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Updated: May 29, 2025
Written from the other end of the book are the Ode to Naples and The Witch of Atlas. Since these all belong to the years 1819, 1820, and 1821, it is probable that Mary finished her rough draft some time in 1819, and that when she had copied her story, Shelley took over the notebook. Since the whole of Mathilda's story takes place in England and Scotland, the date must be that of the manuscript.
This sentence, not in F of F A, recalls Mathilda's dream. This passage is somewhat more dramatic than that in F of F A, putting what is there merely a descriptive statement into quotation marks. A stalactite grotto on the island of Antiparos in the Aegean Sea. A good description of Mary's own behavior in England after Shelley's death, of the surface placidity which concealed stormy emotion.
Following page 216, four sheets containing the conclusion of the story are cut out of the notebook. They appear, the pages numbered 217 to 223, among the Shelley-Rolls fragments. The mode of telling the story in the final draft differs radically from that in the rough draft. In The Fields of Fancy Mathilda's history is set in a fanciful framework.
They contain the conclusion of the story, ending, as does F of F B with Mathilda's words spoken to Diotima in the Elysian Fields: "I am here, not with my father, but listening to lessons of wisdom, which will one day bring me to him when we shall never part. THE END." Some passages are scored out, but not this final sentence. Tenses are changed from past to future.
If Mary quotes Coleridge's Ancient Mariner intentionally here, she is ironic, for this is no merciful rain, except for the fact that it brings on the illness which leads to Mathilda's death, for which she longs. Cf. the description which opens Mathilda. At this point four sheets are cut out of the notebook. They are evidently those with pages numbered 217 to 223 which are among the S-R fr.
Like Mathilda Mary was a woman of strong passions and affections which she often hid from the world under a placid appearance. Like Mathilda's, Mary's mother had died a few days after giving her birth. Like Mathilda she spent part of her girlhood in Scotland.
A similar passage about Mathilda's fears is cancelled in F of F B but it appears in revised form in S-R fr. There is also among these fragments a long passage, not used in Mathilda, identifying Woodville as someone she had met in London. Mary was wise to discard it for the sake of her story.
See Catalogue of Printed Music Published between 1487 and 1800 and now in the British Museum, by W. Barclay Squire, 1912. Neither author nor composer is listed in the Catalogue. This paragraph is materially changed from F of F B. Clouds and darkness are substituted for starlight, silence for the sound of the wind. The weather here matches Mathilda's mood.
She asked Anna all about her ways and her intentions and how much she would spend, and how often she went out and whether she could wash and cook and sew. The good Anna set her teeth fast to endure and would hardly answer anything at all. Mrs. Lehntman made it all go fairly well. The good Anna was all worked up with her resentment, and Miss Mathilda's friend did not think that she would do.
There is nothing in F of F A and only one scored-out sentence in S-R fr. None of the rough drafts tells of her plans to join her father. The account of the return of Mathilda's father is very slightly revised from that in F of F A. F of F B has only a few fragmentary sentences, scored out. It resumes with the paragraph beginning, "My father was very little changed."
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