Maria: or, The Wrongs of Woman – Mary Wollstonecraft (1788)

Maria: or, The Wrongs of Woman is an unfinished novel by Mary Wollstonecraft, first published in 1798. As an influential figure in feminist literature, Wollstonecraft uses this novel to explore themes of gender inequality, emotional repression, and personal freedom. Set in a patriarchal society, the story follows Maria, a woman confined to an asylum by her husband, as she reflects on the wrongs endured by women in her society. The novel expands on themes presented in Wollstonecraft’s earlier work, A Vindication of the Rights of Woman.

Plot Summary

Maria sat alone in the cold, dark confines of her cell, her mind racing between memories of her past and the pressing reality of her present. The asylum’s thick stone walls seemed to swallow her thoughts, suffocating her spirit. She was imprisoned not for madness but for defying her husband, George Venables, whose cruelty knew no bounds. Despair was Maria’s only constant companion, except for the occasional visits from Jemima, a servant hardened by life’s harshest trials.

Jemima, though distant at first, began to soften towards Maria. Her life, shaped by poverty and abuse, had taught her to mistrust everyone. As the two women conversed in the quiet hours of the day, Maria learned Jemima’s tragic story—one filled with neglect and mistreatment since childhood. Jemima had suffered greatly, abandoned by her father and forced into labor, where she was treated more like a beast than a person. Despite their different upbringings, both women shared an understanding of suffering, and Jemima began to see Maria as a kindred spirit.

Maria’s own story was one of gradual disillusionment. Once a hopeful young woman, she had entered her marriage with George, believing love might flourish. However, George quickly revealed his true nature. He was a gambler, a womanizer, and a man consumed by his own desires. To him, Maria was nothing more than a possession. Her opinions, her dreams, her very being were dismissed. Any attempt she made to resist his control was met with anger, and soon, he sought to rid himself of her entirely. Using his power, George had Maria declared insane, locking her away in the asylum, far from the world she once knew.

Days blurred into weeks in the asylum. Jemima brought Maria books, which offered her a brief escape from the stifling reality. But soon, something more than words on a page caught Maria’s attention. Among the books, Maria found notes—small, scribbled messages left by someone who shared her fate. These notes, filled with empathy and shared pain, came from Henry Darnford, a fellow prisoner. He had been confined like Maria, though the reasons for his imprisonment remained unclear.

Through these notes, a bond began to form between Maria and Darnford. Their exchanges became more frequent, more personal, and soon, Maria found herself thinking of him often. She could feel the stirrings of hope, something she hadn’t allowed herself to feel in a long time. She longed to meet him, to speak to the man whose words had kindled a spark in her darkened world.

At last, the day came. Jemima, who had grown more sympathetic toward Maria, arranged for Darnford to visit her in secret. When he entered the room, Maria felt a rush of emotion. Here was the man who had written those thoughtful notes, who had understood her pain. Darnford, like Maria, had been unjustly confined, taken from his life and trapped in this house of despair. He had once been a man of wealth and privilege, but after falling into debt and making enemies, he had been betrayed and cast into the asylum.

Their first conversation was tentative, but as the days passed and they met more often, their connection deepened. They spoke not just of their captivity but of the world beyond the walls—of freedom, of love, of what might still be possible. In Darnford, Maria saw a man who was capable of understanding her, something George had never been. Slowly, she realized she had fallen in love with him, and she believed that together, they might find a way out.

As Maria and Darnford’s relationship blossomed, Jemima remained a quiet observer. She, too, had felt the sting of oppression all her life, though her circumstances were different. Jemima shared more of her own story with Maria—of being born into poverty, of being used and discarded by the men in her life, and of the brutal existence she had endured. Despite everything, Jemima had survived, and Maria’s kindness rekindled a small flame of hope in her hardened heart. She began to see a way forward, not just for Maria and Darnford, but for herself as well.

One evening, as Maria and Darnford spoke in hushed tones, they began to plot their escape. The asylum was heavily guarded, but Jemima, now a trusted confidante, agreed to help. She knew the routines of the guards, the hidden passageways that might offer a way out. Though the plan was dangerous, Maria felt she had no choice. She could not remain trapped in this place, doomed to rot in the shadows of her husband’s cruelty.

But just as their plan began to take shape, Maria received devastating news. Her infant daughter, taken from her when she was imprisoned, had died. The grief was overwhelming. Maria had clung to the hope that one day she might hold her child again, that they might escape together. Now that dream was shattered. Darnford comforted her as best he could, but Maria’s sorrow ran deep. Even so, her resolve hardened. She would escape, not just for herself, but for the memory of her daughter.

