their child away from her. She befriends one of her attendants in the asylum, an impoverished, lower-class woman named Jemima, who,
383:
conventions such as the literal and figurative "mansion of despair" to which Maria is consigned. But it does so to demonstrate that gothic horrors are a reality for the average
Englishwoman. Using elements of the gothic, Wollstonecraft portrays Maria's husband as tyrannical and married life as
875:
comments, "Maria's relationship with Jemima displays something of the class fissures and prejudices that have marked organised feminist politics from their inception." Jemima is taught to appreciate the finer things in life when she is a kept mistress and Maria later promises to care for her.
905:
instruct herself, thereby creating her own sense of self; in advising her daughter through the manuscript she is writing, Maria learns about herself and realizes her past errors. Her ability to formulate her own selfhood can be contrasted to the heroine of Wollstonecraft's first novel,
1018:
with an improving mind to be bound, to such a man as I have described, for life – obliged to renounce all the humanizing affections, and to avoid cultivating her taste lest her perception of grace, and refinement of sentiment should sharpen to agony the pangs of disappointment.
360:
into dangerous errors ... which raise the most lively emotions, and leave the most lasting impression on the memory; an impression rather made by the heart than the understanding: for our affections are not quite voluntary as the suffrages of reason. (emphasis Wollstonecraft's)
747:
One of the key differences between Wollstonecraft's novels and her philosophical treatises, as feminist critic Cora Kaplan has argued, is that her fiction values female emotion while her treatises present it as "reactionary and regressive, almost counter-revolutionary". The
612:, Wollstonecraft had used the metaphor of slavery not only to describe the horrors of marriage as it currently existed but also to offer a juxtaposition to the possibility of a new kind of marriage, one which assumed equality between affectionate and rational partners. In
627:, "concerns the way in which female sexuality is defined or interpreted—and, by extension, controlled—by bourgeois institutions. The primary agent of this control is marriage". Wollstonecraft deconstructs the ideology of marriage, by which women are exchangeable
717:
Some critics interpret Maria's story ironically, arguing that the juxtaposition of Maria's sentimental and romantic narrative with Jemima's harsh and bleak narrative encourages such a reading. In this interpretation, Maria's narrative is read as a
809:
suggest that Maria repeats her mistake and imagines Darnford as a hero, citing as evidence Maria's refusal to leave the madhouse, when she is free to do so, because she wants to remain with him, as well as her infatuation with Rousseau's novel
722:
of sentimental fiction that aims to demonstrate the "wrongs" that women inflict upon themselves when they overindulge in sensibility. Although Wollstonecraft promotes sensibility in this text, it is not the same kind that she condemns in the
128:
institution of marriage in eighteenth-century Britain and the legal system that protected it. However, the heroine's inability to relinquish her romantic fantasies also reveals women's collusion in their oppression through false and damaging
1065:
Under the heading "Prostitution" in the index to the magazine, the editors listed only one entry: Mary Wollstonecraft. Partially because of these reactions, female sexuality would not be celebrated so overtly in Britain for another century.
739:. Citing Jemima's infrequent appearances in the narrative and the narrator's own use of the language of sensibility, they have difficulty in accepting the claim that the novel is undercutting or questioning the rhetoric of sensibility.
392:
In many instances I could have made the incidents more dramatic, would I have sacrificed my main object, the desire of exhibiting the misery and oppression, peculiar to women, that arise out of the partial laws and customs of society.
301:
siblings. To escape her unhappy home, Maria visited that of a neighbor and fell in love with his son, George Venables. Venables presented himself to everyone as a respectable and honorable young man; in actuality, he was a
681:, and unconventional familial relationships based only upon feeling. Sensibility seemed to many, particularly during a time of political reaction, to offer too much political power to women and to emasculate British men
994:
was the largest part, had a "reasonably wide audience" when it was published in 1798, but it "was received by critics with almost universal disfavor". This was in large part because the simultaneous release of Godwin's
285:. The two begin to communicate and eventually meet. Darnford reveals that he has had a debauched life; waking up in the asylum after a night of heavy drinking, he has been unable to convince the doctors to release him.
843:, that she aimed "to show the wrongs of different classes of women, equally oppressive, though, from the difference of education, necessarily various". Her novel is newly inclusive and one of the first works in the
870:
ethos; Jemima and the other working-class women are only presented as Maria's equal in suffering; "women are linked across class, then, but less in solidarity than in hopelessness." As Wollstonecraft scholar
2223:
542:
Wollstonecraft promised her readers a second part to the work. Rather than giving them another philosophical treatise, however, she offered them a novel tinged with autobiography, appropriately titled
961:. Philosophical novels were expected to be autobiographical; audiences believed that the philosophizing novelists would draw on their own experiences in order to illustrate their abstract principles.
835:, with its interwoven tales of the similarly abused upper-middle-class Maria, the lower-middle-class sailor's wife Peggy, the working-class shopkeeper, the boarding-house owner, and the working-class
1081:
is now read as the progenitor of many feminist texts and the inspiration for many feminist arguments and rhetorical styles (e.g., the personal confession), Wollstonecraft herself was not part of a
1013:
Many critics and even personal acquaintances failed to grasp Wollstonecraft's fundamental point, that Maria's "wrongs" are political, not personal. She wrote to one friend who had criticized it:
756:, however, she accepts, relishes, and uses the sexualized female body as a medium of communication: Maria embraces her lust for Darnford and establishes a relationship with him. While in the
281:
after realizing that Maria is not mad, agrees to bring her a few books. Some of these have notes scribbled in them by Henry Darnford, another inmate, and Maria falls in love with him via his
1073:
may appear commonplace in light of modern feminism, they were "breathtakingly audacious" during the late eighteenth century: "Wollstonecraft's final novel made explosively plain what the
305:. Maria's family life became untenable when her mother died and her father took the housekeeper as his mistress. A rich uncle who was fond of Maria, unaware of Venables' true character,
352:
or novel, if the criterion be the effect which it has on the reader, is not always the most moral work, for it is not the reveries of sentiment, but the struggles of passion — of those
292:. Jemima's mother died while she was still an infant, making her already precarious social position worse. She was therefore forced to become a servant in her father's house and later
546:. In her "Preface", she writes that the novel should be considered the story of "woman" and not the story of an "individual". Wollstonecraft attempts to detail, as the scholar
2794:
1044:
997:
839:
Jemima, is an "unprecedented" representation of the shared concerns of women in a patriarchal society. Wollstonecraft wrote in a letter, published as part of the preface to
139:
580:
offers solutions to these problems, namely an empowering female sexuality, a purpose-filled maternal role, and the possibility of a feminism that crosses class boundaries.
484:(1796), that women are the victims of constant and systematic injustice. Wollstonecraft uses the philosophical dialogues in her novel to demonstrate women's powerlessness.
