Arthur and Mary

Arthur and Mary

Arthur and Mary, or the Fortunate Fugitives 

Author: John Corry
Publisher: B. Crosby and Co. 
Publication Year: 1803
Language: English
Book Dimensions: 10.80cm x 17.15cm
Pages: 32
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.C674 A 1803


A tale of adventure, romance, and friendship, John Corry’s 1803 chapbook follows a protagonist’s escape from political persecution, and later follows the story of distant lovers. 


Material History

Arthur and Mary, a gothic novel written by John Corry, was published in 1803. Arthur and Mary is currently located in the Sadler-Black Collection of Gothic Fiction in the University of Virginia’s Special Collections Library. It is interesting to note that the edition of Arthur and Mary in the University of Virginia’s Special Collections Library bears the full title Arthur and Mary, or the Fortunate Fugitives. The title page of this book looks especially modern, with a clear description of the title, author, and publisher of this book. The author’s name, John Corry, is qualified by a sentence reading “author of a satirical view of London, The Detector of quackery, & c.” While the general organization of the book looks modern, such as the title page and the way that book is split into chapters with page numbers at the top of each page, the age of this book is clearly seen in the novel’s appearance. This novel is fairly small, about 6.75 inches long by 4.25 inches wide, with delicate, thin pages. These pages are yellowed, somewhat textured, brittle, and have faint fingerprints on a few pages. The color of these pages resembles a paper that is covered with marks from tea bags. It appears as though only a thin layer of glue is holding the pages of this book together, as there is no clear material binding. This novel most likely had a leather binding with string running through each page holding the pages together, as this was a common binding method during the time period in which Arthur and Mary, or the Fortunate Fugitives was printed. Similarly, there are multiple holes on the side of the pages, suggesting that there was in fact a string that used to hold this book together. This book is clearly aged, and representative of what a book printed over two-hundred years ago would look like.

The frontispiece for Arthur and Mary depicting Mary holding on to a rock after a shipwreck

The overall appearance of this book is worn, used, and stained. The structured format of the title pages and chapters as well as the detailed illustration on inside of the front cover, gives an elegant feel to the book, and suggests thoughtful writing. However, the fact that the original binding of this book is not preserved and that the gothic genre was considered an unsophisticated genre during the time that this book was printed lends a cheap feel to this book. When looking at a randomly selected page in the book, it is clear that there is consistency within the novel. For instance, like the various pages in the novel, the randomly selected page was yellowed, somewhat textured, brittle, and had faint fingerprint marks. The text on all of the pages appears smaller than a standard font in more modern novels, which might be due to the small size of the book in general. 

The illustration on the inside cover of the first page is captioned “Mary half dead, held by the rock with the instinctive eagerness of self-preservation,” and depicts a scene from the novel. In the foreground, this illustration depicts a woman holding on to rocks in the middle of a sea, in somewhat of a helpless way. In the background, this illustration depicts a shipwreck, as well as another person located on the other side of the rocks. There are no illustrations throughout the rest of the book, but there does appear to be decorative elements on the title page and on the pages that start a new chapter. The last page of the book is the last page of the story. There is no additional page after the final page of text. 

There are no indications of ownership in this book: no names written in the book, notes in the margin, stamps from libraries, bookplates, inserts, or other post-production marks. This could suggest that the book was in the hands of only a few people. 


Textual History

The title page for Arthur and Mary

John Corry—author of Arthur and Mary, or the Fortunate Fugitives—was born in north Ireland, and began his writing career in Dublin as a journalist (Mulvihill). His upbringing and education are unknown, and the Oxford Dictionary of National Biography states that he is presumed to have been self-taught (Goodwinn). In the early 1790s, he moved to London where he became a bookseller and publisher at Princess Street, Leicester Square, and also became a member of the Philological Society of Manchester (Mulvihill, Pitcher 83). The journals The Miscellaneous Works of John Corry, and Romantic London: John Corry and the Georgic City both cite the difficulty in articulating John Corry’s cannon (Mulvihill, Pitcher 83). The Miscellaneous Works of John Corry cites that the reason for this lack of a cannon is because “many of [John Corry’s] publications have been difficult to date accurately, because new editions and reissues of titles were frequent, and because works first published as part of a series were often reprinted separately” (Pitcher 83). However, it is certain that Corry’s work included poetry, novels, biographies, histories, satires, and juvenile literature (Mulvihill, Pitcher 83). Corry’s main writings in London are A Satirical View of LondonThe English MetropolisMemoirs of Edward Thornton, and A Sketch of Modern Dissipation in London (Mulvihill). Corry’ biographical writings include biographies on George Washington (1800), William Cowper (1803), and Joseph Priestley (1804) (Goodwinn). In addition to Arthur and Mary, John Corry published seventeen other books from 1800 to 1815. Limited information about John Corry’s life after 1825 is known, and the Oxford Dictionary of National Biography states that his “works have now fallen into complete obscurity” (Goodwinn).

