during the most brilliant period of her life, to embitter even a less sensitive spirit than hers. The deep and earnest love she bore the worthless king, must have been a sore scourge to her own heart. The very piety of her nature, overcome as it was by circumstances, and the lack of those virtues which, slow of growth, only attained strength during the last seven years of her life, and were not deemed unworthy the Christian forbearance and even commendation of Doctor Tennison,10 whose funeral sermon preached in memory of the poor orange-girl, proves that she must have suffered much from the reproofs of conscience, even when her sin to all appearance most revelled in its "glory." The canker eat into the rose—soiled and marred its perfectness—chipped and wasted its beauty—but could not destroy its perfume!
That there must have been great good, and great fascination, in Nell Gwynne, is proved by the kind of memory in which her name is enshrined. While we say "Poor Nell!" we shake our heads—the sigh and the smile mingle together—we regret and pity her. We wonder she was so good—we sorrow at the impurity,—not so much of the beset actress, as of her position. We know that, though fallen, she was not depraved. She was not avaricious, nor intriguing, nor ill-tempered, nor unjust. Her regard for literature (though she could hardly sign her own name) proved the up-looking of her better nature; and her charity was unbounded. Shall we—reared and instructed in all righteous ways—shall we show less charity to the memory of one who in her latter days rose out of the slough into which circumstance—not vice—had plunged her? Shall we be less charitable than the bishop who honored her memory and his own character by recording her benevolence, her penitence, her exemplary end? The good bishop's testimony renders it needless that we "point a moral." There was "joy in heaven" over one sinner that repented. Who but One can judge the heart? Let charity hold up her warning finger, often, when we "think evil:" and consideration, "like an angel" come, when harsh judgment dooms an "erring sister." Above all, let us adopt the sentiment of the poet (and our pilgrimage to Sandford Manor House will not be in vain):
"If thy neighbor should sin, old Christoval said,
Never, never, unmerciful be!
For remember it is by the mercy of God,
Thou art not as wicked as he!"11
MARY WOLSTONECRAFT SHELLEY
The daughter of William Godwin and Mary Wolstonecraft, and wife of Percy Bysshe Shelley, died at the age of fifty-three, in Chester Square, Pimlico, London, on the first day of February. What woman had ever before relations so illustrious! Daughter of Godwin and wife of Shelley! These few words unfold a remarkable history, unparalleled, and unapproached in romantic dignity. In the dedication to her of the noble poem of The Revolt of Islam, Shelley says:
"They say that thou wert lovely from thy birth,
Of glorious parents, thou aspiring Child.
I wonder not—for One then left this earth
Whose life was like a setting planet mild,
Which clothed thee in the radiance undefiled
Of its departing glory; still her fame
Shines on thee, through the tempests dark and wild
Which shake these latter days; and thou canst claim
The shelter, from thy Sire, of an immortal name."
In the introduction to one of her novels, she herself says of her youth:
"It is not singular that, as the daughter of two persons of distinguished literary celebrity, I should very early in life have thought of writing. As a child I scribbled; and my favorite pastime, during the hours given me for recreation, was to 'write stories.' Still I had a dearer pleasure than this, which was the formation of castles in the air—the indulging in waking dreams—the following up trains of thought, which had for their subject the formation of a succession of imaginary incidents. My dreams were at once more fantastic and agreeable than my writings. In the latter I was a close imitator—rather doing as others had done, than putting down the suggestions of my own mind. What I wrote was intended at least for one other eye—my childhood's companion and friend; but my dreams were all my own; I accounted for them to nobody; they were my refuge when annoyed—my dearest pleasure when free. I lived principally in the country as a girl, and passed a considerable time in Scotland. I made occasional visits to the more picturesque parts; but my habitual residence was on the blank and dreary northern shores of the Tay, near Dundee. Blank and dreary on retrospection I call them: they were not so to me then. They were the eyry of freedom, and the pleasant region where unheeded I could commune with the creatures of my fancy. I wrote then—but in a most common-place style. It was beneath the trees of the grounds belonging to our house, or on the bleak sides of the woodless mountains near, that my true compositions, the airy flights of my imagination, were born and fostered. I did not make myself the heroine of my tales. Life appeared to me too common-place an affair as regarded myself. I could not figure to myself that romantic woes or wonderful events would ever be my lot; but I was not confined to my own identity, and I could people the hours with creations far more interesting to me at that age, than my own sensations."