1077:
had only partially intimated: that women's entitlements — as citizens, mothers, and sexual beings — are incompatible with a patriarchal marriage system." However, while
214:
went on to write that she could not “suppose any situation more distressing” for a woman of “sensibility with an improving mind” to be bound to a husband like Maria's.
731:
and, most importantly, is controlled by reason. A woman with this kind of sensibility would not be "blown about by every gust of momentary feeling". Other critics see
804:
me? In short, I fancied myself in love—in love with the disinterestedness, fortitude, generosity, dignity, and humanity, with which I had invested the hero I dubbed.
399:
900:
s criticism of the institution of marriage and the laws restricting women in the eighteenth century, others focus on the work's description of "the experience of
752:
portrays sexuality as a masculine characteristic, and while Wollstonecraft argues that some masculine characteristics are universal, this is not one of them. In
915:
physical labor, stealing, begging, or prostituting themselves in order to survive; they are demeaned by this work and think meanly of themselves because of it.
953:
is heavily autobiographical; the two novels even repeat many of the same biographical details. After being abandoned by her lover and the father of her child,
703:(1796). Repeatedly, in both her fiction and non-fiction, Wollstonecraft argues that the proper understanding of one's emotions leads to a transcendent virtue.
852:"thinking of Jemima's peculiar fate and her own, she was led to consider the oppressed state of women, and to lament that she had given birth to a daughter".
297:
with pleasure of every kind: food, love, etc. After the death of the gentleman keeping her, she becomes an attendant at the asylum where Maria is imprisoned.
150:
have embraced the work, integrating it into the history of the novel and feminist discourse. It is most often viewed as a fictionalized popularization of the
670:, of the eighteenth century. But sensibility was also thought to paralyze those who had too much of it; they were weakened by constant vicarious suffering.
608:. Commenting on her condition, Maria states: "a wife being as much a man's property as his horse, or his ass, she has nothing she can call her own". In the
1089:
presents "woman" as "wronged", neither Wollstonecraft nor any other British woman who highlighted the inequalities suffered by women at the time (such as
2970:
710:, there is no real scholarly consensus on what exactly the novel says about sensibility. Wollstonecraft is intentionally breaking the conventions of
596:, Maria laments, " not the world a vast prison, and women born slaves?" and later she makes a politically charged allusion to the French prison, the
616:, this option is never presented; instead, the reader is shown a series of disastrous marriages in which women are abused, robbed, and abandoned.
927:
Wollstonecraft appears to reject the traditional romantic plot and invent a new one, necessitated by the failure of society to grant women their
2746:
699:
2642:
2682:
562:
women include stifling and sexually repressed marriages, which Wollstonecraft describes using the language of slavery, while the wrongs done
918:
Because male-female relationships are inherently unequal in her society, Wollstonecraft endeavours to formulate a new kind of friendship in
124:
by her husband. It focuses on the societal rather than the individual "wrongs of woman" and criticizes what Wollstonecraft viewed as the
365:
Wollstonecraft believed that novels should be "probable" and depict "moderation, reason, and contentment". Thus it is surprising that
190:
2965:
2935:
2706:
237:
At Wollstonecraft's death in 1797, the manuscript was incomplete. Godwin published all of the pieces of the manuscript in the
2940:
2570:
2524:
2505:
2486:
2444:
2422:
2284:
2191:
2172:
2058:
2030:
2011:
1955:
1936:
1917:
520:
2960:
2738:
538:
196:
89:
2608:
2413:
The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen
2892:
2730:
1185:
181:
2294:
Maurer, Lisa Shawn (1992). "The female (as) reader: sex, sensibility, and the maternal in Wollstonecraft's fictions".
2201:
Jones, Vivien (1997). "Placing Jemima: women writers of the 1790s and the eighteenth-century prostitution narrative".
658:
fainting as Mr. B. attempts to rape her (1743–4), a scene that came to epitomize sensibility in the eighteenth century
2675:
2547:
2467:
2320:
2265:
2242:
1022:
Even Godwin, her husband, complained, "I do not want a common-place story of a brutal, insensible husband." Both the
935:
that Wollstonecraft fails to extend her critique of marriage and society from the individual to the systemic level.
2788:
2722:
1126:
636:
504:
121:
2650:
2925:
2868:
728:
600:: "marriage had bastilled me for life". Moreover, Maria's body is bought and sold like a slave's: she is worth
137:
and cross-class identification between women. Such themes, coupled with the publication of Godwin's scandalous
2165:
Equivocal Beings: Politics, Gender, and Sentimentality in the 1790s--Wollstonecraft, Radcliffe, Burney, Austen
507:. Wollstonecraft added to the reality of her philosophical text by quoting from familiar literature, such as
2668:
856:
regarding prostitutes. Wollstonecraft rewrites the traditional narrative of the redeemed prostitute (e.g.,
217:
Wollstonecraft also researched the book more than her others. By assuming the responsibilities of fiction
2945:
844:
147:
847:
that hints at a cross-class argument that women of different economic positions have the same interests
2950:
2833:
2082:
876:
Importantly, though, in one version of the ending, it is Jemima who rescues Maria and finds her child.
872:
592:, Wollstonecraft describes marriage as a prison and women as slaves within it. In the first chapter of
496:
222:
795:
Initially, Maria wants to marry Venables because of his charitable nature; she believes him to be the
811:
784:
760:
she had emphasized companioniate relationships, arguing that passions should cool between lovers, in
688:
All of Wollstonecraft's writings betray a tortured relationship with the language of sensibility and
682:
515:
comments on the state of women in society by rewriting earlier texts with a feminist slant, such as
2920:
480:
415:
789:
2930:
765:
440:
204:
however, she had a small daughter and perhaps a larger experience of womanhood. Godwin comments:
2955:
2617:
508:
436:
432:
264:
231:
159:
134:
775:
403:(1794), which demonstrated how an adventurous and gothic novel could offer a social critique.
2773:
2368:
1846:
Letter 325: To George Dyson, No. 29 Polygon, Somers Town, Monday morning, c. May 16th, 1797.
969:
780:
444:
2915:
2874:
1098:
1094:
500:
259:
28:
8:
2691:
2377:
1980:
1024:
974:
667:
525:
491:
relies on a web of suggestive character names to convey its message: Jemima is named for
468:
448:
439:. The narrator often relates Maria's feelings to the reader through the new technique of
113:
80:
52:
42:
2559:
2411:
2397:
2389:
2346:
2254:
2231:
2210:
2151:
2103:
2091:
375:
293:
98:
2762:
2603:
2566:
2543:
2536:
2520:
2501:
2482:
2463:
2440:
2418:
2401:
2316:
2309:
2280:
2261:
2238:
2187:
2168:
2146:
2107:
2054:
2026:
2007:
1951:
1932:
1913:
1181:
1082:
1038:
711:
706:
However, because Wollstonecraft herself is contradictory and vague in the unfinished
472:
340:
306:
226:
2456:
2381:
2350:
2214:
2141:
2133:
2124:
2095:
889:
1002:
books would be read only as a mirror of her life. The eighteenth-century moralist
288:
Jemima tells her life story to Maria and Darnford, explaining that she was born a
2714:
2432:
945:
907:
836:
651:
632:
572:
254:
143:
of Wollstonecraft's life, made the novel unpopular at the time it was published.