The advertisement for Arthur and Mary

In 1803, Crosby and Co, a London-based publishing company, published Arthur and Mary (Mulvihill). Crosby and Co. published Arthur and Mary in English, and English is assumed to be the only language that Arthur and Mary has been published in as there are no indications of this book being translated. The journal article “Making Austen Mad: Benjamin Crosby and the Non-Publication of ‘Susan,’” examines all of Crosby and Co.’s publications, and notes that Crosby and Co. published mainly “musical pieces and songs,” as well as “numerous children’s works” (Mandal 513). These musical pieces and songs mainly consisted of religious discourses and sermons, and the children’s works mainly consisted of conduct-books and educational textbooks (Mandal 513). Thus, Arthur and Mary was a less popular type of publication for Crosby and Co. The journal article argues that Crosby and Co. “was certainty not as low-key as” some critics have professed, as proven by prominent titles that Crosby and Co. published (Mandal 513). This journal article, however, does not categorize Arthur and Mary as one of these prominent titles, and states that “Crosby and Co.’s less eminent credentials are underlined by the fair number of chapbooks it published” (Mandal 513). In its footnote, this journal article cites Arthur and Mary as one of these chapbooks.

One edition of Arthur and Mary is located in the Sadleir-Black Collection in the Special Collections Library at the University of Virginia. Arthur and Mary is cited in Montague Summers’s Gothic Bibliography (236). The WorldCat database indicates that other than the University of Virginia library, there are only four other libraries that have Arthur and Mary in their collections. These libraries include the Northwestern University Library in Illinois, US, the University of Notre Dame Library in Indiana, US, and the University of Oxford Library in the UK. This suggests that there are not many publications of Arthur and Mary in circulation, and possibly not many printings or subsequent editions of this book. There is no indication that this book has any prequels or sequels, or that there are any contemporary digital copies of this book on the Internet. 

There is not much information about how Arthur and Mary was received when it was originally published, demonstrated by the absence of reviews about this book, or of any information about how many copies of this book were sold. Arthur and Mary, however, is mentioned in Franz J. Potter’s The History of Gothic Publishing, 1800–1835 in Appendix 2 “Gothic Bluebooks, 1799–1835” (166). 


Narrative Point of View

Arthur and Mary is narrated in third person by an omniscient narrator who is never introduced in the text. The narrator’s style consists of detailed descriptions of scenery, events, and characters’ internal emotions. The narration begins following only Arthur, the protagonist of the novel, and his journey away from his home due to political persecution. The narrator later follows Mary, Arthur’s love interest, in addition to Arthur, and tells both storylines of the characters falling in love and each character’s journey traveling from Ireland to London. The narration is chronological, told in the past tense, and does not contain any flashbacks. The narrator writes in concise, yet descriptive, sentences with a hopeful and passionate tone. 

Example of Third-Person Narration:

When Mary retired to her room she found this letter, and read it with a tumultuous emotion of mingling passions. Surprise, love, and joy, electrified every nerve. She resolved to answer the letter, which she read repeatedly, and her vanity was not a little gratified with the contents. It was the first love-letter she had ever received; but how to answer it was the point. She placed paper upon the table before her, dipped her pen into the ink, and after casting a scrutinizing glance round her chamber, she began with a palpitating heart. Her hand trembled so much that she could not write one word — she desisted — went to a window and opened it to admit fresh air — her spirits revived, and summoning all her fortitude, she wrote as follows… (14)

The narrator’s concise yet heavily detailed sentences are present throughout this passage. This passage occurs directly after Mary finds Arthur’s letter, in which he professes his love for her, and directly before the narrator tells of what is said in Mary’s letter back to Arthur. The explicit description of Mary’s emotions after Mary reads Arthur’s letter, using words like “tumultuous,” “mingling,” “electrified,” “palpitating,” and “trembled,” adds to the suspense of the novel, as these words signify such great levels of feeling and passion. Consequently, this passage, as representative of the narration throughout the novel, demands attention from the reader. The thorough description of Mary’s actions after reading the letter are also consistent with many gothic tropes, including romance, mystery and fear, and confinement. Verbs like “began” and “revived” in this passage reveal the hopeful and passionate tone found throughout the novel, as this language suggests possibility. 


