elements in it are drawn from
reality. The three main characters are clearly Mary herself, Godwin,
and Shelley, and their relations can easily be reassorted to
correspond with actuality.

Highly personal as the story was, Mary Shelley hoped that it would be
published, evidently believing that the characters and the situations
were sufficiently disguised. In May of 1820 she sent it to England by
her friends, the Gisbornes, with a request that her father would
arrange for its publication. But _Mathilda_, together with its rough
draft entitled _The Fields of Fancy_, remained unpublished among the
Shelley papers. Although Mary's references to it in her letters and
journal aroused some curiosity among scholars, it also remained
unexamined until comparatively recently.

This seeming neglect was due partly to the circumstances attending the
distribution of the family papers after the deaths of Sir Percy and
Lady Shelley. One part of them went to the Bodleian Library to become
a reserved collection which, by the terms of Lady Shelley's will, was
opened to scholars only under definite restrictions. Another part went
to Lady Shelley's niece and, in turn, to her heirs, who for a time did
not make the manuscripts available for study. A third part went to Sir
John Shelley-Rolls, the poet's grand-nephew, who released much
important Shelley material, but not all the scattered manuscripts. In
this division, the two notebooks containing the finished draft of
_Mathilda_ and a portion of _The Fields of Fancy_ went to Lord
Abinger, the notebook containing the remainder of the rough draft to
the Bodleian Library, and some loose sheets containing additions and
revisions to Sir John Shelley-Rolls. Happily all the manuscripts are
now accessible to scholars, and it is possible to publish the full
text of _Mathilda_ with such additions from _The Fields of Fancy_ as
are significant.[ii]

The three notebooks are alike in format.[iii] One of Lord Abinger's
notebooks contains the first part of _The Fields of Fancy_, Chapter 1
through the beginning of Chapter 10, 116 pages. The concluding portion
occupies the first fifty-four pages of the Bodleian notebook. There is
then a blank page, followed by three and a half pages, scored out, of
what seems to be a variant of the end of Chapter 1 and the beginning
of Chapter 2. A revised and expanded version of the first part of
Mathilda's narrative follows (Chapter 2 and the beginning of Chapter
3), with a