693:
selfhood. Her emphasis on "feeling, imagination, and interiority" mark her as a
604:
5,000 on the open marriage market and her new husband attempts to sell her into
344:, Wollstonecraft developed a set of criteria for what constitutes a good novel:
241:, adding several sentences and paragraphs of his own to link disjunct sections.
2812:
2330:
928:
884:
678:
655:
601:
547:
516:
380:
314:
117:
102:
2437:
A Vindication of Political Virtue: The Political Theory of Mary Wollstonecraft
2354:
2218:
799:
that she has read about in novels. However, she later realizes his duplicity:
2909:
2839:
2828:
2818:
1118:
958:
954:
796:
464:
370:
276:
764:, she celebrates those passions. Challenging contemporary moralists such as
566:
women include a false sense of self-worth generated through the language of
221:
and reviewing almost nothing but novels, she used her editorial position at
2862:
2823:
2118:(Autumn 1994). "Feminist Misogyny: Mary Wollstonecraft and the paradox of "
2099:
857:
605:
528:
made the philosophical elements of the novel more palatable to the public.
511:, alluding to important historical events, and referencing relevant facts.
289:
186:
56:
647:
249:
2856:
2115:
2051:
The Culture of Sensibility: Sex and Society in Eighteenth-Century Britain
1003:
694:
662:
624:
567:
492:
130:
2393:
2385:
2654:
2596:
2155:
1717:
Taylor, 56; see also Sapiro, 265–66; Myers, "Unfinished Business", 110.
866:
Nevertheless, Jemima's tale still retains elements of Wollstonecraft's
282:
125:
2660:
1247:
Myers, "Unfinished Business", 112; Mellor, 419; Taylor, 131–32; Todd,
1153:
Biographers such as Wardle and Sunstein rely heavily on passages from
892:; Wollstonecraft envisioned motherhood as a liberating role for women.
772:, Wollstonecraft claimed that women could be fully sexualized beings.
1090:
979:
867:
628:
476:
411:
302:
230:
to educate herself regarding novelistic techniques. She even visited
2362:
Myers, Mitzi (Spring 1980). "Unfinished business: Wollstonecraft's "
2137:
524:; Fielding's Mrs. Fitzpatrick becomes Wollstonecraft's Maria. These
2637:
911:, who transfers her maternal cravings from character to character.
769:
597:
106:
84:
2277:
Revolutionary Feminism: The Mind and Career of Mary Wollstonecraft
1753:
Johnson, 67–68; see also Mellor, 420; Taylor, 243–44; Sapiro, 155.
1112:
452:
sense of self, are a levelling and bonding force between the two.
1036:, attacking both Wollstonecraft and her book as well as Godwin's
735:
as a "negation" of the anti-sentimental arguments offered in the
503:; and George Venables shares a name with the notorious womanizer
349:
218:
923:
719:
435:, although large sections of Maria's and Jemima's tales are in
406:
384:
wretched. As Wollstonecraft herself writes in the "Preface" to
2333:(1996). "Righting the wrongs of woman: Mary Wollstonecraft's "
2795:
Memoirs of the Author of A Vindication of the Rights of Woman
2083:
ANQ: A Quarterly Journal of Short Articles, Notes and Reviews
2004:
Memoirs of the Author of A Vindication of the Rights of Woman
998:
Memoirs of the Author of A Vindication of the Rights of Woman
310:
154:, as an extension of Wollstonecraft's feminist arguments in
2023:
The Vindications: The Rights of Men and The Rights of Woman
823:, rather she is criticizing the directions it often takes.
475:. Wollstonecraft's novel argues along with others, such as
2651:
Mary Wollstonecraft: A 'Speculative and Dissenting Spirit'
2561:
Unsex'd Revolutionaries: Five Women Novelists of the 1790s
2378:
Boston University Arts & Sciences Editorial Institute
1673:
Johnson, 67; Taylor, 241–42; Jones, 204; 211; 215; Todd,
2349:, special issue: Writing women/writing power: 413–424.
1097:) ever put forth a collective solution. As part of the
2068:
Cañadasa, Ivan (2006). "The influence of Ben Jonson's
1910:
The Works of Mary Wollstonecraft: Elements of morality
1850:. Ed. Janet Todd. New York: Penguin Books (2003), 412.
1056:
by him, and perfectly consonant to the principles of
495:'s daughter; Henry Darnford's name resembles that of
1108:
1101:, they were dedicated to individualistic solutions.
879:
2558:
2535:
2455:
2410:
2308:
2253:
2230:
397:One model for Wollstonecraft's novel was Godwin's
2458:A different face: the life of Mary Wollstonecraft
2256:English fiction of the romantic period, 1789-1830
1643:, 4; see also Mellor, 414 and Taylor, 233; Todd,
642:
356:, that too frequently cloud the reason, and lead
179:for over a year; in contrast, she had dashed off
2907:
2479:Mary Wollstonecraft and the Feminist Imagination
1157:to interpret Wollstonecraft's life, for example.
2048:
1357:(Kelly), 154–155; see also Mellor, 413; Kelly,
165:
87:sequel to her revolutionary political treatise
2747:Letters Written in Sweden, Norway, and Denmark
2184:The Cambridge Companion to Mary Wollstonecraft
2020:
1945:
1926:
1907:
700:Letters Written in Sweden, Norway, and Denmark
2676:
1604:
1602:
727:; proper sensibility, she contends, rests on
234:in February 1797 to research insane asylums.
2582:Mary Wollstonecraft: A Critical Bibliography
1848:The Collected Letters of Mary Wollstonecraft
1382:
1380:
1178:The Collected Letters of Mary Wollstonecraft
938:
558:women" (emphasis Mellor's). The wrongs done
16:1798 unfinished novel by Mary Wollstonecraft
2233:Sea changes: essays on culture and feminism
1592:Poovey, 99; see also Taylor, 135 and Todd,
922:: motherhood and sisterhood. It is Maria's
200:(1792) in six weeks. By the time she began
105:, and is often considered her most radical
2683:
2669:
1599:
1180:. Columbia University Press. p. 412.
27:
2971:First-wave feminism in the United Kingdom
2538:Mary Wollstonecraft: A Revolutionary Life
2145:
1931:. Oxford : Oxford University Press.
1377:
1085:nor did she ever argue for one. Although
1061:wrote and taught. (emphasis in original)
619:"Wollstonecraft's fundamental insight in
133:. The novel pioneered the celebration of
2584:. Lincoln: University of Nebraska Press.
2453:
2067:
1318:
1316:
1216:Mellor, 420; Taylor, 135–36; Sapiro, 39.
1144:Taylor, Chapter 9; Sapiro, 37; 149; 266.
