Mary Shelley: A Biography

 

The History, and the Extinction, of Mankind

Farewell to... everything

(From Mary Shelley's The Last Man, III.21; p. 320-22)

This summer extinguished our hopes, the vessel of society was wrecked, and the shattered raft, which carried the few survivors over the sea of msery, was riven and tempest tost. Man existed by twos and threes; man, the individual who might sleep, and wake, and perform the animal functions; but man, in himself weak, yet more powerful in congregated numbers than wind or ocean: man, the queller of the elements, the lord of created nature, the peer of demi-gods, existed no longer.

Farewell to the patriotic scene, to the love of liberty and well earned need of virtuous aspiration!—farewell to crowded senate, vocal with councils of the wisee, whose laws were keener than the sword blade tempered at Damascus!—farewell to kingly pomp and warlike pageantry; the crowns are in the dust, and the wearers are in their graves!—farewell to the desire of rule, and the hope of victory; to high vaulting ambition, to the appetite for praise, and the craving for the suffrage of their fellows! The nations are no longer! No senate sits in council for the dead; no scion of a time honoured dynasty pants to rule over the inhabitants of a charnel house; the general's hand is cold, and the soldier has his untimely grave dug in his native fields, unhonoured, though in youth. The market-place is empty, the candidate for popular favour fins none whom he can represent. To chambers of painted state farewell!—To midnight revelry, and the panting emulation of beauty, to costly dress and birth-day shew, to title and the gilded coronet, farewell!

Farewell to the giant powers of man,—to knowledge that could pilot the deep-drawing bark through the opposing waters of shoreless ocean,—to science that directed the silken baloon through the pathless air,—to the power that could put a barrier to mighty waters, and set in motion wheels, and beams, and vast machinery, that could divide rocks of granite or marble, and make the mountains plain!

Farewell to the arts,—to eloquence, which is to the human mind as the winds to the sea, stirring, and then allaying it;—farewell to poetry and deep philosophy, for man's imagination is cold, and his dnquiring mind can no longer expatiate on the wonders of life, for 'there is no work, nor device, nor knowledge, nor wisdom in the grave, whither thou goest!'—to the graceful building, which in its perfect proportion transcended the rude forms of nature, the fretted gothic and massy saracenic pile, to the stupendous arch and glorious dome, the fluted column with its capital, Corinthian, Ionic, or Doric, the peristyle and fair entablature, whose harmony of form is to the eye as musical concord to the ear!—farewell to sculpture, where the pure marble mocks human flesh, and in the plastic expression of the culled excellencies of the human shape, shines forth the god!—farewell to painting, the high wrought sentiment and deep knowledge of the artist's mind in pictured canvas—to paradisaical scenes, where trees are ever vernal, and the ambrosial air rests in perpetual glow:—to the stamped form of tempest, and wildest uproar of universal nature encaged in  the narrow frame, O farewell! Farewell to music, and the sound of song; to the marriage of instruments, where the concord of soft and harsh unites in sweet harmony, and gives wings to the panting listeners, whereby to climb heaven, and learn the hidden pleasures of the eternals!—Farewell to the well-trod stage; a truer tragedy is enacted on the worl's ample scene, that puts to shame mimic grief; to high-bred comedy, and the low buffoon, farewell!—Man may laugh no more.

Alas! to enumerate the adornments of humanity, shews, by what we have lost, how supremely great man was. It is all over now. He is solitary; like our first parents expelled from Paradise, he looks back towards the scene he has quitted. The high walls of the tomb, and the flaming sword of plague, lie between it and him. Like to our first parents, the whole earth is before him, a wide desart. Unsupported and weak, let him wander though fields where the unreaped corn stands in barren pleny, through copses planted by his fathers, through towns built for his use. Posterity is no more; fame, and ambition, and love, are words void of meaning; even as the cattle that grazes in the field, do thou, O deserted one, lie down at evening-tide, unknowing of the past, careless of the future, for from such fond ignorance alone canst thou hope for ease!