Summary

This novel begins by introducing Arthur, a sixteen-year-old boy living just outside of Newry, Ireland. Arthur is the son of a farmer, and is taken out of school in order to be homeschooled in agriculture. The novel quickly transitions to Arthur at the age of twenty-two, and describes Arthur as a “tall and well-made” man, whose “mind was ardent,” “passions [were] strong,” and who “view[ed] the world through the medium of enthusiasm” with an “erroneous opinion” (6). With Ireland’s politics in turmoil, Arthur joins the popular party. His outspoken opinions prompt a neighbor to inform the town of Newry, Ireland, that Arthur is a “disseminator of sedition” (6). As a result, soldiers arrive at Arthur’s home and search for him, but Arthur escapes and sets out for England.

On his journey across Ireland, Arthur travels over mountains, passing small villages, and appreciates the mountains, sea, and nature surrounding him. Hunger prompts him to find a large farmhouse, where Owen Conolly, the owner of the farm, receives him with hospitality. Owen is the proprietor of the valley in which this farm is located, and his ancestors had taken possession of this valley when they sought asylum from English King Oliver Cromwell. Arthur sleeps over at this farmhouse, and when he wakes up, he is introduced to Owen’s eighteen-year-old daughter, Mary.

Mary is reserved and bashful, and her “feminine charms” catch Arthur’s admiration (2). As a result, Arthur decides that he should stay at the farm until the political persecution in Newry is over, and during this time he will tutor Mary each day to “further [the] improvement of her mind” (11). Each day, Mary’s beauty captivates Arthur, and he begins falling in love with her. Arthur writes a note to Mary detailing that he has liked her since the moment he saw her, and now he is in love with her and requests that she accept his heart. In finding this letter, Mary is filled with emotions, and writes back saying that she worries Arthur is not genuine in his expression of love, as he is a “gentleman” and she is a “poor woman” (14). Nevertheless, Arthur professes his love for Mary a second time while on a walk together, and she reciprocates these feelings. They kiss, and vow to temporarily keep their love a secret.

This page shows the large margins, justified text, and worn pages, as well as the confrontation when the soldiers find Arthur.

Owen’s oblivion to Arthur and Mary’s love prompts him to give his blessing to Terence Finn, a rich young farmer who became enamored with Mary after seeing her at mass. Terence arrives at the farmhouse, and professes his affection for Mary, but Mary rejects this affection and turns down Terence. Earlier that evening, Owen informed Terence of Arthur’s predicament, and how he is seeking protection from Newry soldiers. When Terence realizes that Mary is in love with Arthur, Terence rides to Newry and informs Arthur’s rivals of Arthur’s whereabouts.

The following day, soldiers arrived at the farmhouse. The soldiers take Arthur into custody, and shove Mary to the ground as she runs to Arthur’s defense and demands that the soldiers take her too. Enraged by the soldier’s aggression towards Mary, Arthur attacks the soldier, and consequently is shot and taken to the county jail in Newry. In distress, Mary travels to the county jail with her loyal friend, Anna. Anna creates an escape plan where she and Arthur switch clothes in order to create a disguise for Arthur. This plan works and Arthur escapes with Mary. Mary returns to her village and Arthur travels to Liverpool. 

Jobless with no friends in Liverpool, Arthur travels to Birmingham. One night during the journey, he wakes up with a fever due to his extensive travels. He slowly recovers after a week of illness, and continues his journey to Birmingham with no money and no home. During this journey, he meets Mr. Heron, a native of Ireland who had just sold his small estate in Ireland. Mr. Heron is traveling across Europe by foot, and Arthur joins him on his way to Birmingham. Throughout their journey, Arthur is charmed by Mr. Heron’s charisma and has a strong belief that philanthropy is a “duty we owe to society” (23). When they reach Birmingham, Mr. Heron urges Arthur to accompany him further on his journey across Europe. Mary’s “voice of love secretly remind[s] Arthur of his solemn promise,” and prompts Arthur to refuse Mr. Heron’s request. Arthur and Mr. Heron part ways (23).

Arthur sets out to London and starts an academy for instructing the youth of London. He constantly writes to Mary, and urges her to come to London. Upon getting Owen’s approval, Mary prepares to travel to London with Anna. Mary and Anna begin their voyage at sea, and Mary is devastated to leave her father and possibly never again return to Ireland, but determined to reconnect with Arthur. Mary and Anna come in contact with a major storm towards the end of their voyage, as they are just off of the Welsh Coast. This storm creates massive waves, thrusting the ship towards the rocky Welsh Coast. The ship crashes into the coast and breaks into pieces, forcing the passengers to swim to shore for survival. Mary and Anna grab wood from the destroyed ship, and venture towards the coast. As they arrive on the coast, Anna helps Mary get on to a rock, but as she attempts to also get on the rock, her traction is lost. The strong waves forcefully throw Anna into the rock, and she is killed.