968:
883:
774:
646:
405:
248:
2690:
2500:. New York: Columbia University Press.
2181:
2162:
1473:Myers, "Unfinished Business", 108; 111.
1259:
1257:
964:
673:By the time Wollstonecraft was writing
668:the movement to abolish the slave trade
583:
570:. Unlike Wollstonecraft's first novel,
191:Reflections on the Revolution in France
2908:
2707:Thoughts on the Education of Daughters
2579:
2476:
2431:
2408:
2329:
2306:
2293:
2228:
2132:(3). Feminist Studies, Inc.: 452–473.
2001:
1412:
1410:
1404:Poovey, 101; see also Taylor, 232–233.
1331:Mellor, 415; see also Taylor, 133–134.
1322:Gubar (no pagination in HTML version).
1225:Qtd. in Myers, "Literary reviews", 87.
324:
122:a woman imprisoned in an insane asylum
2664:
2361:
2274:
2251:
2200:
2114:
1793:Johnson, 58–60; Taylor, 6; 18; Todd,
1596:, 210–11; Maurer, 48; Johnson, 65–66.
1313:
1212:
1210:
826:
410:Title page from the first edition of
369:draws inspiration from works such as
2739:A Vindication of the Rights of Woman
2533:
2514:
2495:
2041:
1254:
1175:
1069:While Wollstonecraft's arguments in
861:Some Considerations on Streetwalkers
197:A Vindication of the Rights of Woman
90:A Vindication of the Rights of Woman
2893:A Sculpture for Mary Wollstonecraft
1407:
943:Like Wollstonecraft's first novel,
588:In metaphors carried over from the
443:, which blurs the line between the
267:, a famous insane asylum in Britain
120:novel revolves around the story of
13:
2731:A Vindication of the Rights of Men
2556:
1971:
1900:
1837:Taylor, 131; see also Sapiro, 274.
1726:Myers, "Unfinished Business", 111.
1630:(Kelly), 74; see also Mellor, 414.
1515:Vindication of the Rights of Woman
1207:
182:A Vindication of the Rights of Men
175:Wollstonecraft struggled to write
14:
2982:
2590:
2307:Mellor, Anne Kostelanetz (1988).
550:has phrased it, "the wrongs done
471:that advocated the ideals of the
2772:
2626:
2498:Women's Friendship in Literature
1981:Anti-Jacobin Review and Magazine
1660:(Kelly), 119–20; see also Todd,
1544:Johnson, 58–59; see also, Todd,
1111:
1032:reviewed the novel harshly. The
880:Motherhood and the feminine self
742:
455:
2723:Original Stories from Real Life
2565:. University of Toronto Press.
2439:. University of Chicago Press.
2417:. University of Chicago Press.
2167:. University of Chicago Press.
2053:. University of Chicago Press.
2049:Barker-Bendield, G. J. (1996).
1966:
1888:
1879:
1862:
1853:
1840:
1831:
1822:
1813:
1800:
1787:
1774:
1765:
1756:
1747:
1738:
1729:
1720:
1711:
1702:
1693:
1680:
1667:
1650:
1633:
1620:
1611:
1586:
1573:
1564:
1551:
1538:
1529:
1520:
1507:
1498:
1489:
1476:
1467:
1454:
1441:
1428:
1419:
1398:
1389:
1364:
1347:
1334:
1325:
1300:
1283:
1270:
1127:Timeline of Mary Wollstonecraft
779:"The First Kiss of Love", from
244:
22:Maria: or, The Wrongs of Woman
2869:Sir Percy Shelley, 3rd Baronet
2755:Maria: or, The Wrongs of Woman
2481:. Cambridge University Press.
2260:. Addison-Wesley Longman Ltd.
2186:. Cambridge University Press.
1948:Maria: Or, The Wrongs of Woman
1929:Mary: And, The Wrongs of Woman
1280:, 217; Sapiro, 40; Myers, 110.
1241:
1228:
1219:
1194:
1169:
1160:
1147:
1138:
1053:The restrictions upon adultery
896:While some scholars emphasize
845:history of feminist literature
643:Sensibility and sentimentalism
97:was published posthumously in
76:Maria: or, The Wrongs of Woman
1:
2966:Novels published posthumously
2936:Novels by Mary Wollstonecraft
2633:Maria, or the Wrongs of Woman
2542:. Columbia University Press.
2021:Wollstonecraft, Mary (1997).
1946:Wollstonecraft, Mary (1975).
1927:Wollstonecraft, Mary (1998).
1908:Wollstonecraft, Mary (1989).
1870:Maria, or the Wrongs of Woman
1234:Mellor, 419; see also Kelly,
1010:a "vindication of adultery".
194:(1790), in under a month and
2941:British philosophical novels
2517:Sensibility: An Introduction
2462:. HarperCollins Publishers.
2315:. Indiana University Press.
2182:Johnson, Claudia L. (2002).
2163:Johnson, Claudia L. (1995).
1894:Taylor, 238; Sapiro, 266–67.
166:Composition and plot summary
7:
2961:18th-century British novels
2863:Mary Wollstonecraft Shelley
2636:public domain audiobook at
2454:Sunstein, Emily W. (1975).
2339:Nineteenth-Century Contexts
1998:27 (November 1798): 325–27.
1744:Mellor, 414–15; Taylor, 56.
1104:
487:Like other Jacobin novels,
423:
10:
2987:
1535:Kaplan, "Wild Nights", 35.
683:needed for fighting France
554:women and the wrongs done
294:bound out as an apprentice
2884:
2849:
2805:
2781:
2770:
2698:
2623:at etext.lib.virginia.edu
2580:Wardle, Ralph M. (1951).
2557:Ty, Eleanor Rose (1993).
2355:10.1080/08905499608583434
2219:10.1080/09699089700200011
2147:2027/spo.0499697.0020.303
2072:on Mary Wollstonectaft's
939:Autobiographical elements
812:Julie, or the New Heloise
785:Julie, or the New Heloise
531:
170:
148:feminist literary critics
62:
48:
38:
26:
2477:Taylor, Barbara (2003).
2311:Romanticism and feminism
2120:It Takes One to Know One
2002:Godwin, William (2001).
1132:
623:", according to scholar
499:, the second husband of
481:Memoirs of Emma Courtney
416:Memoirs of Emma Courtney
333:
2534:Todd, Janet M. (2000).
2515:Todd, Janet M. (1986).
2496:Todd, Janet M. (1980).
1251:, 209; Sapiro, 40; 265.
788:(1761), illustrated by
635:, and are denied their
505:George, Prince of Wales
441:free indirect discourse
309:for her and gave her a
2614:at fiction.eserver.org
2279:. Palgrave Macmillan.
2100:10.3200/ANQQ.19.3.6-10
1808:Revolutionary Feminism
1690:, 217–18; Taylor, 139.
1559:Revolutionary Feminism
1359:Revolutionary Feminism
1310:, 207–12; Taylor, 132.
