Mary: A Fiction — Themes and Context

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Wollstonecraft, Mary, 1759-1797 Project Gutenberg 2005 Not confirmed
Autobiographical fiction; Feminist fiction; Women -- Fiction Readers of public-domain and historical texts
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Words 26,803
Reading time 117 min
Text sections 3

The catalog record for Mary: A Fiction — Themes and Context provides practical reading context through 26,803 words, 1 hr 57 min estimated reading time, and 3 detected text sections.

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Wollstonecraft's preface declares her heroine is no Clarissa or Sophie, but a thinking woman whose mind is the source of her grandeur. The novel's diction and dialogue reveal a character who walks against the wind, both literally and figuratively, in a narrative that prioritizes internal struggle over plot.
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She had besides another resource, two most beautiful dogs, who shared her bed, and reclined on cushions near her all the day. These she watched with the most assiduous care, and bestowed on them the warmest caresses. This fondness for animals was not that kind of _attendrissement_ which makes a person take pleasure in providing for the subsistence and comfort of a living creature; but it proceeded from vanity, it gave her an opportunity of lisping out the prettiest French expressions of ecstatic fondness, in accents that had never been attuned by tenderness.

She was chaste, according to the vulgar acceptation of the word, that is, she did not make any actual _faux pas_; she feared the world, and was indolent; but then, to make amends for this seeming self-denial, she read all the sentimental novels, dwelt on the love-scenes, and, had she thought while she read, her mind would have been contaminated; as she accompanied the lovers to the lonely arbors, and would walk with them by the clear light of the moon. She wondered her husband did not stay at home. She was jealous--why did he not love her, sit by her side, squeeze her hand, and look unutterable things? Gentle reader, I will tell thee; they neither of them felt what they could not utter. I will not pretend to say that they always annexed an idea to a word; but they had none of those feelings which are not easily analyzed.

In due time she brought forth a son, a feeble babe; and the following year a daughter. After the mother's throes she felt very few sentiments of maternal tenderness: the children were given to nurses, and she played with her dogs. Want of exercise prevented the least chance of her recovering strength; and two or three milk-fevers brought on a consumption, to which her constitution tended. Her children all died in their infancy, except the two first, and she began to grow fond of the son, as he was remarkably handsome. For years she divided her time between the sofa, and the card-table. She thought not of death, though on the borders of the grave; nor did any of the duties of her station occur to her as necessary. Her children were left in the nursery; and when Mary, the little blushing girl, appeared, she would send the awkward thing away. To own the truth, she was awkward enough, in a house without any play-mates; for her brother had been sent to school, and she scarcely knew how to employ herself; she would ramble about the garden, admire the flowers, and play with the dogs. An old house-keeper told her stories, read to her, and, at last, taught her to read. Her mother talked of enquiring for a governess when her health would permit; and, in the interim desired her own maid to teach her French. As she had learned to read, she perused with avidity every book that came in her way. Neglected in every respect, and left to the operations of her own mind, she considered every thing that came under her inspection, and learned to think. She had heard of a separate state, and that angels sometimes visited this earth. She would sit in a thick wood in the park, and talk to them; make little songs addressed to them, and sing them to tunes of her own composing; and her native wood notes wild were sweet and touching.

Her father always exclaimed against female acquirements, and was glad that his wife's indolence and ill health made her not trouble herself about them. She had besides another reason, she did not wish to have a fine tall girl brought forward into notice as her daughter; she still expected to recover, and figure away in the gay world. Her husband was very tyrannical and passionate; indeed so very easily irritated when inebriated, that Mary was continually in dread lest he should frighten her mother to death; her sickness called forth all Mary's tenderness, and exercised her compassion so continually, that it became more than a match for self-love, and was the governing propensity of her heart through life. She was violent in her temper; but she saw her father's faults, and would weep when obliged to compare his temper with her own.--She did more; artless prayers rose to Heaven for pardon, when she was conscious of having erred; and her contrition was so exceedingly painful, that she watched diligently the first movements of anger and impatience, to save herself this cruel remorse.

Sublime ideas filled her young mind--always connected with devotional sentiments; extemporary effusions of gratitude, and rhapsodies of praise would burst often from her, when she listened to the birds, or pursued the deer. She would gaze on the moon, and ramble through the gloomy path, observing the various shapes the clouds assumed, and listen to the sea that was not far distant. The wandering spirits, which she imagined inhabited every part of nature, were her constant friends and confidants. She began to consider the Great First Cause, formed just notions of his attributes, and, in particular, dwelt on his wisdom and goodness. Could she have loved her father or mother, had they returned her affection, she would not so soon, perhaps, have sought out a new world.

