Wollstonecraft's philosophical and gothic novel revolves around the story of a woman imprisoned in an insane asylum by her husband. It focuses on the societal rather than the individual "wrongs of woman" and criticizes what Wollstonecraft viewed as the patriarchal institution of marriage in eighteenth-century Britain and the legal system that protected it. However, the heroine's inability to relinquish her romantic fantasies also reveals women's collusion in their oppression through false and damaging sentimentalism. The novel pioneered the celebration of female sexuality and cross-class identification between women. Such themes, coupled with the publication of Godwin's scandalous Memoirs of Wollstonecraft's life, made the novel unpopular at the time it was published.
Twentieth-century feminist literary critics have embraced the work, integrating it into the history of the novel and feminist discourse. It is most often viewed as a fictionalized popularization of the Rights of Woman, as an extension of Wollstonecraft's feminist arguments in Rights of Woman, and as autobiographical.[2]
She was sensible how arduous a task it is to produce a truly excellent novel; and she roused her faculties to grapple with it. All her other works were produced with a rapidity, that did not give her powers time fully to expand. But this was written slowly and with mature consideration. She began it in several forms, which she successively rejected, after they were considerably advanced. She wrote many parts of the work again and again, and, when she had finished what she intended for the first part, she felt herself more urgently stimulated to revise and improve what she had written, than to proceed, with constancy of application, in the parts that were to follow.[3]
After sending the manuscript to an acquaintance, George Dyson, for feedback, Wollstonecraft wrote to him, saying, “I am vexed and surprised at your not thinking the situation of Maria sufficiently important.” Wollstonecraft attributed this lack of “delicacy of feeling” to Dyson's male gender. She went on to write that she could not “suppose any situation more distressing” for a woman of “sensibility with an improving mind” to be bound to a husband like Maria's.[4]
Wollstonecraft also researched the book more than her others. By assuming the responsibilities of fiction editor and reviewing almost nothing but novels, she used her editorial position at Joseph Johnson'sAnalytical Review to educate herself regarding novelistic techniques. She even visited Bedlam Hospital in February 1797 to research insane asylums.[5]
At Wollstonecraft's death in 1797, the manuscript was incomplete. Godwin published all of the pieces of the manuscript in the Posthumous Works, adding several sentences and paragraphs of his own to link disjunct sections.[6]
The Wrongs of Woman begins in medias res with the upper-class Maria's unjust imprisonment by her husband, George Venables. Not only has he condemned Maria to live in an insane asylum, but he has also taken their child away from her. She befriends one of her attendants in the asylum, an impoverished, lower-class woman named Jemima, who, after realizing that Maria is not mad, agrees to bring her a few books. Some of these have notes scribbled in them by Henry Darnford, another inmate, and Maria falls in love with him via his marginalia. The two begin to communicate and eventually meet. Darnford reveals that he has had a debauched life; waking up in the asylum after a night of heavy drinking, he has been unable to convince the doctors to release him.
Jemima tells her life story to Maria and Darnford, explaining that she was born a bastard. Jemima's mother died while she was still an infant, making her already precarious social position worse. She was therefore forced to become a servant in her father's house and later bound out as an apprentice to a master who beat her, starved her, and raped her. When the man's wife discovers that Jemima is pregnant with his child, she is thrown out of the house. Unable to support herself, she aborts her child and becomes a prostitute. She becomes the kept woman of a man of some wealth who seems obsessed with pleasure of every kind: food, love, etc. After the death of the gentleman keeping her, she becomes an attendant at the asylum where Maria is imprisoned.
In chapters seven through fourteen (about half of the completed manuscript), Maria relates her own life story in a narrative she has written for her daughter. She explains how her mother and father loved their eldest son, Robert, more than their other children and how he ruled "despotically" over his siblings. To escape her unhappy home, Maria visited that of a neighbor and fell in love with his son, George Venables. Venables presented himself to everyone as a respectable and honorable young man; in actuality, he was a libertine. Maria's family life became untenable when her mother died and her father took the housekeeper as his mistress. A rich uncle who was fond of Maria, unaware of Venables' true character, arranged a marriage for her and gave her a dowry of £5,000.
Maria quickly learned of her husband's true character. She tried to ignore him by cultivating a greater appreciation for literature and the arts, but he became increasingly dissolute: he whored, gambled, and bankrupted the couple. Maria soon became pregnant after unwanted sexual encounters with her husband. As Maria's uncle is leaving for the continent, he warns Maria of the consequences should she leave her husband. This is the first time that separation or divorce are discussed in the novel and Maria seems to take his words as inspiration rather than the warning they are meant to be. After Venables attempts to pay one of his friends to seduce Maria (a man referred to only as 'Mr. S') so that he can leave her for being an adulteress, Maria tries to leave him. She initially escapes and manages to live in several different locations, often with other women who have also been wronged by their husbands, but he always finds her. When she tries to leave England with her newborn child and the fortune her now deceased uncle has left them, her husband seizes the child and imprisons Maria in the asylum. At this point the completed manuscript breaks off.