1308:Revolutionary Feminism
1291:Revolutionary Feminism
1278:Revolutionary Feminism
1236:Revolutionary Feminism
1202:Revolutionary Feminism
1063:
1020:
1006:, for example, called
983:
893:
888:"Mother and Child" by
806:
792:
659:
437:first-person narrative
433:third-person narration
420:
395:
363:
338:In her pieces for the
268:
211:
2926:British Gothic novels
2409:Poovey, Mary (1985).
2369:The Wordsworth Circle
2229:Kaplan, Cora (1986).
1425:Barker-Benfield, 224.
1050:
1015:
972:
887:
801:
790:Nicolas-André Monsiau
778:
650:
526:rhetorical strategies
447:and the first-person
445:third-person narrator
409:
390:
379:(1790) and relies on
346:
252:
206:
185:(1790), her reply to
2875:Percy Bysshe Shelley
2296:Essays in Literature
2275:Kelly, Gary (1996).
2252:Kelly, Gary (1989).
1828:Qtd. in Taylor, 246.
1645:A Revolutionary Life
1557:Johnson, 63; Kelly,
1546:A Revolutionary Life
1176:Todd, Janet (2003).
965:Reception and legacy
898:The Wrongs of Woman'
584:Marriage and slavery
501:Mary, Queen of Scots
2692:Mary Wollstonecraft
2386:10.1086/TWC24041218
2078:The Wrongs of Woman
2025:. Broadview Press.
2006:. Broadview Press.
1991:12 (1798): 234–235.
1874:Anti-Jacobin Review
1859:Qtd. in Myers, 110.
1688:Women's Friendships
1677:, 226; Sapiro, 106.
1675:Women's Friendships
1662:Women's Friendships
1658:The Wrongs of Woman
1628:The Wrongs of Woman
1581:The Wrongs of Woman
1484:Women's Friendships
1416:Barker-Benfield, 9.
1372:The Wrongs of Woman
1361:, 216; Sapiro, 149.
1355:The Wrongs of Woman
1342:The Wrongs of Woman
1265:The Wrongs of Woman
1155:The Wrongs of Woman
1087:The Wrongs of Woman
1079:The Wrongs of Woman
1071:The Wrongs of Woman
1034:Anti-Jacobin Review
1025:Anti-Jacobin Review
1008:The Wrongs of Woman
992:The Wrongs of Woman
975:Mary Wollstonecraft
951:The Wrongs of Woman
920:The Wrongs of Woman
841:The Wrongs of Woman
833:The Wrongs of Woman
762:The Wrongs of Woman
754:The Wrongs of Woman
733:The Wrongs of Woman
712:sentimental fiction
690:The Wrongs of Woman
675:The Wrongs of Woman
614:The Wrongs of Woman
578:The Wrongs of Woman
544:The Wrongs of Woman
513:The Wrongs of Woman
489:The Wrongs of Woman
469:philosophical novel
461:The Wrongs of Woman
429:The Wrongs of Woman
386:The Wrongs of Woman
367:The Wrongs of Woman
325:Fragmentary endings
307:arranged a marriage
272:The Wrongs of Woman
202:The Wrongs of Woman
177:The Wrongs of Woman
95:The Wrongs of Woman
81:Mary Wollstonecraft
53:philosophical novel
43:Mary Wollstonecraft
23:
2946:Sentimental novels
2347:Taylor and Francis
2211:Taylor and Francis
2092:Taylor and Francis
1795:Women's Friendship
1782:Women's Friendship
1594:Women's Friendship
1295:Women's Friendship
1249:Women's Friendship
984:
894:
827:Class and feminism
793:
697:, particularly in
660:
536:At the end of the
421:
376:A Sicilian Romance
269:
146:Twentieth-century
21:
2951:Unfinished novels
2903:
2902:
2763:Analytical Review
2604:Project Gutenberg
2572:978-0-8020-7774-5
2526:978-0-416-37720-0
2507:978-0-231-04562-9
2488:978-0-521-66144-7
2446:978-0-226-73491-0
2424:978-0-226-67528-2
2286:978-0-312-12904-0
2193:978-0-521-78952-3
2174:978-0-226-40184-3
2060:978-0-226-03714-1
2042:Secondary sources
2032:978-1-55111-088-2
2013:978-1-55111-259-6
1957:978-0-393-08713-0
1938:978-0-19-283536-9
1919:978-0-8147-9225-4
1083:feminist movement
1039:Political Justice
831:The structure of
652:Joseph Highmore's
473:French Revolution
341:Analytical Review
260:A Rake's Progress
253:Final plate from
227:Analytical Review
112:Wollstonecraft's
72:
71:
2978:
2896:(2020 sculpture)
2776:
2685:
2678:
2671:
2662:
2661:
2657:at www.bbc.co.uk
2630:
2629:
2585:
2576:
2564:
2553:
2541:
2530:
2511:
2492:
2473:
2461:
2450:
2433:Sapiro, Virginia
2428:
2416:
2405:
2358:
2326:
2314:
2303:
2290:
2271:
2259:
2248:
2236:
2222:
2197:
2178:
2159:
2149:
2125:Feminist Studies
2111:
2064:
2036:
2017:
1984:1 (1798): 91–93.
1961:
1950:. W. W. Norton.
1942:
1923:
1895:
1892:
1886:
1883:
1877:
1866:
1860:
1857:
1851:
1844:
1838:
1835:
1829:
1826:
1820:
1817:
1811:
1804:
1798:
1791:
1785:
1778:
1772:
1771:Poovey, 108–109.
1769:
1763:
1760:
1754:
1751:
1745:
1742:
1736:
1733:
1727:
1724:
1718:
1715:
1709:
1706:
1700:
1697:
1691:
1684:
1678:
1671:
1665:
1656:Wollstonecraft,
1654:
1648:
1637:
1631:
1626:Wollstonecraft,
1624:
1618:
1615:
1609:
1606:
1597:
1590:
1584:
1579:Wollstonecraft,
1577:
1571:
1568:
1562:
1555:
1549:
1542:
1536:
1533:
1527:
1526:Poovey, 104–105.
1524:
1518:
1513:Wollstonecraft,
1511:
1505:
1502:
1496:
1493:
1487:
1480:
1474:
1471:
1465:
1458:
1452:
1445:
1439:
1432:
1426:
1423:
1417:
1414:
1405:
1402:
1396:
1393:
1387:
1384:
1375:
1370:Wollstonecraft,
1368:
1362:
1353:Wollstonecraft,
1351:
1345:
1340:Wollstonecraft,
1338:
1332:
1329:
1323:
1320:
1311:
1304:
1298:
1287:
1281:
1274:
1268:
1263:Wollstonecraft,
1261:
1252:
1245:
1239:
1232:
1226:
1223:
1217:
1214:
1205:
1198:
1192:
1191:
1173:
1167:
1164:
1158:
1151:
1145:
1142:
1121:
1116:
1115:
988:Posthumous Works
890:Henriette Browne
837:domestic servant
517:Henry Fielding's
239:Posthumous Works
223:Joseph Johnson's
160:autobiographical
135:female sexuality
101:by her husband,
64:Publication date
33:Title page, 1798
31:
24:
20:
2986:
2985:
2981:
2980:
2979:
2977:
2976:
2975:
2921:Feminist novels
2906:
2905:
2904:
2899:
2880:
2845:
2801:
2777:
2768:
2715:Mary: A Fiction
2694:
2689:
2643:Concordance to
2627:
2593:
2588:
2573:
2550:
2527:
2508:
2489:
2470:
2447:
2425:
2331:Mellor, Anne K.