Her connection with Shelley commenced in 1815, and she gives this account of the following year, in which she wrote her famous novel, Frankenstein:
"After this my life became busier, and reality stood in place of fiction. My husband, however, was from the first, very anxious that I should prove myself worthy of my parentage, and enrol myself on the page of fame. He was for ever inciting me to obtain literary reputation, which even on my own part I cared for then, though since I have become infinitely indifferent to it. At this time he desired that I should write, not so much with the idea that I could produce any thing worthy of notice, but that he might himself judge how far I possessed the promise of better things hereafter. Still I did nothing. Travelling, and the cares of a family, occupied my time; and study, the way of reading, or improving my ideas in communication with his far more cultivated mind, was all of literary employment that engaged my attention. In the summer of 1816, we visited Switzerland, and became the neighbors of Lord Byron. At first we spent our pleasant hours on the lake, or wandering on its shores: and Lord Byron, who was writing the third canto of Childe Harold, was the only one among us who put his thoughts upon paper. These, as he brought them successively to us, clothed in all the light and harmony of poetry, seemed to stamp as divine the glories of heaven and earth, whose influences we partook with him. But it proved a wet, ungenial summer, and incessant rain often confined us for days to the house. Some volumes of ghost stories, translated from the German into French, fell into our hands. There was the History of the Inconstant Lover, who when he thought to clasp the bride to whom he had pledged his vows, found himself in the arms of the pale ghost of her whom he had deserted. There was the tale of the sinful founder of his race, whose miserable doom it was to bestow the kiss of death on all the younger sons of his fated house, just when they reached the age of promise. His gigantic, shadowy form, clothed like the ghost in Hamlet, in complete armor, but with the beaver up, was seen at midnight, by the moon's fitful beams, to advance slowly along the gloomy avenue. The shape was lost beneath the shadow of the castle walls; but soon a gate swung back, a step was heard, the door of the chamber opened, and he advanced to the couch of the blooming youths, cradled in healthy sleep. Eternal sorrow sat upon his face as he bent down and kissed the forehead of the boys, who from that hour withered like flowers snapt upon the stalk. I have not seen these stories since then; but their incidents are as fresh in my mind as if I had read them yesterday. 'We will each write a ghost story,' said Lord Byron; and his proposition was acceded to. There were four of us. The noble author began a tale, a fragment of which he printed at the end of his poem of Mazeppa. Shelley, more apt to embody ideas and sentiments in the radiance of brilliant imagery, and in the music of the most melodious verse that adorns our language, than to invent the machinery of a story, commenced one founded on the experiences of his early life. Poor Polidori had some terrible idea about a skull-headed lady, who was so punished for peeping through a key-hole—what to see I forget—something very shocking and wrong of course; but when she
Then vicar of St. Martin's, and afterwards Archbishop of Canterbury. In that sermon he enlarged upon her benevolent qualities, her sincere penitence, and exemplary end. When, says Mrs. Jameson, this was afterwards mentioned to Queen Mary, in the hope that it would injure him in her estimation, and be a bar to his preferment, "And what then?" answered she, hastily. "I have heard as much; it is a sign that the poor unfortunate woman died penitent; for, if I can read a man's heart through his looks, had she not made a pious and Christian end, the Doctor would never have been induced to speak well of her."
We have much yet to do for a class whom it is a shame to name, and that much
Of all her numerous charities, this is the truest and best; like the fair Sabrina she has heard and answered the prayers of those who seek protection from the most terrible of all dangers—
