Article #134-2 | Gutenberg Articles

Excerpt

Excerpt from Maria; Or, The Wrongs of Woman, by Mary Wollstonecraft

PREFACE

The public are here presented with the last literary attempt of an
author, whose fame has been uncommonly extensive, and whose talents
have probably been most admired, by the persons by whom talents are
estimated with the greatest accuracy and discrimination. There are few,
to whom her writings could in any case have given pleasure, that would
have wished that this fragment should have been suppressed, because it
is a fragment. There is a sentiment, very dear to minds of taste and
imagination, that finds a melancholy delight in contemplating these
unfinished productions of genius, these sketches of what, if they had
been filled up in a manner adequate to the writer’s conception, would
perhaps have given a new impulse to the manners of a world.

The purpose and structure of the following work, had long formed a
favourite subject of meditation with its author, and she judged them
capable of producing an important effect. The composition had been in
progress for a period of twelve months. She was anxious to do justice
to her conception, and recommenced and revised the manuscript several
different times. So much of it as is here given to the public, she was
far from considering as finished, and, in a letter to a friend directly
written on this subject, she says, “I am perfectly aware that some of
the incidents ought to be transposed, and heightened by more harmonious
shading; and I wished in some degree to avail myself of criticism,
before I began to adjust my events into a story, the outline of which I
had sketched in my mind.”[1] The only friends to whom the author
communicated her manuscript, were Mr. Dyson, the translator of the
Sorcerer, and the present editor; and it was impossible for the most
inexperienced author to display a stronger desire of profiting by the
censures and sentiments that might be suggested.[2]

Explanation

**Detailed Explanation of the Preface to Maria; Or, The Wrongs of Woman by Mary Wollstonecraft**

This Preface to Maria; Or, The Wrongs of Woman (1798) serves as an introduction to Wollstonecraft’s unfinished novel, written shortly before her death in 1797. The text is framed by her husband, William Godwin, who edited and published it posthumously. The Preface is not part of the novel itself but provides crucial context about its creation, Wollstonecraft’s intentions, and the significance of the work despite its fragmented state.

Below is a close reading of the Preface, analyzing its purpose, themes, literary devices, and significance, with a focus on the text itself.

1. Context of the Preface

Author & Work: Mary Wollstonecraft (1759–1797) was a pioneering feminist philosopher, best known for A Vindication of the Rights of Woman (1792). Maria was her second novel, intended as a fictional counterpart to her feminist arguments, exposing the legal, social, and psychological oppression of women in 18th-century Britain.
Publication History: Wollstonecraft died before completing Maria, leaving behind a manuscript in progress. Godwin, her widower, published it with this Preface, justifying its release despite its unfinished state.
Genre & Influence: The novel is an early feminist Gothic work, blending social critique with psychological depth. It was radical for its time, challenging marriage laws, male tyranny, and women’s lack of autonomy.

2. Line-by-Line Analysis & Key Themes

Opening Sentence: Public Introduction to the Author

"The public are here presented with the last literary attempt of an author, whose fame has been uncommonly extensive, and whose talents have probably been most admired, by the persons by whom talents are estimated with the greatest accuracy and discrimination."

Purpose: Godwin immediately elevates Wollstonecraft’s reputation, framing her as a respected and discerning writer whose work deserves attention even in an unfinished state.
Tone: Defensive yet reverent—he anticipates criticism for publishing an incomplete work but asserts its value.
Key Idea: Wollstonecraft’s intellectual legacy is so strong that even a fragment is worth preserving.
Literary Device:
- Apophasis (pretended omission): By saying "few… would have wished this fragment suppressed," he implies that most do recognize its worth, subtly pressuring the reader to agree.

Melancholy Delight in Unfinished Genius

"There is a sentiment, very dear to minds of taste and imagination, that finds a melancholy delight in contemplating these unfinished productions of genius, these sketches of what, if they had been filled up in a manner adequate to the writer’s conception, would perhaps have given a new impulse to the manners of a world."

Theme: The Romantic fascination with incomplete art—the idea that unfinished works hold a mysterious, tragic beauty because they hint at unfulfilled potential.
- Comparable to Keats’ "Ode on a Grecian Urn" (beauty in permanence vs. incompletion) or Coleridge’s "Kubla Khan" (a fragmentary masterpiece).
Significance:
- Godwin suggests that Maria could have changed society ("a new impulse to the manners of a world") if completed.
- Reinforces Wollstonecraft’s radical vision—her work was not just literature but a call for social reform.
Literary Devices:
- Pathos: Evokes sympathy and loss—readers are invited to mourn what might have been.
- Hyperbole: "a new impulse to the manners of a world" exaggerates (but sincerely) the work’s potential impact.

Wollstonecraft’s Creative Process & Perfectionism

"The purpose and structure of the following work, had long formed a favourite subject of meditation with its author, and she judged them capable of producing an important effect. The composition had been in progress for a period of twelve months. She was anxious to do justice to her conception, and recommenced and revised the manuscript several different times."

Theme: Artistic labor and revision—Wollstonecraft was meticulous, suggesting she saw Maria as her magnum opus.
Significance:
- Contrasts with the Romantic ideal of spontaneous genius (e.g., Wordsworth’s "emotion recollected in tranquility").
- Shows her intellectual rigor—she was not just writing a novel but crafting a feminist manifesto in fictional form.
Literary Device:
- Anaphora (repetition): "recommenced and revised" emphasizes her relentless perfectionism.

