Shelley and the Marriage Question — Themes and Context

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Todhunter, John, 1839-1916 Project Gutenberg 2010 Not confirmed
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John Todhunter examines Shelley's views on marriage, contrasting them with late-Victorian debates. Drawing on 'Laon and Cythna' and contemporary figures like Mona Caird, Todhunter critiques Shelley's ideal of free love, arguing that abolishing marriage without addressing lust is misguided.
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E-text prepared by the Online Distributed Proofreading Team (http://www.pgdp.net) from page images generously made available by Internet Archive/Canadian Libraries (http://www.archive.org/details/toronto)

Note: Images of the original pages are available through Internet Archive/Canadian Libraries. See http://www.archive.org/details/shelleyandthema00todhuoft

SHELLEY AND MARRIAGE.

Of this Book Twenty-Five Copies only have been printed.

SHELLEY AND THE MARRIAGE QUESTION.

JOHN TODHUNTER, M.D.,

Author of _Notes on "The Triumph of Life," A Study of Shelley, etc._

London: Printed for Private Circulation Only. 1889.

SHELLEY AND THE MARRIAGE QUESTION.

Now that marriage, like most other time-honoured institutions, has come to stand, a thing accused, at the bar of public opinion, it may be interesting to see what Shelley has to say about it. The marriage problem is a complex one, involving many questions not very easy to answer offhand or even after much consideration. What is marriage? Of divine or human institution? For what ends was it instituted? How far does it attain these ends? And a dozen others involved in these.

The very idea of marriage implies some kind of bond imposed by society upon the sexual relations of its members, male and female; some kind of restriction upon the absolute promiscuity and absolute instability of these relations--such restriction taking the form of a contract between individuals, endorsed by society, and enforced with more or less stringency by public opinion. Its object at first was probably simply to ensure to each male member of the tribe the quiet enjoyment of his wife or wives, and the free exploitation of the children she or they produced. The patriarchal tyranny was established, and through the sanction of primitive religion and law became a divine institution. Then, as civilization progressed, the wife and children became less and less the mere slaves, more and more the respected subjects, of the patriarch. The paternal instinct (like the maternal) became developed, and family affection came into existence. At present the whirligig of time is bringing its revenges. The patriarchal tyranny begins to totter; parents are often more the slaves than the masters of their children. And even wives begin to rebel against wifedom, and threaten to revolutionize marriage in their own interest. Woman, like everybody else, is beginning to strike for higher wages. There are more than the first mutterings of that revolution in the Golden City of Divine institutions prophesied of by Shelley in _Laon and Cythna_. There are a good many Cythnas ready to rush about on their black Tartarian hobbies, of whom Mrs. Mona Caird is the one who has recently made most noise.

There is a little design of Blake's in _The Gates of Paradise_, which represents a man standing on the earth who leans a ladder against the moon and prepares to mount; the motto underneath being: "I want! I want!" This is a type of our own age. Never was such an age of discontent, never such a Babel of voices crying: "I want! I want!" We have become very conscious of our pain, and are not ashamed to cry out and proclaim it on the house-tops in these hysterical times--simply because the ancient sanctions and anodynes have lost their sanctity and comfort for us. The very "priests in black gowns" who used to "walk their rounds and bind with briers our joys and desires," have been themselves corrupted with a longing for a little present happiness, and that Old Woman in the shoe, Mrs. Grundy herself, instead of whipping us all round and putting us to bed in the old summary fashion, when we venture to complain that the shoe pinches here and there, has herself become lachrymose. We cry out because, having neither the old repressions nor the old opiates to restrain us, there is no valid reason why we should hold our tongues. By crying loud enough and long enough we may get some help. We may even find some good-natured person to stop crying himself and help us; and then for very shame we may go and do likewise. In this lies the age's hope. It is really in its best aspect an unselfish age, an age in which sympathy and justice are vital forces, in which the miseries of others are felt as our own. There are thousands now who feel themselves "as nerves o'er which do creep the else unfelt oppressions of the earth." We are not wise enough yet to conceive and organize those vital adjustments between conflicting wants, interests, and principles, which shall be of deeper efficiency than mere superficial compromises; but this wisdom will come in due time, if we do not rush into anarchy through that licentious impatience which is the curse of revolutionary periods.

John Todhunter opens his 1889 essay by placing Shelley's ideas on marriage directly in the context of contemporary public debate: 'Now that marriage, like most other time-honoured institutions, has come to stand, a thing accused, at the bar of public opinion.' He immediately frames the discussion as a series of unanswered questions—'What is marriage? Of divine or human institution?'—and proceeds to trace a historical arc from patriarchal tyranny to the present moment when 'wives begin to rebel against wifedom.' Todhunter's method is to juxtapose Shelley's radicalism with the more pragmatic demands of late-Victorian feminists, using the figure of Mrs. Mona Caird as a foil.

Shelley's Ideal vs. Practical Reform

Todhunter characterizes Shelley as a 'better physician than Goethe' who diagnosed lust as 'the undying worm at the root of the Tree of Life.' Yet he faults Shelley for believing that abolishing marriage would end prostitution, arguing instead that 'abolish prostitution and marriage will cease.' The essay insists that Shelley's vision of 'absolute freedom of contract' in marriage is unworkable because 'men are not yet harmonious creatures.' Todhunter's critique is sharp: Shelley, he claims, did not see that 'the abolition of marriage would no more get rid of lust than the abolition of private property would get rid of selfishness.' This section reveals Todhunter's central tension—admiring Shelley's diagnosis while rejecting his prescription.

The British Ratepayer and the Tenth Case

Todhunter grounds the debate in practical politics, personifying the 'British ratepayer' who 'cares nothing about women and children, except in so far as there is a danger of their coming upon the rates.' He acknowledges that marriage may work well 'in nine cases out of ten,' but insists 'the tenth case must be considered, and relief given if possible.' This leads him to endorse greater facility of divorce while dismissing Mrs. Caird's proposal for 'greater laxity of the marriage bond ab initio' as 'quite outside the sphere of practical politics.' Todhunter's tone is wry: 'law and society are the most impertinent things in the world, always binding with briers our joys and desires.'

The Cythnas of the Present Day

Todhunter invokes Shelley's poem Laon and Cythna to connect the poet's revolutionary heroine with contemporary feminists: 'There are a good many Cythnas ready to rush about on their black Tartarian hobbies, of whom Mrs. Mona Caird is the one who has recently made most noise.' He notes that these 'Cythnas of the present day have felt their burthens more directly than Shelley did,' particularly in demanding 'economic independence, that they may not be forced into marriage or prostitution by the various degrees of starvation.' Todhunter endorses this demand as 'a just one,' but remains skeptical of Shelley's ideal of free love, warning against imperiling 'the progress' represented by monogamic marriage.

Todhunter's essay is a curious hybrid: part literary criticism, part social commentary, part polemic. Readers should note that his argument relies on a selective reading of Shelley—he uses Laon and Cythna as a touchstone but does not engage with Shelley's other prose works on marriage. The essay is best approached as a document of its time, revealing how a late-Victorian intellectual wrestled with the tension between radical ideals and the perceived realities of human nature and social order.

That grey afternoon, Todhunter’s critique of Shelley’s free love stuck with me—his worry that abolishing marriage without confronting lust leaves something raw. Later, fishing through my shelf for distraction, I stumbled upon Revolted Woman: Past, present, and to come — Background and Themes, which seemed to answer his unease from the other side. Rain kept falling; the pages turned themselves.

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