Fragmentary endings
The fragmentary notes for the remainder of the novel indicate two different trajectories for the plot and five separate conclusions. In both major plot arcs, George Venables wins a lawsuit against Darnford for seducing his wife; Darnford then abandons Maria, flees England, and takes another mistress. When she discovers this treachery, Maria loses the child she was carrying by Darnford (either through an abortion or a miscarriage). In one ending, Maria commits suicide. In another, more complete ending, Maria is saved from suicide by Jemima who has found her first daughter. Maria agrees to live for her child (as Wollstonecraft herself had done after her second suicide attempt). Jemima, Maria and Maria's daughter form a new family.[6]
Style
In her pieces for the Analytical Review, Wollstonecraft developed a set of criteria for what constitutes a good novel:
A good tragedy or novel, if the criterion be the effect which it has on the reader, is not always the most moral work, for it is not the reveries of sentiment, but the struggles of passion — of those human passions, that too frequently cloud the reason, and lead mortals into dangerous errors ... which raise the most lively emotions, and leave the most lasting impression on the memory; an impression rather made by the heart than the understanding: for our affections are not quite voluntary as the suffrages of reason. (emphasis Wollstonecraft's)[7]
Wollstonecraft believed that novels should be "probable" and depict "moderation, reason, and contentment".[8] Thus it is surprising that The Wrongs of Woman draws inspiration from works such as Ann Radcliffe's A Sicilian Romance (1790) and relies on gothic conventions such as the literal and figurative "mansion of despair" to which Maria is consigned. But it does so to demonstrate that gothic horrors are a reality for the average Englishwoman. Using elements of the gothic, Wollstonecraft portrays Maria's husband as tyrannical and married life as wretched.[9] As Wollstonecraft herself writes in the "Preface" to The Wrongs of Woman:
In many instances I could have made the incidents more dramatic, would I have sacrificed my main object, the desire of exhibiting the misery and oppression, peculiar to women, that arise out of the partial laws and customs of society.[10]
One model for Wollstonecraft's novel was Godwin's Caleb Williams (1794), which demonstrated how an adventurous and gothic novel could offer a social critique.[11]
The Wrongs of Woman usually uses third-person narration, although large sections of Maria's and Jemima's tales are in first-person narrative. The narrator often relates Maria's feelings to the reader through the new technique of free indirect discourse, which blurs the line between the third-person narrator and the first-person dialogue of a text. Wollstonecraft juxtaposes the events of the novel with both Maria's own retelling of them and her innermost feelings. The first-person stories allow Maria and Jemima to address each other as equals: their stories of suffering, while still allowing each character to retain an individualized sense of self, are a levelling and bonding force between the two.[12]
Like other Jacobin novels, The Wrongs of Woman relies on a web of suggestive character names to convey its message: Jemima is named for Job's daughter; Henry Darnford's name resembles that of Henry Darnley, the second husband of Mary, Queen of Scots; and George Venables shares a name with the notorious womanizer George, Prince of Wales. Wollstonecraft added to the reality of her philosophical text by quoting from familiar literature, such as Shakespeare, alluding to important historical events, and referencing relevant facts. The Wrongs of Woman comments on the state of women in society by rewriting earlier texts with a feminist slant, such as Henry Fielding'sTom Jones; Fielding's Mrs. Fitzpatrick becomes Wollstonecraft's Maria. These rhetorical strategies made the philosophical elements of the novel more palatable to the public.[13]
Themes
At the end of the Rights of Woman Wollstonecraft promised her readers a second part to the work. Rather than giving them another philosophical treatise, however, she offered them a novel tinged with autobiography, appropriately titled The Wrongs of Woman.[14] In her "Preface", she writes that the novel should be considered the story of "woman" and not the story of an "individual".[10] Wollstonecraft attempts to detail, as the scholar Anne K. Mellor has phrased it, "the wrongs done to women and the wrongs done by women" (emphasis Mellor's).[15] The wrongs done to women include stifling and sexually repressed marriages, which Wollstonecraft describes using the language of slavery, while the wrongs done by women include a false sense of self-worth generated through the language of sensibility. Unlike Wollstonecraft's first novel, Mary: A Fiction (1788), The Wrongs of Woman offers solutions to these problems, namely an empowering female sexuality, a purpose-filled maternal role, and the possibility of a feminism that crosses class boundaries.[original research?]