Consecuencias económicas de la pandemia

—oOo—

Living in the Last Days of Civilization

(From Mary Shelley's The Last Man, II.20):


I can speak for myself—want of energy was not my failing. The intense life that quickened my pulses, and animated my frame, had the effect, not of drawing me into the mazes of active life, but of exalting my lowliness, and of bestowing majestic proportions to insignificant object—I could have lived the life of a peasant in the same way—my trifling occupations were swelled into important pursuits; my affections were impetuous and engrossing passions, and nature with all her changes was invested in divine attribute. The very spirit of the Greek mythology inhabited my heart; I deified the uplands, glaes, and streams, I

Had sight of Proteus coming from the sea;
And heard old Triton blow his wreathed horn.  (Wordsworth)

Strange, that while the earth preserved her monotonous course, I dwelt with ever-renewing wonder on her antique laws, and now that with excentric wheel she rushed into an untried path, I should feel this spirit fade; I struggled with despondency and weariness, but like a fog, they choked me. Perhaps, after the labours and stupendous excitement of the past summer, the calm of winter and the almost menial toils it brought with it, were by natural re-action doubly irksome. It was not the grasping passion of the preceding year which gave life and individuality to each moment—it was not the aching pangs introduced by the distresses of the times. The utter inutility that had attended all my exertions took from them their usual effects of exhilaration, and despair rendered abortive the balm of self-applause—I longed to return to my old occupations, but what use were they? To read were futile—to write, vanity indeed. The earth, late wide circus for the display of dignified exploits, vast theatre for a magnificent drama, now presented a vacant space, an empty stage—for actor or spectator there was no longer aught to say or hear.

Voice to the Soundless Thought

—oOo—

Tragedies Deep and Dire

From Mary Shelley's novel on apocalyptic pandemic, The Last Man (1826), ch. 19:




July is gone. August must pass, and by the middle of September we may hope. Each day was eagerly counted; and the inhabitants of towns, desirous to leap this dangerous interval, plunged into dissipation, and strove, by riot, and what they wished to imagine to be pleasure, to banish thought and opiate despair. None but Adrian could have tamed the motley population of London, which, like a troop of unbitted steeds, rushing to their pastures, had thrown aside all minor fears, through the operation of the fear paramount. Even Adrian was obliged to part to yield, that he might be able, if not to guide, at least to set bounds to the license of the times. The theatres were kept open; every place of public resort hwas frquented, though he endeavored so to modify them, as might best quiet the agitation of the spectators, and at the same time prevent a reaction of misery when the excitement was over. Tragedies deep and dire were the chief favourites. Comedy brought with it too great a contrast to the inner despair; when such were attempted, it was not infrequent for a commedian, in the midst of the laughter occasiones by this disproportioned buffoonery, to find a word or thought in his part that jarred with his own sense of wretchedness, and burst down from mimic merriment into sobs and tears, while the spectators, seized with irresistible sympathy, werpt, nad the pantomimic reverlry was changed to a real exhibition of tragic passion.

It was not in my nature to derive consolation from such scenes, from theatres, whose buffoon laughter and discordant mirth awakened distempered sympathy, or where fictitious tears and wailings mocked the heart-felt grief within; from festival or crowded meeting, where hilarity sprung from the worst feelings of our nature, or such enthralment of the better ones, as impressed it with garish and false varnish; from assemblies of mourners in the guise of revellers. Once however I witnssed a scene of singular interest at one of the theatres, where nature overpowered art, as an overflowing cataract will tear away the puny manufacture of a mock cascade, which had before been fed by a small portion of its waters.  

I had come to London to see Adrian. He was not at the palace; and, though the attendants did not know whither he had gone, they did not expect him till late at night. It was between six and seven o'clock, a fine summer afternoon, and I spent my leisure hours in a ramble through the empty streets of London; now turning to avoid an approaching funeral, now urged by curiosity to observe the state of a particular spot; my wanderings were instinct with pain, for silence and desertion characterized every place I visited, and the few beings I met were so pale and woe-begone, so marked with care and depressed by fear, that weary of encountering only signs of misery, I began to retread my steps towards home.

I was now in Holborn, and passed by a public house filled with uproarious companions, whose songs, laughter, and shouts were more sorrowful than the pale looks and silence of the mourner. Such an one was near, hovering round this house. The sorry plight of her dress displayed her poverty, she was ghastly pale, and continued approaching, first the window and then the door of the house, as if fearful, yet longing to enter. A sudden burst of song and merriment seemed to sting her to the heart; she murmured, 'Can he have the heart?' and then mustering her courage, she stepped within the threshold. The landlady met her in the passage; the poor creature asked, 'Is my husband here? Can I see George?'

'See him,' cried the woman, 'yes, if you go to him; last night he was taken with the plague, and we sent him to the hospital.'

The unfortunate inquirer staggered against a wall, a faint cry escaped her—'O! were you cruel enough,' she exclaimed, 'to sen him there?'