Her sensibility prompted her to search for an object to love; on earth it was not to be found: her mother had often disappointed her, and the apparent partiality she shewed to her brother gave her exquisite pain--produced a kind of habitual melancholy, led her into a fondness for reading tales of woe, and made her almost realize the fictitious distress.

She had not any notion of death till a little chicken expired at her feet; and her father had a dog hung in a passion. She then concluded animals had souls, or they would not have been subjected to the caprice of man; but what was the soul of man or beast? In this style year after year rolled on, her mother still vegetating.

A little girl who attended in the nursery fell sick. Mary paid her great attention; contrary to her wish, she was sent out of the house to her mother, a poor woman, whom necessity obliged to leave her sick child while she earned her daily bread. The poor wretch, in a fit of delirium stabbed herself, and Mary saw her dead body, and heard the dismal account; and so strongly did it impress her imagination, that every night of her life the bleeding corpse presented itself to her when the first began to slumber. Tortured by it, she at last made a vow, that if she was ever mistress of a family she would herself watch over every part of it. The impression that this accident made was indelible.

As her mother grew imperceptibly worse and worse, her father, who did not understand such a lingering complaint, imagined his wife was only grown still more whimsical, and that if she could be prevailed on to exert herself, her health would soon be re-established. In general he treated her with indifference; but when her illness at all interfered with his pleasures, he expostulated in the most cruel manner, and visibly harassed the invalid. Mary would then assiduously try to turn his attention to something else; and when sent out of the room, would watch at the door, until the storm was over, for unless it was, she could not rest. Other causes also contributed to disturb her repose: her mother's luke-warm manner of performing her religious duties, filled her with anguish; and when she observed her father's vices, the unbidden tears would flow. She was miserable when beggars were driven from the gate without being relieved; if she could do it unperceived, she would give them her own breakfast, and feel gratified, when, in consequence of it, she was pinched by hunger.

She had once, or twice, told her little secrets to her mother; they were laughed at, and she determined never to do it again. In this manner was she left to reflect on her own feelings; and so strengthened were they by being meditated on, that her character early became singular and permanent. Her understanding was strong and clear, when not clouded by her feelings; but she was too much the creature of impulse, and the slave of compassion.

Near her father's house lived a poor widow, who had been brought up in affluence, but reduced to great distress by the extravagance of her husband; he had destroyed his constitution while he spent his fortune; and dying, left his wife, and five small children, to live on a very scanty pittance. The eldest daughter was for some years educated by a distant relation, a Clergyman. While she was with him a young gentleman, son to a man of property in the neighbourhood, took particular notice of her. It is true, he never talked of love; but then they played and sung in concert; drew landscapes together, and while she worked he read to her, cultivated her taste, and stole imperceptibly her heart. Just at this juncture, when smiling, unanalyzed hope made every prospect bright, and gay expectation danced in her eyes, her benefactor died. She returned to her mother--the companion of her youth forgot her, they took no more sweet counsel together. This disappointment spread a sadness over her countenance, and made it interesting. She grew fond of solitude, and her character appeared similar to Mary's, though her natural disposition was very different.

She was several years older than Mary, yet her refinement, her taste, caught her eye, and she eagerly sought her friendship: before her return she had assisted the family, which was almost reduced to the last ebb; and now she had another motive to actuate her.

As she had often occasion to send messages to Ann, her new friend, mistakes were frequently made; Ann proposed that in future they should be written ones, to obviate this difficulty, and render their intercourse more agreeable. Young people are mostly fond of scribbling; Mary had had very little instruction; but by copying her friend's letters, whose hand she admired, she soon became a proficient; a little practice made her write with tolerable correctness, and her genius gave force to it. In conversation, and in writing, when she felt, she was pathetic, tender and persuasive; and she expressed contempt with such energy, that few could stand the flash of her eyes.

As she grew more intimate with Ann, her manners were softened, and she acquired a degree of equality in her behaviour: yet still her spirits were fluctuating, and her movements rapid. She felt less pain on account of her mother's partiality to her brother, as she hoped now to experience the pleasure of being beloved; but this hope led her into new sorrows, and, as usual, paved the way for disappointment. Ann only felt gratitude; her heart was entirely engrossed by one object, and friendship could not serve as a substitute; memory officiously retraced past scenes, and unavailing wishes made time loiter.