2323:
2287:
2268:
2245:
2237:. Verso Books.
2203:Women's Writing
2194:
2175:
2138:10.2307/3178182
2061:
2044:
2039:
2033:
2014:
1974:
1972:Primary sources
1969:
1964:
1958:
1939:
1920:
1903:
1901:Modern reprints
1898:
1893:
1889:
1885:Taylor, 235-36.
1884:
1880:
1867:
1863:
1858:
1854:
1845:
1841:
1836:
1832:
1827:
1823:
1818:
1814:
1805:
1801:
1792:
1788:
1779:
1775:
1770:
1766:
1761:
1757:
1752:
1748:
1743:
1739:
1734:
1730:
1725:
1721:
1716:
1712:
1707:
1703:
1699:Taylor, 240–41.
1698:
1694:
1685:
1681:
1672:
1668:
1655:
1651:
1641:English Fiction
1638:
1634:
1625:
1621:
1616:
1612:
1608:Taylor, 136–37.
1607:
1600:
1591:
1587:
1578:
1574:
1569:
1565:
1556:
1552:
1543:
1539:
1534:
1530:
1525:
1521:
1512:
1508:
1503:
1499:
1495:Mellor, 415–17.
1494:
1490:
1481:
1477:
1472:
1468:
1459:
1455:
1446:
1442:
1433:
1429:
1424:
1420:
1415:
1408:
1403:
1399:
1394:
1390:
1385:
1378:
1369:
1365:
1352:
1348:
1339:
1335:
1330:
1326:
1321:
1314:
1305:
1301:
1288:
1284:
1275:
1271:
1262:
1255:
1246:
1242:
1233:
1229:
1224:
1220:
1215:
1208:
1199:
1195:
1188:
1174:
1170:
1165:
1161:
1152:
1148:
1143:
1139:
1135:
1117:
1110:
1107:
1075:Rights of Woman
967:
946:Mary: A Fiction
941:
908:Mary: A Fiction
882:
829:
821:Rights of Woman
758:Rights of Woman
750:Rights of Woman
745:
737:Rights of Woman
725:Rights of Woman
708:Wrongs of Woman
645:
610:Rights of Woman
590:Rights of Woman
586:
573:Mary: A Fiction
539:Rights of Woman
534:
458:
426:
336:
327:
255:William Hogarth
247:
232:Bedlam Hospital
173:
168:
156:Rights of Woman
152:Rights of Woman
65:
34:
17:
12:
11:
5:
2984:
2974:
2973:
2968:
2963:
2958:
2953:
2948:
2943:
2938:
2933:
2931:Jacobin novels
2928:
2923:
2918:
2901:
2900:
2898:
2897:
2888:
2886:
2882:
2881:
2879:
2878:
2872:
2866:
2860:
2853:
2851:
2847:
2846:
2844:
2843:
2837:
2834:Joseph Johnson
2831:
2826:
2821:
2816:
2813:William Godwin
2809:
2807:
2803:
2802:
2800:
2799:
2791:
2785:
2783:
2779:
2778:
2771:
2769:
2767:
2766:
2759:
2751:
2743:
2735:
2727:
2719:
2711:
2702:
2700:
2696:
2695:
2688:
2687:
2680:
2673:
2665:
2659:
2658:
2648:
2640:
2624:
2615:
2606:
2592:
2591:External links
2589:
2587:
2586:
2577:
2571:
2554:
2548:
2531:
2525:
2512:
2506:
2493:
2487:
2474:
2468:
2451:
2445:
2429:
2423:
2406:
2359:
2327:
2321:
2304:
2291:
2285:
2272:
2266:
2249:
2243:
2226:
2198:
2192:
2179:
2173:
2160:
2112:
2065:
2059:
2045:
2043:
2040:
2038:
2037:
2031:
2018:
2012:
1999:
1996:Monthly Review
1992:
1989:British Critic
1985:
1975:
1973:
1970:
1968:
1965:
1963:
1962:
1956:
1943:
1937:
1924:
1918:
1904:
1902:
1899:
1897:
1896:
1887:
1878:
1876:(1798): 91–93.
1861:
1852:
1839:
1830:
1821:
1812:
1799:
1786:
1773:
1764:
1755:
1746:
1737:
1728:
1719:
1710:
1701:
1692:
1679:
1666:
1649:
1632:
1619:
1610:
1598:
1585:
1572:
1563:
1550:
1537:
1528:
1519:
1506:
1497:
1488:
1475:
1466:
1453:
1440:
1427:
1418:
1406:
1397:
1388:
1376:
1363:
1346:
1333:
1324:
1312:
1299:
1282:
1269:
1253:
1240:
1227:
1218:
1206:
1193:
1187:978-0231131421
1186:
1168:
1159:
1146:
1136:
1134:
1131:
1130:
1129:
1123:
1122:
1106:
1103:
1030:Monthly Review
966:
963:
959:Jacobin novels
940:
937:
929:natural rights
881:
878:
873:Barbara Taylor
858:Daniel Defoe's
828:
825:
744:
741:
679:sexual freedom
644:
641:
637:natural rights
585:
582:
548:Anne K. Mellor
533:
530:
457:
454:
425:
422:
400:Caleb Williams
354:human passions
335:
332:
326:
323:
246:
243:
187:Edmund Burke's
172:
169:
167:
164:
131:sentimentalism
103:William Godwin
83:'s unfinished
70:
69:
66:
63:
60:
59:
50:
46:
45:
40:
36:
35:
32:
15:
9:
6:
4:
3:
2:
2983:
2972:
2969:
2967:
2964:
2962:
2959:
2957:
2956:Protofeminism
2954:
2952:
2949:
2947:
2944:
2942:
2939:
2937:
2934:
2932:
2929:
2927:
2924:
2922:
2919:
2917:
2914:
2913:
2911:
2895:
2894:
2890:
2889:
2887:
2883:
2876:
2873:
2870:
2867:
2864:
2861:
2858:
2855:
2854:
2852:
2848:
2841:
2840:Richard Price
2838:
2835:
2832:
2830:
2829:Gilbert Imlay
2827:
2825:
2822:
2820:
2817:
2814:
2811:
2810:
2808:
2804:
2797:
2796:
2792:
2790:
2787:
2786:
2784:
2780:
2775:
2765:
2764:
2760:
2757:
2756:
2752:
2749:
2748:
2744:
2741:
2740:
2736:
2733:
2732:
2728:
2725:
2724:
2720:
2717:
2716:
2712:
2709:
2708:
2704:
2703:
2701:
2697:
2693:
2686:
2681:
2679:
2674:
2672:
2667:
2666:
2663:
2656:
2652:
2649:
2647:
2646:
2641:
2639:
2635:
2634:
2625:
2622:
2621:
2618:Full text of
2616:
2613:
2612:
2609:Full text of
2607:
2605:
2601:
2600:
2597:Full text of
2595:
2594:
2583:
2578:
2574:
2568:
2563:
2562:
2555:
2551:
2549:0-231-12184-9
2545:
2540:
2539:
2532:
2528:
2522:
2519:. Routledge.