Marriage and slavery
In metaphors carried over from the Rights of Woman, Wollstonecraft describes marriage as a prison and women as slaves within it. In the first chapter of Maria, Maria laments, "[is] not the world a vast prison, and women born slaves?"[16] and later she makes a politically charged allusion to the French prison, the Bastille: "marriage had bastilled me for life".[17] Moreover, Maria's body is bought and sold like a slave's: she is worth £5,000 on the open marriage market and her new husband attempts to sell her into prostitution. Commenting on her condition, Maria states: "a wife being as much a man's property as his horse, or his ass, she has nothing she can call her own".[18] In the Rights of Woman, Wollstonecraft had used the metaphor of slavery not only to describe the horrors of marriage as it currently existed but also to offer a juxtaposition to the possibility of a new kind of marriage, one which assumed equality between affectionate and rational partners.[19] In The Wrongs of Woman, this option is never presented; instead, the reader is shown a series of disastrous marriages in which women are abused, robbed, and abandoned.[19]
"Wollstonecraft's fundamental insight in Maria", according to scholar Mary Poovey, "concerns the way in which female sexuality is defined or interpreted—and, by extension, controlled—by bourgeois institutions. The primary agent of this control is marriage".[20] Wollstonecraft deconstructs the ideology of marriage, by which women are exchangeable commodities, are objectified, and are denied their natural rights.[21]
Sensibility and sentimentalism
Joseph Highmore's rendition of Pamela fainting as Mr. B. attempts to rape her (1743–4), a scene that came to epitomize sensibility in the eighteenth century
Sensibility in the second half of the eighteenth century was considered both a physical and a moral phenomenon. Physicians and anatomists believed that the more sensitive people's nerves, the more emotionally affected they would be by their surroundings. Since women were thought to have keener nerves than men, it was also believed that women were more emotional than men.[22] The emotional excess associated with sensibility also theoretically produced an ethic of compassion: those with sensibility could easily sympathize with people in pain. Thus historians have credited the discourse of sensibility and those who promoted it with the increased humanitarian efforts, such as the movement to abolish the slave trade, of the eighteenth century.[23] But sensibility was also thought to paralyze those who had too much of it; they were weakened by constant vicarious suffering.[22]
By the time Wollstonecraft was writing The Wrongs of Woman, sensibility had already been under sustained attack for a number of years.[24] Sensibility, which had initially promised to draw individuals together through sympathy, was now viewed as "profoundly separatist"; novels, plays, and poems that employed the language of sensibility asserted individual rights, sexual freedom, and unconventional familial relationships based only upon feeling.[25] Sensibility seemed to many, particularly during a time of political reaction, to offer too much political power to women and to emasculate British men needed for fighting France.[26]
All of Wollstonecraft's writings betray a tortured relationship with the language of sensibility and The Wrongs of Woman is no exception. As feminist scholar Mitzi Myers has observed, Wollstonecraft is usually described as an "enlightened philosopher strenuously advocating the cultivation of reason as the guide to both self-realization and social progress", but her works do not unambiguously support such a model of selfhood. Her emphasis on "feeling, imagination, and interiority" mark her as a Romantic, particularly in Letters Written in Sweden, Norway, and Denmark (1796). Repeatedly, in both her fiction and non-fiction, Wollstonecraft argues that the proper understanding of one's emotions leads to a transcendent virtue.[27]
However, because Wollstonecraft herself is contradictory and vague in the unfinished Wrongs of Woman, there is no real scholarly consensus on what exactly the novel says about sensibility. Wollstonecraft is intentionally breaking the conventions of sentimental fiction, but exactly what her goals are in doing so is unclear. For example, Maria and Jemima can seemingly be identified with the traditional categories of "reason" (Jemima) and "sensibility" (Maria), but since such couples were usually male and female, Wollstonecraft's characterization challenges conventional definitions of gender.[28]
Some critics interpret Maria's story ironically, arguing that the juxtaposition of Maria's sentimental and romantic narrative with Jemima's harsh and bleak narrative encourages such a reading. In this interpretation, Maria's narrative is read as a parody of sentimental fiction that aims to demonstrate the "wrongs" that women inflict upon themselves when they overindulge in sensibility.[29] Although Wollstonecraft promotes sensibility in this text, it is not the same kind that she condemns in the Rights of Woman; proper sensibility, she contends, rests on sympathy and, most importantly, is controlled by reason.[30] A woman with this kind of sensibility would not be "blown about by every gust of momentary feeling".[31] Other critics see The Wrongs of Woman as a "negation" of the anti-sentimental arguments offered in the Rights of Woman.[14] Citing Jemima's infrequent appearances in the narrative and the narrator's own use of the language of sensibility, they have difficulty in accepting the claim that the novel is undercutting or questioning the rhetoric of sensibility.[32]
Female desire