Self-Awareness of the Work’s Flaws

"So much of it as is here given to the public, she was far from considering as finished, and, in a letter to a friend directly written on this subject, she says, 'I am perfectly aware that some of the incidents ought to be transposed, and heightened by more harmonious shading; and I wished in some degree to avail myself of criticism, before I began to adjust my events into a story, the outline of which I had sketched in my mind.'"

Theme: The artist’s self-criticism—Wollstonecraft was dissatisfied with the draft, showing her high standards.
Key Ideas:
- "Transposed, and heightened by more harmonious shading": She was concerned with narrative structure and emotional depth, not just polemics.
- "Avail myself of criticism": She valued collaborative improvement, unlike the Romantic stereotype of the solitary genius.
Literary Device:
- Direct quotation: Godwin includes Wollstonecraft’s own words to authenticate her intentions, making the Preface feel like a dialogue with the dead author.

Limited Audience & Desire for Feedback

"The only friends to whom the author communicated her manuscript, were Mr. Dyson, the translator of the Sorcerer, and the present editor; and it was impossible for the most inexperienced author to display a stronger desire of profiting by the censures and sentiments that might be suggested."

Theme: Intellectual humility and openness to critique—Wollstonecraft was not arrogant but eager to refine her work.
Significance:
- Contrasts with male authors of the time, who often dismissed criticism (e.g., Byron’s defiance).
- Reinforces that Maria was not just a rant but a carefully considered argument in narrative form.
Literary Device:
- Irony: The "most inexperienced author" phrase is sarcastic—Wollstonecraft was highly experienced, but Godwin uses this to highlight her willingness to learn.

3. Major Themes in the Preface

The Value of Unfinished Art
- Godwin argues that fragments can be profound—they invite reader participation in imagining what might have been.
- Connects to Romanticism’s cult of the incomplete (e.g., Shelley’s The Triumph of Life).
Feminist Urgency & Lost Potential
- The Preface mourns what Maria could have achieved—a full-throated indictment of patriarchy.
- Wollstonecraft’s death silenced a radical voice, making the fragment doubly tragic.
Artistic Process vs. Romantic Mythmaking
- Unlike the Romantic myth of effortless genius, Wollstonecraft is shown as a diligent reviser, debunking the idea that great art is spontaneous.
- Her collaborative approach (seeking criticism) challenges the lone genius trope.
Defense of Women’s Intellectual Labor
- By emphasizing Wollstonecraft’s seriousness and skill, Godwin counteracts misogynistic dismissals of female writers as "amateurs."
- The Preface elevates her to the rank of great (male) authors, whose unfinished works (e.g., Kafka’s The Trial) are also revered.

4. Literary Devices Used in the Preface

Device	Example	Effect
Apophasis	"Few… would have wished this fragment suppressed"	Implies most do value it, subtly persuading the reader.
Pathos	"Melancholy delight in contemplating these unfinished productions"	Evokes emotional investment in the lost potential.
Hyperbole	"Given a new impulse to the manners of a world"	Exaggerates (but sincerely) the work’s possible impact.
Direct Quotation	Wollstonecraft’s letter about revisions	Authenticates her voice, making the Preface feel like a conversation.
Irony	"Most inexperienced author" (about Wollstonecraft)	Highlights her humility despite her experience.
Anaphora	"Recommenced and revised"	Emphasizes her perfectionism.

5. Significance of the Preface

Framing Wollstonecraft’s Legacy
- Godwin ensures she is remembered as a serious artist, not just a polemicist.
- The Preface humanizes her—showing her doubts, revisions, and ambitions.
Justifying the Publication of a Fragment
- Without this defense, Maria might have been dismissed as incomplete.
- Godwin creates a precedent for valuing unfinished feminist works.
Connecting to Broader Romantic & Feminist Traditions
- The Preface links Wollstonecraft to Romantic ideals (genius, melancholy, fragments) while subverting them (she was methodical, not spontaneous).
- It challenges the male-dominated literary canon by insisting a woman’s incomplete work is worthy of study.
Foreshadowing the Novel’s Themes
- The Preface’s focus on suppression, potential, and criticism mirrors Maria’s themes:
  - Maria’s voice is silenced (like the unfinished novel).
  - Society stifles women’s potential (like Wollstonecraft’s early death).
  - Criticism (both literary and social) is necessary for growth.

6. Conclusion: Why This Preface Matters

The Preface to Maria is not just an introduction but a manifestation of Wollstonecraft’s feminist project. It:

Defends the right of women to be taken seriously as artists.
Challenges the idea that only "complete" works have value.
Reveals the labor behind genius, countering Romantic myths.
Serves as a meta-commentary on silence and suppression—both Wollstonecraft’s (due to death) and Maria’s (due to patriarchy).

In essence, the Preface does what the novel itself does: it exposes the wrongs done to women—not just in life, but in literary history, where female voices are often fragmented, dismissed, or erased. By publishing Maria as a fragment, Godwin (and Wollstonecraft, indirectly) force the reader to confront what was lost—and what still needs to be said.