Other survivors of the shipwreck carry Mary to a farmhouse on the coast, where Mary is distraught about Anna’s death. She writes to Arthur, telling him about the shipwreck, and about her arrival in Conway, Wales. Arthur arrives in Conway and he and Mary are reunited. When they reunite, Mary forgets all of her misfortunes. 

Arthur and Mary get married in Conway, and set out for Arthur’s home in Birmingham the next day. Arthur is said to love England, and to frequently write both his parents and Owen. The novel ends with Arthur happily in love with Mary, engaged in teaching the youth as his occupation, and enjoying “all those social gratifications which are essential to rational felicity” (36).


Bibliography

A. A. Mandal. “Making Austen Mad: Benjamin Crosby and the Non-Publication of ‘Susan.’” The Review of English Studies, vol. 57, no. 231, 2006, pp. 507–25

Corry, John. Arthur and Mary: Or the Fortunate Fugitives. Printed for B. Crosby and Co. [etc.], 1803.

Goodwinn, G. “Corry, John” Oxford Dictionary of National Biography. 2004, September 23. doi:https://www-oxforddnb-com.proxy01.its.virginia.edu/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-6357 

Mulvihill, James D. “Romantic London: John Corry and the Georgic City.” Studies in the Literary Imagination, vol. 40, no. 1, 2007. Gale Literature Resource Centerhttps://link.gale.com/apps/doc/A180642018/LitRC?u=viva_uva&sid=LitRC&xid=0215b794. Accessed 27 Oct. 2020.

PITCHER, E. W. “The Miscellaneous Works of John Corry (1760?–1825?).” The Papers of the Bibliographical Society of America, vol. 80, no. 1, 1986, pp. 83–90.

Potter, Franz J. The History of Gothic Publishing, 1800–1835: Exhuming the Trade. Palgrave Macmillan, 2005.


Researcher: Carolyn R. Santangelo

Falkner

Falkner

Falkner: A Novel

Author: Mary Shelley
Publisher: Saunders and Otley
Publication Year: 1837
Language: English
Book Dimensions: 3 volumes, each 12cm x 19.4cm
Pages: 953
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2 .S52 F 1837


In this 1837 three-volume novel, set in multiple countries across Europe, Shelley grapples with the issues of one man’s guilt and his attempt to resolve it by adopting a young orphan girl.


Material History

The title page of Falkner, with Rebow’s signature in the upper right corner

Falkner is a lesser-known novel by the famed Mary Shelley. The version held in the Sadleir-Black Collection is the first edition of the text, which was published in 1837 and presents the novel in three volumes, which was a common means of publication at the time. While the spine lists the title as solely the word Falkner, the title page of the novel calls it Falkner: A Novel. We know that this was written by Mary Shelley; however, her full name is not stated in any of the three volumes. The title page in each volume simply says, “By the author of ‘Frankenstein;’ ‘The Last Man,’ &c.”. This is followed by a quote from “Rosalind and Helen” by Percy Shelley (1819). It reads,

“there stood
In record of a sweet sad story,
An altar, and a temple bright,
Circled by steps, and o’er the gate
Was sculptured, ‘To Fidelity!’”

Each volume in this set measures approximately 12 centimeters by 19.4 centimeters and is approximately 2.3 centimeters deep. The volumes are half-bound with leather; this means that the spine and corners are bound in leather, but the rest of the book is not. The leather on the spine is decorated with gold gilding. The cover is covered with blue marbled paper that is noticeably faded around the center on each volume. The edges of the pages within the volumes are also marbled blue.

A bookplate from the personal library of John G. Rebow

The pages within these volumes are of medium thickness; they are not thick, but they are also not extremely thin. Volume I consists of 322 pages, volume II is 312 pages, and volume III is 319 pages, which add up to a total of 953 pages in all. While this sounds like a lengthy read, it feels surprisingly short. There is a lot of white space on the pages, and the margins are wide, which makes each page a quick, short read. The font is not too large or too small, adding to the ease with which the novel can be read. Some pages throughout these volumes have letters or letter/number combinations at the bottom. These are printer notes, used to help the printers print, fold, and order the pages correctly. It should also be noted that in the back of Volume I, there is a front and back page of advertisements from the publisher.