One of the key differences between Wollstonecraft's novels and her philosophical treatises, as feminist critic Cora Kaplan has argued, is that her fiction values female emotion while her treatises present it as "reactionary and regressive, almost counter-revolutionary".[33] The Rights of Woman portrays sexuality as a masculine characteristic, and while Wollstonecraft argues that some masculine characteristics are universal, this is not one of them. In The Wrongs of Woman, however, she accepts, relishes, and uses the sexualized female body as a medium of communication: Maria embraces her lust for Darnford and establishes a relationship with him. While in the Rights of Woman she had emphasized companioniate relationships, arguing that passions should cool between lovers, in The Wrongs of Woman, she celebrates those passions.[34] Challenging contemporary moralists such as John Gregory and Rousseau, Wollstonecraft claimed that women could be fully sexualized beings.[35]
Initially, Maria wants to marry Venables because of his charitable nature; she believes him to be the romantic hero that she has read about in novels.[36] However, she later realizes his duplicity:
[George] continued to single me out at the dance, press my hand at parting, and utter expressions of unmeaning passion, to which I gave a meaning naturally suggested by the romantic turn of my thoughts.... When he left us, the colouring of my picture became more vivid—Whither did not my imagination lead me? In short, I fancied myself in love—in love with the disinterestedness, fortitude, generosity, dignity, and humanity, with which I had invested the hero I dubbed.[37]
One of the important questions raised by the novel is whether Maria is deluded in her relationship with Darnford. Maria writes an autobiography for her daughter in which she admits that she was misled by Venables, but critics disagree over the extent to which she is also misled by Darnford. Some suggest that Maria repeats her mistake and imagines Darnford as a hero, citing as evidence Maria's refusal to leave the madhouse, when she is free to do so, because she wants to remain with him, as well as her infatuation with Rousseau's novel Julie, or the New Heloise. She imagines Darnford as its "hero", St. Preux, the sometime lover but not husband of Julie. Maria's reading and the plots she conjures in her imagination as a result of that reading are the cause of her downfall in this interpretation: unable or unwilling to separate fiction from reality, she incorporates Darnford into her romantic fantasies.[38] Other critics, while agreeing that Maria is led astray by Darnford, argue that it is not her sexuality and eroticism that are the problem, but her choice of partner. They argue that Wollstonecraft is not portraying female sexuality as inherently detrimental, as she had in Mary and the Rights of Woman, rather she is criticizing the directions it often takes.[39]
Class and feminism
The structure of The Wrongs of Woman, with its interwoven tales of the similarly abused upper-middle-class Maria, the lower-middle-class sailor's wife Peggy, the working-class shopkeeper, the boarding-house owner, and the working-class domestic servant Jemima, is an "unprecedented" representation of the shared concerns of women in a patriarchal society.[40] Wollstonecraft wrote in a letter, published as part of the preface to The Wrongs of Woman, that she aimed "to show the wrongs of different classes of women, equally oppressive, though, from the difference of education, necessarily various".[41] Her novel is newly inclusive and one of the first works in the history of feminist literature that hints at a cross-class argument that women of different economic positions have the same interests because they are women.[42] In her narration, Jemima asks "who ever risked anything for me?—Who ever acknowledged me to be a fellow-creature?" It is not until Maria grasps her hand in sympathy that she feels this; furthermore, it is Jemima's story that first prods Maria's own "thoughts [to] take a wider range" and "thinking of Jemima's peculiar fate and her own, she was led to consider the oppressed state of women, and to lament that she had given birth to a daughter".[43]
Jemima is the most fleshed out of the lower-class women in the novel; through her Wollstonecraft refuses to accept the submissiveness traditionally associated with femininity and expresses a frustrated anger that would have been viewed as unseemly in Maria. Jemima's tale also challenges assumptions regarding prostitutes. Wollstonecraft rewrites the traditional narrative of the redeemed prostitute (e.g., Daniel Defoe'sSome Considerations on Streetwalkers (1726)). The novel presents prostitutes as "an exploited class", akin to wives who are dependent on men, and demonstrates how they are a product of their environment. By making both Jemima and Maria prostitutes, Wollstonecraft rejects two contemporary stereotypes of the prostitute: the image of the woman who takes pleasure in her actions and is in love with her keeper and the image of the victim desirous of pity. Thus, rather than simply repulsing or eliciting the compassion of the reader, Jemima and Maria presumably forge a stronger, more lasting bond with the female reader who shares their plight.[44]
Nevertheless, Jemima's tale still retains elements of Wollstonecraft's bourgeois ethos; Jemima and the other working-class women are only presented as Maria's equal in suffering; "women are linked across class, then, but less in solidarity than in hopelessness."[45] As Wollstonecraft scholar Barbara Taylor comments, "Maria's relationship with Jemima displays something of the class fissures and prejudices that have marked organised feminist politics from their inception."[46] Jemima is taught to appreciate the finer things in life when she is a kept mistress and Maria later promises to care for her. Importantly, though, in one version of the ending, it is Jemima who rescues Maria and finds her child.[47]
Motherhood and the feminine self
"Mother and Child" by Henriette Browne; Wollstonecraft envisioned motherhood as a liberating role for women.