Mary was often hurt by the involuntary indifference which these consequences produced. When her friend was all the world to her, she found she was not as necessary to her happiness; and her delicate mind could not bear to obtrude her affection, or receive love as an alms, the offspring of pity. Very frequently has she ran to her with delight, and not perceiving any thing of the same kind in Ann's countenance, she has shrunk back; and, falling from one extreme into the other, instead of a warm greeting that was just slipping from her tongue, her expressions seemed to be dictated by the most chilling insensibility.

She would then imagine that she looked sickly or unhappy, and then all her tenderness would return like a torrent, and bear away all reflection. In this manner was her sensibility called forth, and exercised, by her mother's illness, her friend's misfortunes, and her own unsettled mind.

Near to her father's house was a range of mountains; some of them were, literally speaking, cloud-capt, for on them clouds continually rested, and gave grandeur to the prospect; and down many of their sides the little bubbling cascades ran till they swelled a beautiful river. Through the straggling trees and bushes the wind whistled, and on them the birds sung, particularly the robins; they also found shelter in the ivy of an old castle, a haunted one, as the story went; it was situated on the brow of one of the mountains, and commanded a view of the sea. This castle had been inhabited by some of her ancestors; and many tales had the old house-keeper told her of the worthies who had resided there.

When her mother frowned, and her friend looked cool, she would steal to this retirement, where human foot seldom trod--gaze on the sea, observe the grey clouds, or listen to the wind which struggled to free itself from the only thing that impeded its course. When more cheerful, she admired the various dispositions of light and shade, the beautiful tints the gleams of sunshine gave to the distant hills; then she rejoiced in existence, and darted into futurity.

One way home was through the cavity of a rock covered with a thin layer of earth, just sufficient to afford nourishment to a few stunted shrubs and wild plants, which grew on its sides, and nodded over the summit. A clear stream broke out of it, and ran amongst the pieces of rocks fallen into it. Here twilight always reigned--it seemed the Temple of Solitude; yet, paradoxical as the assertion may appear, when the foot sounded on the rock, it terrified the intruder, and inspired a strange feeling, as if the rightful sovereign was dislodged. In this retreat she read Thomson's Seasons, Young's Night-Thoughts, and Paradise Lost.

At a little distance from it were the huts of a few poor fishermen, who supported their numerous children by their precarious labour. In these little huts she frequently rested, and denied herself every childish gratification, in order to relieve the necessities of the inhabitants. Her heart yearned for them, and would dance with joy when she had relieved their wants, or afforded them pleasure.

In these pursuits she learned the luxury of doing good; and the sweet tears of benevolence frequently moistened her eyes, and gave them a sparkle which, exclusive of that, they had not; on the contrary, they were rather fixed, and would never have been observed if her soul had not animated them. They were not at all like those brilliant ones which look like polished diamonds, and dart from every superfice, giving more light to the beholders than they receive themselves.

Her benevolence, indeed, knew no bounds; the distress of others carried her out of herself; and she rested not till she had relieved or comforted them. The warmth of her compassion often made her so diligent, that many things occurred to her, which might have escaped a less interested observer.

In like manner, she entered with such spirit into whatever she read, and the emotions thereby raised were so strong, that it soon became a part of her mind.

Enthusiastic sentiments of devotion at this period actuated her; her Creator was almost apparent to her senses in his works; but they were mostly the grand or solemn features of Nature which she delighted to contemplate. She would stand and behold the waves rolling, and think of the voice that could still the tumultuous deep.

These propensities gave the colour to her mind, before the passions began to exercise their tyrannic sway, and particularly pointed out those which the soil would have a tendency to nurse.

Years after, when wandering through the same scenes, her imagination has strayed back, to trace the first placid sentiments they inspired, and she would earnestly desire to regain the same peaceful tranquillity.

Many nights she sat up, if I may be allowed the expression, _conversing_ with the Author of Nature, making verses, and singing hymns of her own composing. She considered also, and tried to discern what end her various faculties were destined to pursue; and had a glimpse of a truth, which afterwards more fully unfolded itself.

She thought that only an infinite being could fill the human soul, and that when other objects were followed as a means of happiness, the delusion led to misery, the consequence of disappointment. Under the influence of ardent affections, how often has she forgot this conviction, and as often returned to it again, when it struck her with redoubled force. Often did she taste unmixed delight; her joys, her ecstacies arose from genius.

She was now fifteen, and she wished to receive the holy sacrament; and perusing the scriptures, and discussing some points of doctrine which puzzled her, she would sit up half the night, her favourite time for employing her mind; she too plainly perceived that she saw through a glass darkly; and that the bounds set to stop our intellectual researches, is one of the trials of a probationary state.