These particular volumes are interesting because they each have a personal bookplate in the front, indicating that they once belonged to John Gurdon Rebow. His signature can be found on the title page of each book as well. The bookplates have call numbers, “D. 2.” written on them that most likely indicate their shelving location in Rebow’s personal library. This can be interpreted as the book being shelved on shelf 2 of bookcase D.

Overall, these particular copies of the volumes of Falkner are unique in their own ways. While clearly a matching set in the color of their marbling, the volumes are worn to varying degrees. The pages are slightly yellowed from time. The volumes clearly show their age, particularly the first volume due to some tearing where the spine was originally bound, but they seem to be in relatively nice condition for books that are centuries old.


Textual History

Falkner is the final novel written by Mary Shelley before her death. Shelley was born in August 1797 and died in February 1851. Her two most well-known works of her career are Frankenstein and The Last Man, both of which are mentioned on the title page of Falkner.

A page of advertisements from Saunders and Otley, printed in the back of Falkner volume 1

Falkner was first published in 1837 by Saunders and Otley in London. This edition was published in three volumes and was printed by Stevens and Pardon, Printers. In the same year, Falkner was published in one volume by Harper & Brothers in New York. (The Sadleir-Black Collection also houses a copy of this one-volume edition.) In addition to these versions, Falkner is also contained in various collections of Mary Shelley’s works, including The Novels and Collected Works of Mary Shelley (1996), edited by Pamela Clemit. In 2017, Falkner was translated into an Italian version, titled Il Segreti di Falkner, or Falkner’s Secret. There are also online editions of this novel. The 1837 edition published by Harper & Brothers has been archived online on the HathiTrust website.

Many advertisements and reviews of Shelley’s Falkner can be found in periodicals published near the time of its first publication. There is a brief advertisement combined with a brief review that can be found in The Standard, in an issue from March 1837. There is a shorter advertisement in an April 1837 issue of John Bull. Overall, the reviews of Falkner seem to be positive. It is ambiguous whether overall positivity is due to the actual success of Falkner or Shelley’s fame from her prior works. The Metropolitan Magazine, in a March 1837 issue, states, “The only fault that we can find with [Falkner] … is, that its tone is too universally sombre” (67). The Literary Gazette in London references “the talent of the writer” in its review of the novel (66). A combination advertisement and review in The Athenæum gives a short, concise summary of the plot of the novel without giving away the ending. At the end of the summary, it explains, “we have thus imperfectly shadowed out the mystery of the novel, but we must leave the unraveling of it to Mrs. Shelley,—satisfied, that if you put yourself under her guidance, you will own that your labour has not been in vain” (75). Many of the reviews show that the novel was often well-received in its time, yet there are some reviews that are not so kind to Shelley’s work. The Examiner contains a much less favorable review of Falkner in February of 1837: “The story of Falkner, faulty as it is, makes a small part of the book, which is swollen out with tedious reflections, and prosing explanations of motives and feelings. It will practice the reader in the art of skipping” (101).

Falkner has been discussed and written about by scholars in regard to varying subjects. Scholars have discussed Falkner both on its own and in the context of Shelley’s works, beginning in the late twentieth century and leading into the twenty-first century.


Narrative Point of View

The story of Falkner is predominantly recounted by an unnamed third-person narrator. The narration is third-person omniscient as the narrator gives insight into the characters’ thoughts and feelings. The narrator also withholds some information. Sentences largely vary in length; some are short and brief, while others are lengthy and feel quite winded. There are moments throughout the novel when the narrator also invokes a first person plural perspective. In these instances, the narrator switches to using a “we” pronoun, rather than the third-person perspective that is used in the majority of the novel.

Sample Passage:

We are all apt to think that when we discard a motive we cure a fault, and foster the same error from a new cause with a safe conscience. Thus, even now, aching and sore from the tortures of remorse for past faults, Falkner indulged in the same propensity, which, apparently innocent in its commencement, had led to fatal results. He meditated doing rather what he wished, than what was strictly just. He did not look forward to the evils his own course involved, while he saw in disproportionate magnitude those to be brought about if he gave up his favourite project. What ills might arise to the orphan from his interweaving her fate with his — he, a criminal, in act, if not in intention — who might be called upon hereafter to answer for his deeds, and who at least must fly and hide himself — of this he thought not; while he determined, that, fostered and guarded by him, Elizabeth must be happy — and, under the tutelage of her relations, she would become the victim of hardhearted neglect. These ideas floated somewhat indistinctly in his mind — and it was half unconsciously that he was building them a fabric for the future, as deceitful as it was alluring. (Volume I, 78–79)