While some scholars emphasize The Wrongs of Woman's criticism of the institution of marriage and the laws restricting women in the eighteenth century, others focus on the work's description of "the experience of being female, with the emotional violence and intellectual debilitation" that accompanies it (emphasis in original).[48] It is in Wollstonecraft's depiction of a female mind educating itself and creating a specifically feminine sense of self that she "breaks new ground".[49] Maria's role as mother allows her to instruct herself, thereby creating her own sense of self; in advising her daughter through the manuscript she is writing, Maria learns about herself and realizes her past errors. Her ability to formulate her own selfhood can be contrasted to the heroine of Wollstonecraft's first novel, Mary: A Fiction, who transfers her maternal cravings from character to character.[50]
Furthermore, while patriarchal marriages are one of the great wrongs perpetrated upon women, Wollstonecraft argues that a greater wrong is women's lack of independence. Because they are unable to find respectable, well-paid work, they are reliant upon men. Women such as Jemima are reduced to hard physical labor, stealing, begging, or prostituting themselves in order to survive; they are demeaned by this work and think meanly of themselves because of it.[51]
Because male-female relationships are inherently unequal in her society, Wollstonecraft endeavours to formulate a new kind of friendship in The Wrongs of Woman: motherhood and sisterhood. It is Maria's pathetic story regarding the kidnapping of her child that first interests Jemima in her plight. The novel fragments also suggest that the tale might not end with a marriage, but rather with the creation of a new kind of family, one constituted by two mothers for Maria's child. With Jemima's rescue of Maria, Wollstonecraft appears to reject the traditional romantic plot and invent a new one, necessitated by the failure of society to grant women their natural rights.[52]
While more recent critics have emphasized the revolutionary aspects of the cross-class friendship between Jemima and Maria, others have questioned the extent of that radicalism, arguing that Jemima's story occupies a small section of the novel and is abruptly truncated.[53] Mary Poovey also maintains that Wollstonecraft fails to extend her critique of marriage and society from the individual to the systemic level.[54]
Autobiographical elements
Like Wollstonecraft's first novel, Mary: A Fiction, The Wrongs of Woman is heavily autobiographical; the two novels even repeat many of the same biographical details.[55] After being abandoned by her lover and the father of her child, Gilbert Imlay (the model for Darnford), Wollstonecraft attempted to commit suicide. Her despair over these events is written into the book as well as many other experiences from the mid-1790s. Moreover, Maria Venables's family history shows clear similarities to Wollstonecraft's own. Like Maria, Wollstonecraft had a mother who favored an elder brother and she also devotedly cared for that mother during her dying days, only to be pushed away during the final moments of her life. Wollstonecraft also looked after her sisters like Maria does, albeit without the help of a wealthy uncle. Perhaps most strikingly, Wollstonecraft's sister Eliza left her husband, at Wollstonecraft's prodding, much as Maria leaves hers.[56] As Kelly explains, autobiography is common in Jacobin novels. Philosophical novels were expected to be autobiographical; audiences believed that the philosophizing novelists would draw on their own experiences in order to illustrate their abstract principles.[57]
The Posthumous Works, of which The Wrongs of Woman was the largest part, had a "reasonably wide audience" when it was published in 1798, but it "was received by critics with almost universal disfavor".[58] This was in large part because the simultaneous release of Godwin's Memoirs of the Author of A Vindication of the Rights of Woman revealed Wollstonecraft's illegitimate child and her love affairs. Most reviewers and readers transferred the unconventional and unorthodox life Wollstonecraft herself had lived onto Maria and much that Maria had said and done onto Wollstonecraft, thereby realizing Wollstonecraft's fears that her books would be read only as a mirror of her life. The eighteenth-century moralist Hannah More, for example, called The Wrongs of Woman a "vindication of adultery".[59]
