indulges herself in depicting, after first, in spite of altering some relations and circumstances, clearly showing whom the character was intended for. It is true that Shelley himself, after investing her with divinity to serve the purposes of art, speaks later of her as a very commonplace worldly-minded woman; but poets, like artists, seem at times to need lay figures to attire with their thoughts. Enough has been shown to prove that there is genuine subject of interest in this work of Mary's thirty-seventh year. The next work, Falkner, published in 1837, is the last novel we have by Mary Shelley; and as we see from her letter she had been passing through a period of ill-health and depression while writing it, this may account for less spontaneity in the style, which is decidedly more stilted; but, here again, we feel that we are admitted to some of the circle which Mary had encountered in the stirring times of her life, and there is undoubted imagination with some fine descriptive passages.
The opening chapter introduces a little deserted child in a picturesque Cornish village. Her parents had died there in apartments, one after the other, the husband having married a governess against the wishes of his relations; consequently, the wife was first neglected on her husband's death; and on her own sudden death, a few months later, the child was simply left to the care of the poor people of the village a dreamy, poetic little thing, whose one pleasure was to stroll in the twilight to the village churchyard and be with her mamma. Here she was found by Falkuer, the principal character of the romance, who had selected this very spot to end a ruined existence; in which attempt he was frustrated by the child jogging his