The landlady meanwhile hurried away; but a more compassionate bar-maid gave her a detailed account, the sum of which was, that her husband had been taken ill, after a night of riot, and sent by his boon companions with all expedition to St Bartholomew's Hospital. I had watched this scene, for there was a gentleness about the poor woman that interested me; she now tottered away from the door, walking as well as she could down Holborn Hill; but her strength soon failed her; she leaned aggainst a wall, and her head sunk on her bosom, while her pallid cheek became still more white. I went up to her and offered my services. She hardly looked up—'You can do me no good,' she replied; 'I must go to the hospital; if I do not die before I get there.'

There were still a few hackney-coaches accustomed to stand about the streets, more truly from habit than for use. I put her in one of these, and entered with her that I might secure her entrance into the hospital. Our way was short, and she said little, except interrupted ejaculations of reproach that he had left her, exclamations on the unkindness of some of his friends, and hope that she would fin him alive. There was a simple, natural earnestness about her that interested me in her fate, especially when she assured me that her husband was the best of men,—had been so, till want of business during these unhappy times had thrown him into bad company. 'He could not bear to come home,' she said, 'only to see our children die. A man cannot have the patience a mother has, with her own flesh and blood.'

We were st down at St Bartholomew's, and entered the wretched precincts of the house of disease. The poor creature clung closer to me, as she saw with what heartless haste they bore the dead from the wards, and took them into a room, whose half-opened door displayed a number of corpses, horrible to behold by one unaccostumed to such scenes. We were directed to the ward where her husband had been first taken, and still was, the nurse said, if alive. My companion looked eagerly from one bed to the other, till at the end of the ward she espied, on a wretched bed, a squalid, haggard creature, writhing under the torture of disease. She rushed towards him, she embraced him blessing God for his preservation. 

The enthusiasm that inpired her with this strange joy, blinded her to the horrors about her; but they were intolerably agonizing to me. The ward was filled with an effluvia that caused my heart to heave with painful qualms. The dead were carried out, and the sick brought in, with like indifference; some were screaming with pain, others laghing from the influence of more terrible delirium; some were attended to weeping, despairing relations, others called aloud with thrilling tenderness or reproach on the friends who had deserted them, while the nurses went from bed to bed, incarnate images of despair, neglect, and death. I gave gold to my luckless companion; I recommended her to the care of the attendants; I then hastened away; while the tormentor, the imagination, busied itself in picturing my own loved ones, stretched on such beds, attended thus. The country afforded no such mass of horrors; solitary wretches died in the open fields; and I have found a survivor in a vacant village, contending at once with famine and disease; but the assembly of pestilence, the banqueting hall of death, was spread only in London.

I rambled on, oppressed, distracted by painful emotions—suddenly I found myself before Drury Lane Theatre. The play was Macbeth—the first actor of the age was there to exert his powers to drug with irreflection the auditors; such a medicine I yearned for, so I entered. The theatre was tolerably well filled. Shakspeare, whose popularity was established by the approval of four centuries, had not lost his influence even at this dread period; but was still 'Ut magus,' the wizard to rule our hearts and govern our imaginations. I came in during the interval between the third and fourth act. I looked round on the audience; the females were mostly of the lower classes, but the men were of all ranks, come hither to forget awhile the protracted scenes of wretchedness, which awaited them at their miserable homes. The curtains drew up, and the stage presented the scene of the witches' cave. The wildness and supernatural machinery of Macbeth, was a pledge that it could contain little directly connected with our present circumstances. Great pains had been taken in the scenery to give the semblance of reality to the impossible. The extreme darkness of the stage, whose only light was received from the fire under the cauldron, joined to a kind of mist that floated about it, rendered the unearthly shapes of the witches obscure and shadowy. It was not three decrepid old hags that bent over their pot throwing in the grim ingredients of the magic charm, but forms frightful, unreal, and fanciful. The entrance of Hecate, and the wild music that followed, took us out of this world. The cavern shape the stage assumed, the beetling rocks, the glare of the fire, the misty shades that crossed the scene at times, the music in harmony with all witch-like fancies, permitted the imagination to revel, without fear of contradiction, or reproof from reason or the heart. The entrance of Macbeth did not destroy the illusion, for he was actuated by the same feelings that inspired us, and while the work of magic proceeded we sympathized in his wonder and his daring, and gave ourselves up with our whole souls to the influence of scenic delusion. I felt the beneficial result of such excitement, in a renewal of those pleasing flights of fancy to which I had long been a stranger. The effect of this scene of incantation communicated a portion of its power to that which followed. We forgot that Malcolm and Macduff were mere human beings, acted upon by such simple passions as warmed our own breasts. By slow degrees howerver we were drawn to the real interest of the scene. A shudder like the swift passing of an electric shock ran through the house, when Rosse exclaimed, in answer to 'Stands Scotland where it did?'