2518:
2513:
2509:
2503:
2499:
2494:
2490:
2484:
2480:
2475:
2471:
2469:0-06-014201-4
2465:
2460:
2459:
2452:
2448:
2442:
2438:
2434:
2430:
2426:
2420:
2415:
2414:
2407:
2403:
2399:
2395:
2391:
2387:
2383:
2379:
2375:
2371:
2370:
2365:
2360:
2356:
2352:
2348:
2344:
2340:
2336:
2332:
2328:
2324:
2322:0-253-35083-2
2318:
2313:
2312:
2305:
2301:
2297:
2292:
2288:
2282:
2278:
2273:
2269:
2267:0-582-49261-0
2263:
2258:
2257:
2250:
2246:
2244:0-86091-151-9
2240:
2235:
2234:
2227:
2225:
2220:
2216:
2212:
2208:
2204:
2199:
2195:
2189:
2185:
2180:
2176:
2170:
2166:
2161:
2157:
2153:
2148:
2143:
2139:
2135:
2131:
2127:
2126:
2121:
2117:
2113:
2109:
2105:
2101:
2097:
2093:
2089:
2085:
2084:
2079:
2075:
2071:
2066:
2062:
2056:
2052:
2047:
2046:
2034:
2028:
2024:
2019:
2015:
2009:
2005:
2000:
1997:
1994:—. "Review".
1993:
1990:
1987:—. "Review".
1986:
1983:
1982:
1978:—. "Review".
1977:
1976:
1959:
1953:
1949:
1944:
1940:
1934:
1930:
1925:
1921:
1915:
1911:
1906:
1905:
1891:
1882:
1875:
1871:
1865:
1856:
1849:
1843:
1834:
1825:
1816:
1809:
1803:
1796:
1790:
1783:
1777:
1768:
1759:
1750:
1741:
1732:
1723:
1714:
1705:
1696:
1689:
1683:
1676:
1670:
1663:
1659:
1653:
1646:
1642:
1636:
1629:
1623:
1614:
1605:
1603:
1595:
1589:
1583:(Kelly), 130.
1582:
1576:
1567:
1560:
1554:
1547:
1541:
1532:
1523:
1516:
1510:
1501:
1492:
1485:
1479:
1470:
1463:
1457:
1450:
1444:
1437:
1431:
1422:
1413:
1411:
1401:
1392:
1383:
1381:
1374:(Kelly), 158.
1373:
1367:
1360:
1356:
1350:
1343:
1337:
1328:
1319:
1317:
1309:
1303:
1296:
1293:, 208; Todd,
1292:
1286:
1279:
1273:
1266:
1260:
1258:
1250:
1244:
1237:
1231:
1222:
1213:
1211:
1203:
1197:
1189:
1183:
1179:
1172:
1163:
1156:
1150:
1141:
1137:
1128:
1125:
1124:
1120:
1119:Novels portal
1114:
1109:
1102:
1100:
1099:Enlightenment
1096:
1095:Mary Robinson
1092:
1088:
1084:
1080:
1076:
1072:
1067:
1062:
1059:
1054:
1049:
1047:
1046:
1041:
1040:
1035:
1031:
1027:
1026:
1019:
1014:
1011:
1009:
1005:
1000:
999:
993:
989:
981:
977:
976:
971:
962:
960:
956:
955:Gilbert Imlay
952:
948:
947:
936:
932:
930:
925:
921:
916:
912:
910:
909:
903:
899:
891:
886:
877:
874:
869:
864:
862:
859:
853:
850:
846:
842:
838:
834:
824:
822:
818:
814:
813:
805:
800:
798:
797:romantic hero
791:
787:
786:
782:
777:
773:
771:
767:
763:
759:
755:
751:
743:Female desire
740:
738:
734:
730:
726:
721:
715:
713:
709:
704:
702:
701:
696:
691:
686:
684:
680:
676:
671:
669:
664:
657:
654:rendition of
653:
649:
640:
638:
634:
630:
626:
622:
617:
615:
611:
607:
603:
599:
595:
591:
581:
579:
575:
574:
569:
565:
561:
557:
553:
549:
545:
541:
540:
529:
527:
523:
522:
518:
514:
510:
506:
502:
498:
497:Henry Darnley
494:
490:
485:
483:
482:
478:
474:
470:
466:
465:Jacobin novel
462:
456:Jacobin novel
453:
450:
446:
442:
438:
434:
431:usually uses
430:
418:
417:
413:
408:
404:
402:
401:
394:
389:
387:
382:
378:
377:
372:
371:Ann Radcliffe
368:
362:
359:
355:
351:
345:
343:
342:
331:
322:
318:
316:
312:
308:
304:
298:
295:
291:
286:
284:
279:
278:
277:in medias res
273:
266:
262:
261:
256:
251:
242:
240:
235:
233:
229:
228:
224:
220:
215:
210:
205:
203:
199:
198:
193:
192:
188:
184:
183:
178:
163:
161:
157:
153:
149:
144:
142:
141:
136:
132:
127:
123:
119:
115:
114:philosophical
110:
108:
104:
100:
96:
92:
91:
86:
82:
78:
77:
67:
61:
58:
54:
51:
47:
44:
41:
37:
30:
25:
19:
2891:
2877:(son-in-law)
2824:Henry Fuseli
2793:
2761:
2754:
2753:
2745:
2737:
2729:
2721:
2713:
2705:
2644:
2632:
2619:
2610:
2598:
2581:
2560:
2537:
2516:
2497:
2478:
2457:
2436:
2412:
2373:
2367:
2363:
2342:
2338:
2334:
2310:
2299:
2295:
2276:
2255:
2232:
2206:
2202:
2183:
2164:
2129:
2123:
2119:
2116:Gubar, Susan
2087:
2081:
2077:
2073:
2069:
2050:
2022:
2003:
1995:
1988:
1979:
1967:Bibliography
1947:
1928:
1909:
1890:
1881:
1873:
1869:
1868:"Review" of
1864:
1855:
1847:
1842:
1833:
1824:
1819:Wardle, 316.
1815:
1807:
1802:
1794:
1789:
1781:
1776:
1767:
1762:Poovey, 104.