In this passage, the narrator begins using the first person “we.” This allows a generalization—“We are all apt to think”—that relates Falkner to people as a whole. As the narration moves from the first person plural to third person, the opening generalization also paves the way for the narrator’s access into Falkner’s mind. The narrator goes into Falkner’s head and follows his train of thought. This passage is quite long, but it is composed of a mere six sentences. The statement in the middle of the passage, “What ills might arise … the victim of hardhearted neglect,” is one to note because it is the longest sentence given. The third-person point of view allows this sentence to feel akin to stream of consciousness. The dashes between the different parts of the sentence break it up and make it possible to see how each of Falkner’s thoughts connect to one another as he debates what to do with his new charge. The thoughts that do not cross his mind can also be learned through the narrator, in the sentence that notes, “of this he thought not.”


Summary

The marbled cover of Falkner

Falkner follows the story of a young girl named Elizabeth and begins in the town of Treby. Struck with consumption, her father passes away, and her mother dies a few short months later. Just before her death, Elizabeth’s mother begins writing a letter to a woman named Alithea entreating her to take in her daughter and explaining that she does not want Elizabeth to be taken in by her late husband’s family. She dies before she can finish the letter, so it is never sent. The landlord, Mrs. Baker, reads the letter, and takes in Elizabeth, hoping that the girl’s family will one day come looking for her and will reward Mrs. Baker for her kindness. While staying with Mrs. Baker, Elizabeth often goes to her mother’s grave to play, study, and pray, all while feeling close to her mother.

One day, a stranger by the name of John Falkner shows up in Treby and spends a lot of time out of town by himself. He feels guilty because he killed someone, so he goes to the graveyard to kill himself. He makes the mistake of sitting on Elizabeth’s mother’s grave to kill himself, and the young girl stops him. He worries for a young girl out by herself and opts to walk her home. When he meets Mrs. Baker, she tells him Elizabeth’s story and shows him the letter. He is struck by the realization that the woman he killed is the same woman that Elizabeth’s mother was writing to. Upon realizing this, he feels guilty and decides to take Elizabeth with him on his travels, so they leave together for London. Elizabeth begins calling Falkner “papa.” Falkner feels that Elizabeth will be happier with him than with her distant relations, so he chooses to keep her with him. They meet a friend of Falkner’s who tells them that Mr. Neville’s wife has run off with a mysterious lover, and that Mr. Neville is going after them.

Elizabeth and Falkner balance each other’s personalities well: he makes her feel safe, and she is always able to calm his temper. They have been traveling together for years when Falkner decides to hire Miss Jervis, who serves as a governess for Elizabeth. While in Baden, Germany, Elizabeth meets a sad young man, Mr. Neville; his mother was the same Mrs. Neville that ran away from her husband and eloped. Realizing that this boy is the son of Alithea weakens Falkner. He feels guilty for what has become of the boy’s life. He feels that he does not deserve to live, but he no longer wants to kill himself; he decides to join the war in Greece with the goal of dying in battle and wants Elizabeth to return to her family. Elizabeth refuses to leave him, so she stays nearby, and they part from Miss Jervis. Elizabeth desires to save Falkner, but she misses the Neville boy.

While a soldier in Greece, Falkner does not take care of himself because he is still trying to die. He falls ill and is injured in battle by a musketball. The surgeon recommends that he be taken to a place with less dingy air, so they take him to a coastal town. Elizabeth stays by his side until he begins to get better. Falkner decides that since she has saved his life twice, he no longer wishes to die but wants to live for Elizabeth and her happiness. He tells her that he has written of his crime so that she can learn of it in his words after his death.

The pair travels to Italy and meets a group of English people, including Lady Cecil, for whom Miss Jervis is the governess. Falkner and Elizabeth then travel to a different part of Italy where they happen across the young Mr. Neville, which causes Falkner more stress. When they arrive in London, Elizabeth gets sick from the stress of worrying about Falkner. Hearing of the girl’s illness, Lacy Cecil comes to invite her and Falkner to stay with her for two months. Elizabeth goes, but Falkner declines; he promises to join them later. Lady Cecil tells Elizabeth about her brother, Gerard, because she believes they would get along quite well. Elizabeth returns to health while she is staying with Lady Cecil and soon learns that Gerard is none other than her beloved Mr. Neville. He begins to share the supposedly scandalous story of his mother’s disappearance, but relinquishes that duty to Lady Cecil.