        Alas, poor country;
Almost afraid to know itself! It cannot 
Be called our mother, but our grave, where nothing,
But  who knows nothing, is once seen to smile;
Where sighs, and groans, and shrieks that rent the air,
Are made, not marked; where violent sorrow seems 
A modern extasy: the dead man's knell 
Is there scarce asked, for who, and good men's lives
Expire before the flowers in their caps, 
Dying, or else they sicken.

Each word struck the sense, as our life's passing bell; we feared to look at each other, but bent our gaze on the stage, as if our eyes could fall innocuous on that alone.The person who played the part of Rosse, suddenly became aware of the dangerous ground he trod. He was an inferior actor, but truth now made him excellent; as he went on to announce to Macduff the slaughter of his family, he was afraid to speak, trembling from apprehension of a burst of grief from the audience, not from his fellow-mime. Each word was drawn out with difficulty; real anguish painted his features; his eyes were now lifted in sudden horror, now fixed in dread upon the ground. This shew of terror encreased ours, we gasped with him, each neck was stretched out, each face changed with the actor's changes—at length while Macduff, who, attending to his part, was unobservant of the high wrought sympathy of the house, cried with well acted passion:

         All my pretty ones?
Did you say all? —O hell kite! All?
What! all my pretty chickens, and their dam,
At one fell swoop!

A pang of tameless grief wrenched every heart, a burst of despair was echoed from every lip.—I had entered into the universal feeling—I had been absorbed by the terrors of Rosse—I re-echoed the cry of Macduff, and then rushed out as from an hell of torture, to find calm in the free air and silent street.

Voice to the Soundless Thought

—oOo—

Consecuencias económicas de la pandemia

—oOo—

Voice to the Soundless Thought

From Mary Shelley's The Last Man (1826), ch. 18 (Penguin, 262-4):

'It is too late to be ambitious,' says Sir Thomas Bowne, 'We cannot hope to live so long in our names as some have done in their persons; one face of Janus holds no proportion to the other.' Upon this text many fanatics arose, who prophesied that the end of time was come. The spirit of superstition had birth, from the wreck of our hopes, and antics wild and dangerous were played on the great theatre, while the remaining particle of futurity dwindled into a point in the eyes of the prognosticators. Weak-spirited women died of fear as they listened to these denunciations; men of robust form and seeming strength fell into idiotcy and madness, racked by the dread of coming eternity. A man of this kind was now pouring forth his eloquent despair among the inhabitants of Windsor. The scene of the morning, and my visit to the dead, which had been spread abroad, had alarmed the country-people, so they had become fit instruments to be played upon by a maniac.

The poor wretch had lost his young wife and lovely infant by the plague. He was a mechanic; and, rendered unable to attend to the occupation which supplied his necessities, famine was added to his other miseries. He left the chamber which contained his wife and child—wife and child no more, but 'dead earth upon the earth'—wild with hunger, watching and grief, his diseased fancy made him believe himself sent by heaven to preach the end of time to the world. He entered the churches, and foretold to the congregations their speedy removal to the vaults below. He appeared like the forgotten spirit of the time in the theatres, and bade the spectators go home and die. He had been seized and confined; he had escaped and wandered from London among the neighbouring towns, and, with frantic gestures and thrilling words, he unveiled to each their hidden fears, and gave voice to the soundless thought they dared not syllable. He stood under the arcade of the town-hall of Windsor, and from this elevation harangued a trembling crowd.

'Hear, O ye inhabitants of the earth,' he cried, 'hear thou, all seeing, but most pitiless Heaven! hear thou too, O tempest-tossed heart, which breathes out these words, yet faints beneath their meaning! Death is among us! The earth  is beautiful and flower-bedecked, but she is our grave! The clouds of heaven weep for us—the pageantry of the stars is but our funeral torchlight. Grey headed men, ye hoped for yet a few years in your long-known abode—but the lease is up, you must remove—children, ye will never reach maturity, even now the small grave is dug for ye—mothers, clasp them in your arms, one death embraces you! 