1758:
1749:
1740:
1731:
1722:
1713:
1708:Taylor, 243.
1704:
1695:
1687:
1682:
1674:
1669:
1661:
1657:
1652:
1644:
1640:
1635:
1627:
1622:
1617:Johnson, 66.
1613:
1593:
1588:
1580:
1575:
1566:
1558:
1553:
1545:
1540:
1531:
1522:
1514:
1509:
1504:Mellor, 418.
1500:
1491:
1483:
1478:
1469:
1461:
1456:
1448:
1443:
1435:
1430:
1421:
1400:
1395:Poovey, 100.
1391:
1386:Mellor, 419.
1371:
1366:
1358:
1354:
1349:
1344:(Kelly), 79.
1341:
1336:
1327:
1307:
1302:
1294:
1290:
1285:
1277:
1272:
1267:(Kelly), 73.
1264:
1248:
1243:
1235:
1230:
1221:
1201:
1196:
1177:
1171:
1166:Godwin, 111.
1162:
1154:
1149:
1140:
1086:
1078:
1074:
1070:
1068:
1064:
1057:
1052:
1051:
1043:
1037:
1033:
1029:
1023:
1021:
1016:
1012:
1007:
996:
991:
987:
985:
973:
950:
944:
942:
933:
919:
917:
913:
906:
901:
897:
895:
865:
860:
854:
848:
840:
832:
830:
820:
816:
810:
807:
802:
794:
783:
766:John Gregory
761:
757:
753:
749:
746:
736:
732:
724:
716:
707:
705:
698:
689:
687:
674:
672:
661:
620:
618:
613:
609:
606:prostitution
593:
589:
587:
577:
571:
563:
559:
555:
551:
543:
537:
535:
519:
512:
488:
486:
479:
460:
459:
428:
427:
414:
398:
396:
391:
385:
374:
366:
364:
357:
353:
347:
339:
337:
328:
319:
299:
287:
275:
271:
270:
258:
245:Plot summary
238:
236:
225:
216:
212:
207:
201:
195:
189:
180:
176:
174:
155:
151:
145:
138:
111:
94:
88:
75:
74:
73:
57:gothic novel
18:
2916:1798 novels
2857:Fanny Imlay
2836:(publisher)
2380:: 107–114.
2302:(1): 36–54.
2213:: 201–220.
1735:Maurer, 37.
1570:Poovey, 99.
1462:Sensibility
1449:Sensibility
1436:Sensibility
1004:Hannah More
990:, of which
663:Sensibility
633:objectified
629:commodities
625:Mary Poovey
568:sensibility
509:Shakespeare
477:Mary Hays's
412:Mary Hays's
126:patriarchal
2910:Categories
2885:Depictions
2871:(grandson)
2865:(daughter)
2859:(daughter)
2819:Jane Arden
2806:Her circle
2655:Janet Todd
781:Rousseau's
283:marginalia
263:, showing
85:novelistic
2815:(husband)
2402:165995666
2108:162325434
1664:, 221–22.
1204:, 204–12.
1091:Mary Hays
1048:, wrote:
982:(c. 1797)
980:John Opie
868:bourgeois
521:Tom Jones
303:libertine
158:, and as
2842:(mentor)
2789:Timeline
2638:LibriVox
2435:(1992).
2394:24041218
2094:: 6–10.
1797:, 378ff.
1105:See also
1028:and the
924:pathetic
819:and the
770:Rousseau
729:sympathy
695:Romantic
598:Bastille
576:(1788),
449:dialogue
424:Narrator
107:feminist
93:(1792).
2782:General
2156:3178182
2070:Volpone
1806:Kelly,
1639:Kelly,
1306:Kelly,
1289:Kelly,
1276:Kelly,
1200:Kelly,
1045:Memoirs
849:because
358:mortals
350:tragedy
348:A good
317:5,000.
290:bastard
274:begins
140:Memoirs
2850:Family
2798:(1798)
2758:(1798)
2750:(1796)
2742:(1792)
2734:(1790)
2726:(1788)
2718:(1788)
2710:(1787)
2569:
2546:
2523:
2504:
2485:
2466:
2443:
2421:
2400:
2392:
2319:
2283:
2264:
2241:
2190:
2171:
2154:
2106:
2057:
2029:
2010:
1954:
1935:
1916:
1810:, 208.
1784:, 213.
1780:Todd,
1686:Todd,
1647:, 430.
1561:, 215.
1548:, 430.
1517:, 177.
1486:, 208.
1482:Todd,
1464:, 133.
1460:Todd,
1451:, 136.
1447:Todd,
1438:, 144.
1434:Todd,
1297:, 208.
1238:, 205.
1184:
720:parody
656:Pamela
631:, are
532:Themes
419:(1796)
381:gothic
265:Bedlam
219:editor
171:Drafts
118:gothic
109:work.
39:Author
2699:Works
2645:Maria
2620:Maria
2611:Maria
2599:Maria
2398:S2CID
2390:JSTOR
2376:(2).
2364:Maria
2345:(4).
2335:Maria
2209:(2).
2152:JSTOR
2104:S2CID
2090:(3).
2076:, or
2074:Maria
1133:Notes
902:being
621:Maria
594:Maria
463:is a
334:Style
311:dowry
49:Genre
2567:ISBN
2544:ISBN
2521:ISBN
2502:ISBN
2483:ISBN
2464:ISBN
2441:ISBN
2419:ISBN
2366:"".
2337:"".
2317:ISBN
2281:ISBN
2262:ISBN
2239:ISBN
2224:Pdf.
2188:ISBN
2169:ISBN
2122:"".
2055:ISBN
2027:ISBN
2008:ISBN
1952:ISBN
1933:ISBN
1914:ISBN
1182:ISBN
1042:and
986:The
817:Mary
768:and
467:, a
116:and
99:1798
68:1798
2653:by
2602:at
2382:doi
2351:doi
2215:doi
2142:hdl
2134:doi
2096:doi
2080:".
1093:or
1058:his
978:by
493:Job
373:'s
313:of
257:'s
79:is
2912::
2396:.
2388:.
2374:11
2372:.
2343:19
2341:.
2300:19
2298:.
2205:.
2150:.
2140:.
2130:20
2128:.
2102:.
2088:19
2086:.
1912:.
1872:.
1601:^
1409:^
1379:^
1315:^
1256:^
1209:^
949:,
931:.
685:.
639:.
564:by
560:to
556:by
552:to
388::
162:.
55:,
2684:e
2677:t
2670:v
2575:.
2552:.
2529:.
2510:.
2491:.
2472:.
2449:.
2427:.
2404:.
2384::
2357:.
2353::
2325:.
2289:.
2270:.
2247:.
2221:.
2217::
2207:4
2196:.
2177:.
2158:.
2144::
2136::
2110:.
2098::
2063:.
2035:.
2016:.
1960:.
1941:.
1922:.
1190:.
602:ÂŁ
315:ÂŁ
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