Lady Cecil tells Elizabeth the story of the young and beautiful Alithea Neville. She was young when she married Boyvill—formerly Mr. Neville—, but she did her wifely duties well. The two had a son and daughter together; Alithea doted upon the boy, while her husband loved the little girl. Sir Boyvill left for two months for business, and when he returned, his wife and son were out of the house. A storm came that night, and the pair had not returned. Upon searching, they found young Gerard ill in the road, and he said that mamma had been taken off in a carriage with a man named Rupert. It was determined that Alithea had been kidnapped or may be dead. Sir Boyvill, however, believed his wife to have left willingly with the man; Gerard disagreed. He believed that she was either dead or in prison. Sir Boyvill and Alithea’s daughter died less than a year after her mother’s disappearance. Boyvill felt that his wife’s affair had hurt his honor, so he filed for divorce from the missing woman. This meant that Gerard had to testify against his mother; he did but did not want to. The boy ran away to search for his mother, but his father found out and brought him home. Gerard continued to believe his mother was innocent but dead, so he was determined to find her grave. During this time, Sir Boyvill met and married Lady Cecil’s mother.

Now, Gerard is still searching for the truth behind his mother’s disappearance. He leaves Lady Cecil’s home when a man from America claims to have knowledge of his mother. Lady Cecil believes his goal is futile, but Elizabeth supports him in his search. When he comes back from his meeting with Hoskins, the American, he announces that his mother is dead. Hoskins told him about an Englishman named Osborne, who helped a man bury his lover twelve years ago after she drowned in a river, so he wants to go to American to meet Osborne. Elizabeth writes to Falkner about the situation, and he asks her to come home at once.

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Falkner learns that Lady Cecil desires Gerard and Elizabeth to marry. He believes this to be a good union, but he wants to distance himself from Elizabeth and seek out her biological family. He finds them, but he learns that her father brought dishonor to the family by leaving the church and marrying a poor woman, so her grandfather does not want her. When Elizabeth returns home to Falkner, he worries about what she will think of him considering her new love for Gerard and wonders how much she has changed, but she approaches him with the same love and admiration as before. Gerard comes to say goodbye before he leaves for America, but Falkner tells him not to go because the man he is looking for is standing in front of him. Falkner admits that his name is Rupert Falkner and that he killed the boy’s mother. He gives his written account of the event to Elizabeth and tells her to read it and share it with Gerard.

Falkner’s story tells of his abusive father and his mother’s death when he was a young boy. His father developed a drinking problem and died, so he was taken in by his uncle. His parents called him Rupert, but his uncle called him John, so he mostly went by the latter. He began to visit a woman named Mrs. Rivers and her daughter, Alithea. Mrs. Rivers was distantly related to his mother, and the two women grew up together, but they lost touch when they got married. He spent a lot of time with Mrs. Rivers and her daughter, and the former was always impressing upon him the need to be a good person. In spite of this, Falkner had a temper at school and ended up getting in a fight. He was sent off to the East Indian military college, where he stayed for two years. Alithea wrote to him to let him know that her mother was dying, so he ran away from school to visit and was present when Mrs. Rivers passed. He desired to marry Alithea but was rejected by her father, so he stayed in India as a soldier for ten years. He received word that his uncle and cousin had both passed away, which meant their inheritance became his. When he returned to England, he learned that Alithea’s father had died, but she married in the time he was away. He met her husband, Mr. Neville—now Sir Boyvill—and hated him.

A man by the name of Osborne knew of Falkner’s newly acquired wealth and asked him to assist with his passage to America. Falkner agreed and decided to go to America with him. Before they left, he met with Alithea and learned that she did not love her husband, so he asked her to come to America with them. She said no because she was married and had two children. Falkner thought he could convince her to run away with him, and he asked Osborne to drive the carriage and gave him the instruction not to stop driving until they reached their destination. He went to her house, and walked with her and her young son toward his carriage. Upon talking with Alithea, he changed his mind and decided Alithea should stay with her family. Once they reached the carriage, however, he swept her into it, and Osborne drove them away. She started having convulsions and looked unwell, but Osborne followed his instruction and would not stop. They reached the hut Falkner planned to stop at, and Alithea appeared to recover. He laid her on a couch and stepped outside with Osborne to ready the carriage to return her home with her family. He found Alithea’s body shortly after, drowned in the river. He surmised she had woken up and, in a moment of terror, attempted to cross the stream and return home. The men buried her body, Osborne went off to America, and Falkner ended up in Treby, where he met Elizabeth so long ago.

Elizabeth finishes reading this account and sends it and a letter to Gerard so he can finally learn the truth of his mother’s disappearance. She begs him to be kind to her father, for although he did bad things, he did not kill his mother. Falkner, certain that Gerard will kill him for his crimes, sends proof of Elizabeth’s birth to her family and tells her that they will take her in soon.