But her affections were roused by the display of divine mercy; and she eagerly desired to commemorate the dying love of her great benefactor. The night before the important day, when she was to take on herself her baptismal vow, she could not go to bed; the sun broke in on her meditations, and found her not exhausted by her watching.

The orient pearls were strewed around--she hailed the morn, and sung with wild delight, Glory to God on high, good will towards men. She was indeed so much affected when she joined in the prayer for her eternal preservation, that she could hardly conceal her violent emotions; and the recollection never failed to wake her dormant piety when earthly passions made it grow languid.

These various movements of her mind were not commented on, nor were the luxuriant shoots restrained by culture. The servants and the poor adored her.

In order to be enabled to gratify herself in the highest degree, she practiced the most rigid oeconomy, and had such power over her appetites and whims, that without any great effort she conquered them so entirely, that when her understanding or affections had an object, she almost forgot she had a body which required nourishment.

This habit of thinking, this kind of absorption, gave strength to the passions.

We will now enter on the more active field of life.

A few months after Mary was turned of seventeen, her brother was attacked by a violent fever, and died before his father could reach the school.

She was now an heiress, and her mother began to think her of consequence, and did not call her _the child_. Proper masters were sent for; she was taught to dance, and an extraordinary master procured to perfect her in that most necessary of all accomplishments.

A part of the estate she was to inherit had been litigated, and the heir of the person who still carried on a Chancery suit, was only two years younger than our heroine. The fathers, spite of the dispute, frequently met, and, in order to settle it amicably, they one day, over a bottle, determined to quash it by a marriage, and, by uniting the two estates, to preclude all farther enquiries into the merits of their different claims.

While this important matter was settling, Mary was otherwise employed. Ann's mother's resources were failing; and the ghastly phantom, poverty, made hasty strides to catch them in his clutches. Ann had not fortitude enough to brave such accumulated misery; besides, the canker-worm was lodged in her heart, and preyed on her health. She denied herself every little comfort; things that would be no sacrifice when a person is well, are absolutely necessary to alleviate bodily pain, and support the animal functions.

There were many elegant amusements, that she had acquired a relish for, which might have taken her mind off from its most destructive bent; but these her indigence would not allow her to enjoy: forced then, by way of relaxation, to play the tunes her lover admired, and handle the pencil he taught her to hold, no wonder his image floated on her imagination, and that taste invigorated love.

Poverty, and all its inelegant attendants, were in her mother's abode; and she, though a good sort of a woman, was not calculated to banish, by her trivial, uninteresting chat, the delirium in which her daughter was lost.

This ill-fated love had given a bewitching softness to her manners, a delicacy so truly feminine, that a man of any feeling could not behold her without wishing to chase her sorrows away. She was timid and irresolute, and rather fond of dissipation; grief only had power to make her reflect.

In the advertisement to Mary: A Fiction, Wollstonecraft explicitly sets her heroine apart from the models of Richardson and Rousseau: this woman is neither a Clarissa, a Lady G——, nor a Sophie. The author aims to develop a character whose grandeur is derived from the operations of her own faculties, not subjugated to opinion. The novel's diction and dialogue consistently reflect this ambition, presenting a protagonist who is defined by her internal conflicts rather than external events.

The excerpts show a narrative voice that is intimate and psychologically acute, often using physical descriptions—pallid complexion, flushed cheeks, false vivacity—to externalize Mary's emotional state. Wollstonecraft's prose is marked by a deliberate roughness, an artless tale without episodes, as she calls it, that prioritizes the display of a thinking mind over conventional plot structures.

A Deliberate Departure from Convention

Wollstonecraft's advertisement is a manifesto of authorial intent. She criticizes artists who copy the originals of great masters, catching only the gross parts while the subtle spirit evaporates. Her own composition, she claims, will have power to delight only where the soul of the author is exhibited and animates the hidden springs. This is not a modest claim: she wishes to speak for herself, not to be an echo—even of the sweetest sounds—or the reflector of the most sublime beams.

The language here is striking in its defiance. Wollstonecraft uses metaphors of creation and originality: the paradise her chosen few ramble in must be of their own creating, or the prospect soon grows insipid. She directly challenges the notion that female organs are too weak for thinking, and in a fiction, such a being may be allowed to exist. This preface frames the entire novel as an experiment in portraying a woman whose mind is not subjugated to opinion but drawn from the original source.

The Vocabulary of Inner Turmoil

Throughout the excerpts, Wollstonecraft uses a specific lexicon to convey Mary's psychological state. Words like tempest, fury, wildly, and dormant tenderness recur, linking emotional upheaval to natural forces. When Mary walks among the ruins of an old monastery, the wind blows violently, and she does not avoid its fury but seems glad to contend with it, or rather walk against it. This physical action mirrors her internal resistance.