Many critics and even personal acquaintances failed to grasp Wollstonecraft's fundamental point, that Maria's "wrongs" are political, not personal.[60] She wrote to one friend who had criticized it:
I am vexed and surprised at your not thinking the situation of Maria sufficiently important, and can only account for this want of – shall I say it? delicacy of feeling, by recollecting that you are a man – For my part I cannot suppose any situation more distressing than for a woman of sensibility with an improving mind to be bound, to such a man as I have described, for life – obliged to renounce all the humanizing affections, and to avoid cultivating her taste lest her perception of grace, and refinement of sentiment should sharpen to agony the pangs of disappointment.[61]
Even Godwin, her husband, complained, "I do not want a common-place story of a brutal, insensible husband."[62] Both the Anti-Jacobin Review and the Monthly Review reviewed the novel harshly. The Anti-Jacobin Review, attacking both Wollstonecraft and her book as well as Godwin's Political Justice and Memoirs, wrote:
The restrictions upon adultery constitute, in Maria's opinion, A MOST FLAGRANT WRONG TO WOMEN. Such is the moral tendency of this work, such are the lessons which may be learned from the writings of Mrs. Wollstonecraft; such the advantages which the public may derive from this performance given to the world by Godwin, celebrated by him, and perfectly consonant to the principles of his Political Justice.—But as there have been writers, who have in theory promulgated opinions subversive of morality, yet in their conduct have not been immoral, Godwin has laboured to inform the world, that the theory of Mrs. Wollstonecraft was reduced to practice; that she lived and acted, as she wrote and taught.[Footnote in original: We could point out some of this lady's pupils, who have so far profited by the instructions received from her, as to imitate her conduct, and reduce her principles to practice.] (emphasis in original)[63]
Under the heading "Prostitution" in the index to the magazine, the editors listed only one entry: Mary Wollstonecraft. Partially because of these reactions, female sexuality would not be celebrated so overtly in Britain for another century.[39]
While Wollstonecraft's arguments in The Wrongs of Woman may appear commonplace in light of modern feminism, they were "breathtakingly audacious" during the late eighteenth century: "Wollstonecraft's final novel made explosively plain what the Rights of Woman had only partially intimated: that women's entitlements — as citizens, mothers, and sexual beings — are incompatible with a patriarchal marriage system."[64] However, while The Wrongs of Woman is now read as the progenitor of many feminist texts and the inspiration for many feminist arguments and rhetorical styles (e.g., the personal confession), Wollstonecraft herself was not part of a feminist movement nor did she ever argue for one. Although The Wrongs of Woman presents "woman" as "wronged", neither Wollstonecraft nor any other British woman who highlighted the inequalities suffered by women at the time (such as Mary Hays or Mary Robinson) ever put forth a collective solution. As part of the Enlightenment, they were dedicated to individualistic solutions.[65]
↑ Letter 325: To George Dyson, No. 29 Polygon, Somers Town, Monday morning, c. May 16th, 1797. The Collected Letters of Mary Wollstonecraft. Ed. Janet Todd. New York: Penguin Books (2003), 412.
Godwin, William (2001). Memoirs of the Author of A Vindication of the Rights of Woman. Broadview Press. ISBN978-1-55111-259-6.
Wollstonecraft, Mary (1997). The Vindications: The Rights of Men and The Rights of Woman. Broadview Press. ISBN978-1-55111-088-2.
Secondary sources
Barker-Bendield, G. J. (1996). The Culture of Sensibility: Sex and Society in Eighteenth-Century Britain. University of Chicago Press. ISBN978-0-226-03714-1.
Johnson, Claudia L. (1995). Equivocal Beings: Politics, Gender, and Sentimentality in the 1790s--Wollstonecraft, Radcliffe, Burney, Austen. University of Chicago Press. ISBN978-0-226-40184-3.
Johnson, Claudia L. (2002). The Cambridge Companion to Mary Wollstonecraft. Cambridge University Press. ISBN978-0-521-78952-3.
Jones, Vivien (1997). "Placing Jemima: women writers of the 1790s and the eighteenth-century prostitution narrative". Women's Writing. Taylor and Francis. 4 (2): 201–220. doi:10.1080/09699089700200011. Pdf.
Kelly, Gary (1996). Revolutionary Feminism: The Mind and Career of Mary Wollstonecraft. Palgrave Macmillan. ISBN978-0-312-12904-0.
