pored over; how the writings of the mother whose loving care she never knew, whose sad experiences and advice she never heard, would be read and re-read. We can imagine how these writings, and the discourses she doubtless frequently heard, as a child, between her father and his friends, must have impressed Mary more forcibly than the respectable precepts laid down in a weak way for her guidance; how all this prepared her to admire what was noble and advanced in idea, without giving her the ballast needful for acting in the fittest way when a time of temptation came, when Shelley appeared. He appeared as the devoted admirer of her father and his philosophy, and as such was admitted into the family intimacy of three inexperienced girls.
Picture these four young imaginative beings together; Shelley, half-crazed between youthful imagination and vague ideas of regenerating mankind, and ready at any incentive to feel himself freed from his part in the marriage ceremony. What prudent parents would have countenanced such a vistor? And need there be much surprise at the subsequent occurrences, and much discussion as to the right or wrong in the case? How the actors in this drama played their subsequent part on the stage of life; whether they did work which fitted them to be considered worthy human beings remains to be examined.
As no story or life begins with itself, so, more especially with this of our heroine, we must recall the past, and at least know something of her parents.
Mary Wollstonecraft, one of the most remarkable