The narrative also employs contrasts between appearance and reality: Mary's complexion is of the most pallid hue, but later her cheeks are flushed and her eyes enlivened with a false vivacity, an unusual fire. These details are not merely descriptive; they signal the strain of concealing her feelings. The dialogue, too, is marked by abrupt shifts—Mary talks incessantly, flashes of wit burst from her, and when she begins to laugh she cannot stop herself—revealing a mind struggling to maintain composure.

Dialogue as a Window to Character

The exchanges between Mary and Henry in chapters XVII and XVIII are particularly revealing. Henry speaks with a measured, almost formal tenderness: 'You are going, Mary, and going by yourself; your mind is not in a state to be left to its own operations—yet I cannot dissuade you.' His language is careful, full of qualifiers, and he refers to himself in the third person ('the title I wish to merit'). Mary's responses, by contrast, are impulsive and direct: 'Oh! let me hear of thine,' she replies, and 'I am well, very well; but thou art very ill.'

The use of the intimate pronoun 'thou' in Mary's speech marks a shift in register, signaling emotional closeness. When she explains her situation to Henry, she does so with all the frankness which marked her character, and her dislike to her husband is expressed with such disgust that he trembles for her. Wollstonecraft uses dialogue not just to advance the plot but to expose the characters' inner lives, allowing their words to carry the weight of unspoken fears and desires.

Structure and the Artless Tale

Wollstonecraft describes her narrative as 'an artless tale, without episodes.' The excerpts bear this out: the story proceeds in a linear fashion, with little digression. The focus remains firmly on Mary's consciousness. Even when external events occur—a servant's marriage, a ship clearing out at the Custom-house—they are filtered through her perception. The result is a novel that feels claustrophobic, as the reader is confined to Mary's point of view.

This structural choice reinforces the theme of internal struggle. The narrative does not offer relief through subplots or comic interludes. Instead, it dwells on moments of tension: Mary sitting on the side of her bed for several hours, waiting for the dreaded to-morrow. The prose itself mirrors this intensity, with short, declarative sentences and a rhythm that quickens during moments of crisis. Wollstonecraft's refusal to embellish or moralize gives the novel a raw, almost documentary quality, making it a precursor to later psychological fiction.

Readers approaching Mary: A Fiction should attend closely to the interplay between what is said and what is left unsaid. Wollstonecraft's heroine is defined by her silences, her hesitations, and the moments when her composure cracks. The novel rewards a careful reading of its diction and dialogue, where every word choice and syntactical shift carries meaning. This is not a story of action but of inner experience, and its power lies in the precision with which it renders the mind of a woman who thinks.

Reading how Wollstonecraft’s Mary walks against the wind, I remembered a windy afternoon on a train, a stranger’s face in the window, and the quiet ache of internal weather. A Brief History of the English Language and Literature, Vol. 2 — Text and ContextA Brief History of the English Language and Literature, Vol. 2 — Text and Context once offered that same companionship—a voice tracing how others, too, had felt their way through words alone.

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  • ...
    Stephanie Dixon - 4 weeks ago
    {'type': 'neutral', 'content': "Mary: A Fiction is an important early feminist novel, but it reads more like a philosophical treatise than a fully realized story. The character of Mary is compelling, and Wollstonecraft's critique of social norms is thought-provoking. However, the plot is thin, and the narrative can feel disjointed, with sections that are more reflective than action-driven. It's worth reading for its historical significance and insights, but don't expect a smooth, conventional narrative."}

  • ...
    Mark Duncan - 3 weeks ago
    {'type': 'positive', 'content': "Mary: A Fiction is a groundbreaking work that delves into the psychological complexities of its heroine with remarkable depth for its time. Mary Wollstonecraft's prose is sharp, introspective, and fiercely feminist, offering a raw portrayal of a woman's struggle for independence and intellectual fulfillment in a restrictive society. The novel's emotional honesty and philosophical richness make it a compelling read for anyone interested in early feminist literature and the development of the novel as a medium for exploring inner life."}

  • ...
    Brittany Glenn - 2 weeks ago
    {'type': 'negative', 'content': "Mary: A Fiction is a disappointment. The story is barely a story—it's more of a thinly veiled autobiography with a preachy tone. The characters are flat, especially the men, who serve only as foils to Mary's supposed intellectual superiority. The prose is dense and often incoherent, and the emotional depth that the title promises is undermined by the author's constant editorializing. For modern readers, it's a chore to get through, and its historical value as a feminist text doesn't excuse its lack of craft."}


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