Shuddering, he stretched out his hands, his eyes cast up, seemed bursting from their sockets, while he appeared to follow shapes, to us invisible, in the yielding air—'There they are,' he cried, 'the dead! They rise in their shrouds, and pass in silent procession towards the far land of their doom—their bloodless lips move not—their shadowy limbs are void of motion, while still they glide onwards. 'We come,' he exclaimed, springing forwards, 'for what should we wait? Haste, my friends, apparel yourselves in the court-dress of death. Pestilence will usher you to his presence. Why thus long? they, the good, the wise, and the beloved, are gone before. Mothers, kiss your last—husbands, protectors no more lead on the partners of your death! Come, O come! Whil the dear ones are yet in sight, for soon they will pass away, and we never never shall join them more.'

From such ravings as these, he would suddenly become collected,  and with unexaggerated but terrific words, paint the horrors of the time; describe with minute detail, the effects of the plague on the human frame, and tell heart-breaking tales of the snapping of dear affinities—the gasping horror of despair over the deathbed of the last beloved—so that groans and even shrieks burst from the crowd. One man in particular stood in front, his eyes fixt on the prophet, his mouth open, his limbs rigid, while his face changed to various colours, yellow, blue, and green through intense fear. The maniac caught his glance, and turned his eye on him—one has heard of the gaze of the rattle-snake, which allures the trembling victim till he falls within his jaws. The maniac became composed; his person rose higher; authority beamed from his countenance. He looked on the peasant, who began to tremble, while he still gazed; his knees knocked together; his teeth chattered. He at last fell down in convulsions. 'That man has the plague,' said the maniac calmly. A shriek burst from the lips of the poor wretch; and then sudden motionlessness came over him; it was manifest to all that he was dead.

Cries of horror filled the place—every one endeavoured to effect his escape—in a few minutes the market place was cleared—the corpse lay on the ground, and the maniac, subdued and exhausted, sat beside it, leaning his gaunt cheek upon his thin hand. Soon some people, deputed by the magistrates, came to remove the body; the unfortunate being saw a jailor in each—he fled precipitately, while I passed onwards to the Castle. 

¿De qué no huís?

—oOo—

The Dramatis Personae of Active Life

From Mary Shelley's The Last Man (Penguin, p. 227-28):

We had lived so long in the vicinity of Eton, that its population of young folks was well known to us. Many of them had been Alfred's playmates, before they became his school-fellows. We now watched this youthful congregation with redoubled interest. We marked the difference of character among the boys, and endeavoured to read the future man in the stripling. There is nothing more lovely, to which the heart more yearns than a free-spirited boy, gentle, brave, and generous. Several of the Etonians had these characteristics; all were distinguished by a sense of honour, and spirit of enterprize; in some, as they verged towards manhood, this degenerated into presumption; but the younger ones, lads a little older than our own, were conspicuous for their gallant and sweet dispositions.

Here were the future governors of England; the men, who, when our ardour was cold, and our projects completed or destroyed for ever, when, our drama acted, we doffed the garb of the hour, and assumed the uniform of age, or of more equalizing death; here were the beings who were to carry on the vast machine of society; here were the lovers, husbands, fathers; here the landlord, the politician, the soldier; some fancied that they were even now ready to appear on the stage, eager to make one among the dramatis personae of active life. It was not long since I was like one of these beardless aspirants; when my boy shall have obtained tha place I now hold, I shall have tottered into a grey-headed, wrinkled old man. Strange system! riddle of the Sphynx, most awe-striking! that thus man remains, while we the individuals pass away. Such is, to borrow the words of an eloquent and philosophical writer, 'the mode of existence decreed to a pemanent body composed of transitory parts; wherein, by the disposition of a stupendous wisdom, moulding together the great mysterious incorporation of the human race, the whole, at one time, is never old, or middle-aged, or young, but, in a condition of unchangeable constancy, moves on through the varied tenour of perpetual decay, fall, renovation, and progression" (Burke's Reflections on the French Revolution).

Willingly do I give place to thee, dear Alfred! Advance, offspring of tender love, child of our hopes; advance a soldier on the road to which I have been the pioneer! I will make way for thee. I have already put off the carelessness of chilhood, the unlined brow, and sprightly gait of early years, that they may adorn thee. Advance; and I will despoil myself still further for thy advantage. Time shall rob me of the graces of maturity, shall take the fire from my eyes, and agility from my limbs, shall steal the better part of life, eager expectation and passionate love, and shower them in double portion on thy dear head. Advance! Avail thyself of the fit, thou and thy comrades; and in the drama you are about to act, do not disgrace those who taught you to enter on the stage, and to pronounce becomingly the parts assigned to you! May your progress be uninterrupted and secure; born during the springtide of the hopes of man, may you lead up the summer to which no winter may succeed!

—oOo—