The International Monthly, Volume 3, No. 1, April, 1851. Various

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      "I busied myself to think of a story,—a story to rival those which had excited us to this task. One which would speak to the mysterious fears of our nature, and awaken thrilling horror—one to make the reader dread to look around, to curdle the blood, and quicken the beatings of the heart. If I did not accomplish these things, my ghost story would be unworthy of its name. I thought and pondered—vainly. I felt that blank incapability of invention which is the greatest misery of authorship, when dull Nothing replies to our anxious invocations. Have you thought of a story? I was asked each morning, and each morning I was forced to reply with a mortifying negative. Every thing must have a beginning, to speak in Sanchean phrase; and that beginning must be linked to something that went before. The Hindoos give the world an elephant to support it, but they make the elephant stand upon a tortoise. Invention, it must be humbly admitted, does not consist in creating out of void, but out of chaos; the materials must, in the first place, be afforded: it can give form to dark, shapeless substances, but cannot bring into being the substance itself. In all matters of discovery and invention, even of those that appertain to the imagination, we are continually reminded of the story of Columbus and his egg. Invention consists in the capacity of seizing on the capabilities of a subject, and in the power of moulding and fashioning ideas suggested to it. Many and long were the conversations between Lord Byron and Shelley, to which I was a devout but nearly silent listener. During one of these, various philosophical doctrines were discussed, and among others the nature of the principle of life, and whether there was any probability of its ever being discovered and communicated. They talked of the experiments of Dr. Darwin (I speak not of what the Doctor really did, or said that he did, but, as more to my purpose, of what was then spoken of as having been done by him), who preserved a piece of vermicelli in a glass case, till by some extraordinary means it began to move with voluntary motion. Not thus, after all, would life be given. Perhaps a corpse would be re-animated; galvanism had given token of such things: perhaps the component parts of a creature might be manufactured, brought together, and endued with vital warmth. Night waned upon this talk; and even the witching hour had gone by, before we retired to rest. When I placed my head upon my pillow, I did not sleep, nor could I be said to think. My imagination, unbidden, possessed and guided me, gifting the successive images that arose in my mind with a vividness far beyond the usual bounds of reverie. I saw—with shut eyes, but acute mental vision—I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavor to mock the stupendous mechanism of the Creator of the world. His success would terrify the artist; he would rush away from his odious handywork, horror-stricken. He would hope that, left to itself, the slight spark of life which he had communicated would fade; that this thing, which had received such imperfect animation, would subside into dead matter; and he might sleep in the belief that the silence of the grave would quench for ever the transient existence of the hideous corpse which he had looked upon as the cradle of life. He sleeps; but he is awakened; he opens his eyes; behold the horrid thing stands at his bedside, opening his curtains, and looking on him with yellow, watery, but speculative eyes.

      "I opened mine in terror. The idea so possessed my mind, that a thrill of fear ran through me, and I wished to exchange the ghastly image of my fancy for the realities around. I see them still; the very room, the dark parquet, the closed shutters, with the moonlight struggling through, and the sense I had that the glassy lake and white high Alps were beyond. I could not so easily get rid of my hideous phantom; still it haunted me. I must try to think of something else. I recurred to my ghost story,—my tiresome unlucky ghost story! O! if I could only contrive one which would frighten my reader as I myself had been frightened that night! Swift as light and as cheering was the idea that broke in upon me. 'I found it! What terrified me will terrify others; and I need only describe the spectre which had haunted my midnight pillow.' On the morrow I announced that I had thought of a story. I began that day with the words, It was on a dreary night of November, making only a transcript of the grim terrors of my waking dream."

      The next year Shelley and herself were in Buckinghamshire, where the great poet wrote The Revolt of Islam. In the spring of 1818, they quitted England for Italy, and their eldest child died in Rome. Soon after, they took a house near Leghorn—half way between the city and Monte Nero, where they remained during the summer.

      "Our villa," she says, "was situated in the midst of a podere; the peasants sang as they worked beneath our windows, during the heats of a very hot season, and at night the water-wheel creaked as the process of irrigation went on, and the fire-flies flashed from among the myrtle hedges:—nature was bright, sunshiny, and cheerful, or diversified by storms of a majestic terror, such as we had never before witnessed."

      The Cenci and several other poems were written here. The summer of 1818 they passed at the Baths of Lucca, and in the autumn went to a villa belonging to Lord Byron, near Venice, whence they proceeded to Naples, where the winter was spent; after which they visited Florence, and in the fall of 1820 took up their residence at Pisa. The next year—in July—Shelley's death occurred: he was drowned in the gulf of Lerici. The details must be familiar to all readers of literary history. Mrs. Shelley wrote of the time:

      "This morn thy gallant bark

      Sailed on a sunny sea,

      'Tis noon, and tempests dark

      Have wrecked it on the lee,

      Ah woe! Ah woe!

      By spirits of the deep

      Thou'rt cradled on the billow,

      To thy eternal sleep.

      Thou sleep'st upon the shore

      Beside the knelling surge,

      And sea-nymphs evermore

      Shall sadly chant thy dirge.

      They come! they come,

      The spirits of the deep,

      While near thy sea-weed pillow

      My lonely watch I keep.

      From far across the sea

      I hear a loud lament,

      By echo's voice for thee,

      From ocean's caverns sent.

      O list! O list,

      The spirits of the deep;

      They raise a wail of sorrow,

      While I for ever weep."

      Mrs. Shelley returned to England, and for nearly twenty years supported herself by writing. In the last ten years—more especially since 1844, when her son succeeded to the Shelley estates—she had no need to write for money, and it is understood that she devoted the time to the composition of Memoirs of Shelley.

      The Frankenstein, or Modern Prometheus, of Mrs. Shelley,—a fearful and fantastic dream of genius—was never very much read; it was one of those books made to be talked of; her Lodore was more easily apprehended; it is a love story, from every-day life, but written with remarkable boldness and directness, and a real appreciation of the nature of both woman and man. The hero of this novel is the son of a gentleman ennobled for his services in the American war, and some of the scenes are in New-York. The Last Man has for its hero her husband, whose character is delineated in it with singular delicacy, but the book is in the last degree improbable and gloomy, while abounding in scenes of beauty and intense interest. She wrote also Perkin Warbeck, Falkner, Walpurga, and other novels, Journal in Italy and Germany, and Lives of eminent French Writers, besides editing the Poems and the Letters of Shelley—a labor which she performed judiciously, and with feeling and accuracy.

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