Maurer, Lisa Shawn (1992). "The female (as) reader: sex, sensibility, and the maternal in Wollstonecraft's fictions". Essays in Literature. 19 (1): 36–54.
Sapiro, Virginia (1992). A Vindication of Political Virtue: The Political Theory of Mary Wollstonecraft. University of Chicago Press. ISBN978-0-226-73491-0.
A Vindication of the Rights of Woman: with Strictures on Political and Moral Subjects (1792), written by British philosopher and women's rights advocate Mary Wollstonecraft (1759–1797), is one of the earliest works of feminist philosophy. In it, Wollstonecraft responds to those educational and political theorists of the eighteenth century who did not believe women should receive a rational education. She argues that women ought to have an education commensurate with their position in society, claiming that women are essential to the nation because they educate its children and because they could be "companions" to their husbands, rather than mere wives. Instead of viewing women as ornaments to society or property to be traded in marriage, Wollstonecraft maintains that they are human beings deserving of the same fundamental rights as men.
Mary Wollstonecraft was a British writer, philosopher, and advocate of women's rights. Until the late 20th century, Wollstonecraft's life, which encompassed several unconventional personal relationships at the time, received more attention than her writing. Today Wollstonecraft is regarded as one of the founding feminist philosophers, and feminists often cite both her life and her works as important influences.
Equality feminism is a subset of the overall feminism movement and more specifically of the liberal feminist tradition that focuses on the basic similarities between men and women, and whose ultimate goal is the equality of both genders in all domains. This includes economic and political equality, equal access within the workplace, freedom from oppressive gender stereotyping, and an androgynous worldview.
Christian Gotthilf Salzmann was a German educational reformer and the founder of the Schnepfenthal institution.
The Declaration of the Rights of Woman and of the Female Citizen, also known as the Declaration of the Rights of Woman, was written on 14 September 1791 by French activist, feminist, and playwright Olympe de Gouges in response to the 1789 Declaration of the Rights of Man and of the Citizen. By publishing this document on 15 September, de Gouges hoped to expose the failures of the French Revolution in the recognition of gender equality. As a result of her writings, de Gouges was accused, tried and convicted of treason, resulting in her immediate execution, along with the Girondists.
Mary Louise Poovey is an American cultural historian and literary critic whose work focuses on the Victorian Era. She is currently Samuel Rudin University Professor in the Humanities at New York University, and Director of the Institute for the History of the Production of Knowledge. Poovey has taught at Johns Hopkins University, Swarthmore College, and Yale University.
A Vindication of the Rights of Men, in a Letter to the Right Honourable Edmund Burke; Occasioned by His Reflections on the Revolution in France (1790) is a political pamphlet, written by the 18th-century British writer and women's rights advocate Mary Wollstonecraft, which attacks aristocracy and advocates republicanism. Wollstonecraft's was the first response in a pamphlet war sparked by the publication of Edmund Burke's Reflections on the Revolution in France (1790), a defense of constitutional monarchy, aristocracy, and the Church of England.
Mary Hays (1759–1843) was an autodidact intellectual who published essays, poetry, novels and several works on famous women. She is remembered for her early feminism, and her close relations to dissenting and radical thinkers of her time including Robert Robinson, Mary Wollstonecraft, William Godwin and William Frend. She was born in 1759, into a family of Protestant dissenters who rejected the practices of the Church of England. Hays was described by those who disliked her as 'the baldest disciple of [Mary] Wollstonecraft' by The Anti Jacobin Magazine, attacked as an 'unsex'd female' by clergyman Robert Polwhele, and provoked controversy through her long life with her rebellious writings. When Hays's fiancé John Eccles died on the eve of their marriage, Hays expected to die of grief herself. But this apparent tragedy meant that she escaped an ordinary future as wife and mother, remaining unmarried. She seized the chance to make a career for herself in the larger world as a writer.
Original Stories from Real Life; with Conversations Calculated to Regulate the Affections, and Form the Mind to Truth and Goodness is the only complete work of children's literature by the 18th-century English feminist author Mary Wollstonecraft. Original Stories begins with a frame story that sketches out the education of two young girls by their maternal teacher Mrs. Mason, followed by a series of didactic tales. The book was first published by Joseph Johnson in 1788; a second, illustrated edition, with engravings by William Blake, was released in 1791 and remained in print for around a quarter of a century.
Mary: A Fiction is the only complete novel by 18th-century British feminist Mary Wollstonecraft. It tells the tragic story of a woman's successive "romantic friendships" with a woman and a man. Composed while Wollstonecraft was a governess in Ireland, the novel was published in 1788 shortly after her summary dismissal and her decision to embark on a writing career, a precarious and disreputable profession for women in 18th-century Britain.
