Collected Essays - Brian Aldiss

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‘The Last Man’, was painted only a few years after the novel was published.

      Mary Shelley follows up her divine portents with speculations on human arrogance, in a passage which begins, ‘What are we, the inhabitants of this globe, least among the many that people infinite space? Our minds embrace infinity; the visible mechanism of our being is subject to merest accident.’ The inner voice is calling again, many miles from Mercier’s utopianism.

      The Last Man was published anonymously, as being ‘by the author of Frankenstein’. Its reception was mainly cold. When the name of Shelley was mentioned in reviews, Shelley’s father, tiresome old Sir Timothy, cut Mary’s allowance.

      Muriel Spark claims of The Last Man that it is not typical of anything written in the nineteenth century or earlier; nor can it be placed in any existing category. Nevertheless, it comes towards the end of a considerable series of romantic tales and poems about ‘the last man’ which probably commenced with Le Dernier Homme (1805) by Jean-Baptiste Cousin de Granville, where the world is brought to a close by secular, rather than religious, means. Byron’s striking poem, Darkness (1816, ‘the year without a summer’), must also have had its effect on Mary Shelley. Her novel, however, represents a culmination of this lineage, as Frankenstein does of the Gothic.

      The twentieth century, engendering a fresh set of anxieties, released a fresh set of similar apocalypses—such as M. P. Shiel’s The Purple Cloud (1901), in which the sole survivor of a poison gas roams the world setting fire to great cities. An American commentator, W. Warren Wagar, speaks of The Last Man as ‘an event of high significance in the history of secular eschatology, and in the history of the secularization of Western consciousness itself’.[7]

      The Last Man is set in the future, the late twenty-first century—a bold stroke for 1826; it contrasts elaborate schemes for the establishment of a utopia on Earth—or in England at least—with an unforeseen disaster which involves all mankind. Mankind’s plans are disrupted by something unanticipated and hostile. It is a prescription which looks forward to H. G. Wells and the crowded SF publishers’ lists of the present day.

      Nevertheless, one sees Muriel Spark’s difficulty, and one sees why The Last Man has been so long neglected. It is a non-Gothic. Terror is not its raison d’être. Like a concerto, it comes in three movements, and the movements are at odds with each other. The first movement is of great length, almost a social novel in itself; the second movement concerns the coming of the plague and the liberation of Constantinople by Lord Raymond; and the third is almost a travel diary alarmingly dominated by the mathematics of diminishing numbers. Also, Mary’s prose, sinewy a decade earlier when she began to write Frankenstein, here runs a little to fat. A modern reader must accustom him- or herself to it.

      To find one’s way through The Last Man, it should be remembered that portraits of those Mary knew and loved best—almost all of them dead by 1826—are presented in thin disguises. The last man himself, Lionel Verney, is Mary herself. Shelley is Adrian, made Lord Protector of England, the legislator acknowledged. Byron becomes Lord Raymond, liberator of Constantinople. Others in the cast include the dead children such as Clara, and Claire Clairmont, although the resemblances are not always one-to-one. An assortment of relations and relationships harks back to the unhappy muddle of Mary’s childhood. Still, one often wishes for more conversation and fewer descriptions, and altogether less rhetoric.

      Mary enlivens the text with the occasional cameos. The astronomer, Merrival, who happily discusses the state of mankind ‘six thousand years hence’, while his wife and children starve, presents a less favourable aspect of Shelley. The Countess of Windsor (Mary was serendipitous in alighting on the name of Britain’s future ruling house) may represent the cantankerous father, Sir Timothy Shelley, who put so many obstacles in Mary’s way.

      The name of Raymond occurs in Caleb Williams, where Godwin’s Raymond is a kind of eighteenth-century Robin Hood. In that novel, a ‘malignant contagious distemper’ carries off Mr Clare, the one good man, opening the gate to the endless injustice with which that novel concerns itself. Mary Shelley shows the influence of her father also in depicting England evolving peacefully from a monarchy into a republic; civil war threatens but is averted, thanks to the British aversion to violence, except in speech, and to ‘the absence of the military’.

      Nor does Shelley’s voice go unheard, even from the early pages. When Adrian befriends Lionel, to bestow on the latter ‘the treasures of his mind and fortune’, this informal education recalls Mary’s own, as well as that of the awakening of Frankenstein’s monster’s intellect.

      Once the plague, ‘this enemy to the human race’, gets under way, the novel acquires tension. Here Mary Shelley shows a command of large movements, of political designs and human traits, particularly of forms of ambition, which only a good understanding of the world can encompass. Muriel Spark speaks of Mary’s Platonism, especially in her reading of The Republic, as giving the novel ‘a philosophical unity very rarely achieved in a work of so comprehensive a range’. We are better equipped than Mary’s first readers to appreciate the comprehensiveness of the catastrophe.

      As the multitudes of mankind are reduced to one, Lionel is revealed as the perennial outsider of no fixed spiritual address. As he begins, so he ends. Apart from the brief happiness of his marriage to Idris, he remains eternally alone. Mary Shelley’s own story underlies her invention.

      If some of the miseries of The Last Man flow from Mary’s own harsh experience, so, paradoxically, does the note of tranquillity on which the novel ends. Solitude is not the worst of enemies. Mary Shelley always pined for Italy. During the time she was creating her novel, she was writing of England in a letter to Teresa Guiccioli, ‘Happiness for me is not to be found here; nor forgetfulness of Troubles; I believe that in Rome, in the delightful life of my soul, far from woes, I would find again the shadow of pleasure’ (Letters, Vol I). In the same year, she tells Leigh Hunt, ‘I think of Italy as a version of Delight afar off’. In Italy and Rome her story ends: calamity has given way to catharsis.

      Frankenstein finishes on a sombre note, with the words ‘darkness and distance’. The Last Man also concludes with distance; but here distance is coupled with light, the glorious light of the south, and of ‘the spicy groves of the odorous islands of the far Indian ocean’. As long as life remains, there is light.

      The novel was not the dominant literary form in the 1820s it was soon to become. Scott and Peacock were publishing, but the luminaries of the 1840s were still below the horizon. Gothic was going out of vogue.

      It was a transitional period. Mary Shelley is a transitional novelist of stature, particularly when we consider a recent critical judgment that ‘prose fiction and the travel account have evolved together, are heavily indebted to each other, and are often similar in both content and technique’.[8] This is perfectly exemplified in Mary Shelley’s two best novels, Frankenstein and The Last Man. In both, travel and ‘foreign parts’ are vital components.

      In Mary Shelley,[9] William Walling makes a point which incidentally relates The Last Man more closely still to the science-fictional temper. Remarking that solitude is a common topic of the period and by no means Mary’s monopoly, Walling claims that by interweaving the themes of isolation and the end of civilization, she creates a prophetic account of modern industrial society, in which the creative personality becomes more and more alienated.

      Tales and Stories by Mary Shelley were collected together by Richard Garnett and published in 1891. A more recent collection is noted below. Her stories are in the main conventional. Familial and amorous misunderstandings fill the foreground, armies gallop about in the background. The characters are high-born, their speeches high-flown. Tears are scalding, years long, sentiments either villainous or irreproachable, deaths copious, and conclusions not unusually full of well-mannered melancholy. The tales are written for keepsakes of their time. Here again, the game of detecting autobiographical traces can be played. One story, ‘Transformation’, sheds light on Frankenstein—but not much. We have to value Mary Shelley, as we do other authors, for her strongest

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