Gerard reads Elizabeth’s letter, but he gives Falkner’s written account to his father to read first. Believing that Falkner killed his mother, Gerard contemplates killing the man, but worries about the pain it would cause Elizabeth. Upon reading the letter and finding his wife innocent, Sir Boyvill has Gerard promise that he will avenge her death. Boyvill then leaves home, and Gerard follows soon after to find him. When he finds his father in their old home of Dromore, he is with a group of men from town, and they are uncovering Alithea’s remains. Sir Boyvill plans to have his wife’s remains formally interred and wants a trial for Falkner.

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Elizabeth is out of the house when men come to escort Falkner to prison, so she does not know what has happened. Lady Cecil arrives at their home with another woman, who turns out to be Elizabeth’s aunt. The ladies entreat Elizabeth to go home with them, but she insists on visiting her father because she has just learned of his imprisonment. Her aunt offers her a place in her home as a member of the family, but Elizabeth rejects the offer, stating that she is not a part of their family. She is and will forever be Elizabeth Falkner. Gerard returns and pleads with Elizabeth to go with her family and not to go see Falkner. He admits his love to her, but even this is not enough.

Falkner misses the girl while he is in prison, but he cannot bring himself to write to her. He is surprised when Elizabeth shows up at the prison, but her arrival makes him feel suddenly free. Elizabeth spends most of her time with him in the prison; when they are not together, neither of them feel happy or well. The grand jury decides that Falkner will go to trial for his crimes, but the trial is postponed until they can get Osborne back to England. Someone goes to get Osborne, but he has not yet arrived, and people are getting impatient. During this time, Elizabeth, who has not heard much from Gerard, catches him following and watching her. Falkner learns that Osborne is refusing to come to his trial.

On learning this, Elizabeth wants to travel to America to convince Osborne to come. Gerard decides to go in her place, creating more tension with his father. Gerard finds Hoskins in an attempt to learn of Osborne’s whereabouts and learns that he is already in England under a false name. The appearance of Gerard scares Osborne away, and Gerard assumes the man has boarded a ship to return to America. He plans to follow the man. Osborne visits Falkner and Elizabeth in the prison under his false name. He does not plan to testify in the trial and help Falkner, but Elizabeth changes his mind, and he agrees to come forward. Elizabeth writes a letter to Gerard about the situation, so he does not leave for America.

Gerard writes another letter to Elizabeth to let her know that his father is dying. This means the trial may be delayed again. Sir Boyvill soon dies. Gerard tells them that before he died, his father declared that Falkner is actually innocent. Elizabeth cannot enter the trial with him, so they are forced to separate for a while. The trial begins, and Gerard declares in his testimony that Falkner is innocent. Elizabeth spends her time at home crying and waiting for the results of the trial until her aunt comes to visit and give her support.

Finally, Falkner is found to be innocent and is released. Elizabeth’s aunt offers her home as a place for Falkner and Elizabeth to stay, and they graciously accept. During this time, Elizabeth and Gerard miss each other dearly, but neither knows how to approach the situation, due to their circumstances and Elizabeth’s loyalty to Falkner. Gerard writes to the pair of them, asking if Elizabeth can be his and stating that he will take her and Falkner as a pair of sorts. Falkner writes back to say that if Gerard will come and take his daughter, he will remove himself from their lives. Gerard does not wish to tear Elizabeth from this man whom she loves, so he marries her and makes the best amends he can with Falkner. They all stay together for the rest of their time. Gerard and Elizabeth have a happy life and children of their own, but Falkner never forgives himself for his faults.


Bibliography

Falkner: A Novel.” The Athenaeum, 484 (1837): 74–75.

“Falkner.” Examiner, 1515 (1837): 101.

“Falkner.” The Literary Gazette: A weekly journal of literature, science, and the fine arts. 1046 (1837): 66–68.

“Falkner.” The Metropolitan magazine, 1833–1840 18.71 (1837): 65–67.

John Bull (London, England), Issue 853 (Monday, April 17, 1837): pg. 191. New Readerships.

Shelley, Mary. Falkner: A Novel. London, Saunders and Otley, 1837.

Shelley, Mary. Falkner: A Novel. New York, Harper & Brothers, 1837. Print.

Shelley, Mary. Falkner: A Novel. New York, Harper & Brothers, 1837. HathiTrust, https://hdl.handle.net/2027/dul1.ark:/13960/t5q822n9w.

The Standard (London, England), Issue 3068 (Thursday, March 09, 1837): pg. 1. British Library Newspapers, Part II: 1800–1900.


Researcher: Kenzie M. Hampton