Eleanor Flexner was an American independent scholar and pioneer in what was to become the field of women's studies. Her book Century of Struggle: The Woman's Rights Movement in the United States, originally published in 1959, relates women's work for the vote to other 19th- and early 20th-century social, labor, and reform movements, most importantly the push for equal education, the abolition of slavery, and temperance laws.
The Unsex'd Females, a Poem (1798), by Richard Polwhele, is a polemical intervention into the public debates over the role of women at the end of the 18th century. The poem is primarily concerned with what Polwhele characterizes as the encroachment of radical French political and philosophical ideas into British society, particularly those associated with the Enlightenment. These subjects come together, for Polwhele, in the revolutionary figure of Mary Wollstonecraft.
Frances Imlay, also known as Fanny Godwin and Frances Wollstonecraft, was the illegitimate daughter of the British feminist Mary Wollstonecraft and the American commercial speculator and diplomat Gilbert Imlay. Wollstonecraft wrote about her frequently in her later works. Fanny grew up in the household of anarchist political philosopher William Godwin, the widower of her mother, with his second wife Mary Jane Clairmont and their combined family of five children. Fanny's half-sister Mary grew up to write Frankenstein and married Percy Bysshe Shelley, a leading Romantic poet, who composed a poem on Fanny's death.
Thoughts on the education of daughters: with reflections on female conduct, in the more important duties of life is the first published work of the British feminist Mary Wollstonecraft. Published in 1787 by her friend Joseph Johnson, Thoughts is a conduct book that offers advice on female education to the emerging British middle class. Although dominated by considerations of morality and etiquette, the text also contains basic child-rearing instructions, such as how to care for an infant.
Letters Written During a Short Residence in Sweden, Norway, and Denmark (1796) is a personal travel narrative by the eighteenth-century British feminist writer Mary Wollstonecraft. The twenty-five letters cover a wide range of topics, from sociological reflections on Scandinavia and its peoples to philosophical questions regarding identity. Published by Wollstonecraft's career-long publisher, Joseph Johnson, it was the last work issued during her lifetime.
Memoirs of the Author of A Vindication of the Rights of Woman (1798) is William Godwin's biography of his late wife Mary Wollstonecraft. Rarely published in the nineteenth century and sparingly even today, Memoirs is most often viewed as a source for information on Wollstonecraft. However, with the rise of interest in biography and autobiography as important genres in and of themselves, scholars are increasingly studying it for its own sake.
The lifetime of British writer, philosopher, and feminist Mary Wollstonecraft (1759–1797) encompassed most of the second half of the eighteenth century, a time of great political and social upheaval throughout Europe and America: political reform movements in Britain gained strength, the American colonists successfully rebelled, and the French Revolution erupted. Wollstonecraft experienced only the headiest of these days, not living to see the end of the democratic revolution when Napoleon crowned himself emperor. Although Britain was still revelling in its mid-century imperial conquests and its triumph in the Seven Years' War, it was the French revolution that defined Wollstonecraft's generation. As poet Robert Southey later wrote: "few persons but those who have lived in it can conceive or comprehend what the memory of the French Revolution was, nor what a visionary world seemed to open upon those who were just entering it. Old things seemed passing away, and nothing was dreamt of but the regeneration of the human race."
Mary Wollstonecraft Shelley was an English novelist who is best known for writing the Gothic novel Frankenstein; or, The Modern Prometheus (1818), which is considered an early example of science fiction. She also edited and promoted the works of her husband, the Romantic poet and philosopher Percy Bysshe Shelley. Her father was the political philosopher William Godwin and her mother was the philosopher and women's rights advocate Mary Wollstonecraft.
Margaret King (1773–1835), also known as Margaret King Moore, Lady Mount Cashell and Mrs Mason, was an Anglo-Irish hostess, and a writer of female-emancipatory fiction and health advice. Despite her wealthy aristocratic background, she had republican sympathies and advanced views on education and women's rights, shaped in part by having been a favoured pupil of Mary Wollstonecraft. Settling in Italy in later life, she reciprocated her governess's care by offering maternal aid and advice to Wollstonecraft's daughter Mary Shelley and her travelling companions, husband Percy Bysshe Shelley and stepsister Claire Clairmont. In Pisa, she continued the study of medicine which she had begun in Germany and published her widely read Advice to Young Mothers, as well as a novel, The Sisters of Nansfield: A Tale for Young Women.
Frances "Fanny" Blood was an English illustrator and educator, and longtime friend of Mary Wollstonecraft.
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