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96 deeply resented the insulting terms in which Byron wrote of Polidori, and, although he deeply admired the genius of Byron, did not fail to note where any weakness of form could be found in his work such is human nature, and so is poetic justice meted out. This might appear to be a slight digression from our subject, if it were not for the fact that when Mary wrote Frankenstein at Secheron, as one of the tales of horror that were projected by the assembled party, it was only John Polidori's story of The Vampire which was completed along with Mary's Frankenstein. The Vampire, published anonymously, was at first extolled everywhere under the idea that it was Byron's, and when this idea was found to be a mistake the tale was slighted in proportion, and its author with it. The fact is that as an imaginative tale of horror The Vampire holds its place beside Mary's Frankenstein, though not so fully developed as a literary performance or as an invention.

So on the eve of Byron's starting for Switzerland, we find Shelley and Mary contemplating a journey with Claire in the same direction by another route, but to the same place and hotel, previously settled on and engaged by Byron. It certainly might appear that Shelley and Mary in this dilemma did not feel justified in acting towards another in a way contrary to their own conduct in life. In all probability Claire confided her belief in Byron's attachment to herself, after his wife had discarded him, to Mary or even to Shelley. Mary, however distasteful the subject must have been to her, would not perhaps allow herself to stand in the way of what, from her own experience, might appear to be a prospect of a settlement in life for Claire, especially as she must deeply have felt their responsibility in