when describing the young husband and wife at a tête-à-tête supper:—
Mutual esteem and gratitude sanctified the unreserved sympathy which made each so happy in the other. Did they love the less for not loving "in sin and fear"? Far from it. The certainty of being the cause of good to each other tended to foster the most delicate of all passions, more than the rough ministrations of terror and the knowledge that each was the occasion of injury. A woman's heart is peculiarly unfitted to sustain this conflict. Her sensibility gives keenness to her imagination and she magnifies every peril, and writhes beneath every sacrifice which tends to humiliate her in her own eyes. The natural pride of her sex struggles with her desire to confer happiness, and her peace is wrecked.
What stronger expression of feeling could be needed than this, of a woman speaking from her heart and her own experiences ? Does it not remind one of the moral on this subject in all George Eliot's writing, where she shows that the outcome of what by some might be considered minor transgressions against morality leads even in modern times to the Nemesis of the most terrible Greek Dramas?
The complicated money transactions carried on with the aid of lawyers were clearly a reminiscence of Shelley's troubles, and of her own incapacity to feel all the distress contingent so long as she was with him, and there was evidently money somewhere in the family, and it would come some time. In this novel we also perceive that Mary works off her pent-up feelings with regard to Emilia Viviani. It cannot be supposed that the corporeal part of Shelley's creation of Epipsychidion (so exquisite in appearance and touching in manner and story as to give rise, when transmitted through the poet's brain, to the most perfect of love ideals) really ultimately became the fiery-tempered worldly-minded virago that Mary Shelley
