If the book wishes to tell us that Harriet Shelley hired a wet-nurse, that commonplace fact gets turned into a dancing-master, who does his professional bow before us in pumps and knee-breeches, with his fiddle under one arm and his crush-hat under the other, thus: "The beauty of Harriet's motherly relation to her babe was marred in Shelley's eyes by the introduction into his house of a hireling nurse to whom was delegated the mother's tenderest office."

This is perhaps the strangest book that has seen the light since Frankenstein. Indeed, it is a Frankenstein itself; a Frankenstein with the original infirmity supplemented by a new one; a Frankenstein with the reasoning faculty wanting. Yet it believes it can reason, and is always trying. It is not content to leave a mountain of fact standing in the clear sunshine, where the simplest reader can perceive its form, its details, and its relation to the rest of the landscape, but thinks it must help him examine it and understand it; so its drifting mind settles upon it with that intent, but always with one and the same result: there is a change of temperature and the mountain is hid in a fog. Every time it sets up a premise and starts to reason from it, there is a surprise in store for the reader. It is strangely nearsighted, cross-eyed, and purblind. Sometimes when a mastodon walks across the field of its vision it takes it for a rat; at other times it does not see it at all.

The materials of this biographical fable are facts, rumors, and poetry. They are connected together and harmonized by the help of suggestion, conjecture, innuendo, perversion, and semi-suppression.

The fable has a distinct object in view, but this object is not acknowledged in set words. Percy Bysshe Shelley has done something which in the case of other men is called a grave crime; it must be shown that in his case it is not that, because he does not think as other men do about these things.

Ought not that to be enough, if the fabulist is serious? Having proved that a crime is not a crime, was it worth while to go on and fasten the responsibility of a crime which was not a crime upon somebody else? What is the use of hunting down and holding to bitter account people who are responsible for other people's innocent acts?

Still, the fabulist thinks it a good idea to do that. In his view Shelley's first wife, Harriet, free of all offense as far as we have historical facts for guidance, must be held unforgivably responsible for her husband's innocent act in deserting her and taking up with another woman.

Any one will suspect that this task has its difficulties. Any one will divine that nice work is necessary here, cautious work, wily work, and that there is entertainment to be had in watching the magician do it. There is indeed entertainment in watching him. He arranges his facts, his rumors, and his poems on his table in full view of the house, and shows you that everything is there--no deception, everything fair and above board. And this is apparently true, yet there is a defect, for some of his best stock is hid in an appendix-basket behind the door, and you do not come upon it until the exhibition is over and the enchantment of your mind accomplished--as the magician thinks.

There is an insistent atmosphere of candor and fairness about this book which is engaging at first, then a little burdensome, then a trifle fatiguing, then progressively suspicious, annoying, irritating, and oppressive. It takes one some little time to find out that phrases which seem intended to guide the reader aright are there to mislead him; that phrases which seem intended to throw light are there to throw darkness; that phrases which seem intended to interpret a fact are there to misinterpret it; that phrases which seem intended to forestall prejudice are there to create it; that phrases which seem antidotes are poisons in disguise. The naked facts arrayed in the book establish Shelley's guilt in that one episode which disfigures his otherwise superlatively lofty and beautiful life; but the historian's careful and methodical misinterpretation of them transfers the responsibility to the wife's shoulders as he persuades himself.

Mark Twain
Classic Literature Library

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