The night of their planned escape arrived. Jemima had bribed the necessary guards and arranged for a carriage to take them far from the asylum. Maria and Darnford moved cautiously through the corridors, their hearts pounding with the fear of discovery. Jemima led them through a narrow passageway, the flickering light of her lantern guiding the way. Every creak of the floorboards, every distant sound of footsteps, sent shivers down their spines.

As they neared the final gate, their path was suddenly blocked. The head guard, alerted by one of the asylum’s doctors, stood in their way. Darnford stepped forward, ready to fight for their freedom, but Jemima intervened. She had one last card to play. Using all the money she had saved from years of servitude, she bribed the guard, offering him a sum too large to refuse. With a nod, the guard stepped aside, and the gate creaked open.

Maria, Darnford, and Jemima stepped out into the cool night air, free at last. But the world they stepped into was uncertain, and the road ahead was fraught with danger. Still, Maria felt a glimmer of hope. She was no longer alone, and for the first time in a long while, the future seemed possible.

Main Characters

• Maria: The protagonist, Maria, is a strong-willed woman who is imprisoned in an asylum by her cruel husband. Her character reflects the oppression of women in her time, particularly in the institution of marriage. Maria is reflective, deeply emotional, and yearns for freedom, both physical and intellectual. Her arc highlights her resilience and quest for personal autonomy.

• Jemima: A servant in the asylum, Jemima has lived a life of hardship and oppression. She represents the lower class and serves as a counterpoint to Maria’s more privileged background. Despite her rough exterior, she becomes an important ally to Maria, and her character reveals how women across different classes are subjected to the same forms of subjugation.

• Henry Darnford: A fellow inmate of the asylum, Darnford becomes Maria’s love interest. He, like Maria, is a victim of unjust confinement, and the connection between them grows as they exchange letters. His character highlights themes of shared suffering and the potential for mutual understanding between men and women when they break free from societal expectations.

• George Venables: Maria’s tyrannical husband, whose cruelty is the catalyst for her confinement. He represents the oppressive forces of patriarchy and the legal and social structures that allow men to control and silence women.

Theme

• Oppression of Women: Central to the novel is the theme of women’s oppression, especially within marriage. Wollstonecraft illustrates how women like Maria are deprived of their autonomy and subjected to the whims of men. This theme is explored through the personal stories of Maria, Jemima, and other women in the novel, reflecting the broader societal injustices faced by women.

• The Institution of Marriage: Wollstonecraft critiques marriage as a form of legal slavery for women. Maria’s experiences with her husband showcase the ways in which marriage traps women, depriving them of freedom and identity, and reducing them to mere property.

• Mental Health and Imprisonment: The asylum setting serves as a metaphor for the broader societal imprisonment of women. Maria’s literal confinement reflects the psychological and emotional constraints placed on women in a patriarchal society, where they are often viewed as mentally unstable or incapable if they step outside traditional roles.

• Class and Social Inequality: Through Jemima’s character, the novel explores how class intersects with gender to further oppress women. Jemima’s experiences as a servant and illegitimate child reveal the additional struggles faced by working-class women, who are doubly marginalized.

• Motherhood: Maria’s thoughts often return to her lost child, which symbolizes the emotional and physical deprivation women face when they are denied their maternal roles. This theme examines the complexities of motherhood, particularly when it is forcibly taken from women.

Writing Style and Tone

Wollstonecraft’s writing in Maria: or, The Wrongs of Woman is deeply emotive and philosophical, blending narrative fiction with feminist social critique. The novel is structured as a series of reflective monologues and conversations that delve into the inner lives of its characters, particularly Maria. Wollstonecraft uses Maria’s inner thoughts to explore broader societal issues, making the prose highly introspective and, at times, raw with emotion. Her language is passionate and urgent, with Maria’s despair and anger at her situation vividly portrayed through powerful imagery and direct, rhetorical questions.

The tone of the novel is somber and melancholic, yet there is also an undercurrent of defiance. Maria’s voice, though trapped by the constraints of her physical environment, remains unyielding in her demand for freedom and justice. Wollstonecraft intersperses moments of hope and tenderness, particularly in the relationship between Maria and Darnford, but these are overshadowed by the overwhelming sense of injustice and despair that pervades the narrative.