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Mary Robinson’s Memoirs and the Terrors of Literary Obscurity

Mary Robinson’s return to authorship was widely anticipated. After having gained immense celebrity as a popular actress and the first mistress of the Prince of Wales (the future George IV), she acquired over 600 subscribers to her 1791 volume Poems— with the impressive list headed by the Prince himself. The first edition of her first novel, Vancenza; or, the Dangers of Credulity (1792), sold out in one day. Readers clamored to gain information about Robinson’s notorious personal life through her texts, and the author indulged her readers by gesturing to her personal affairs in her writings. While she published only one text (Poems by Mrs. Robinson) before her 1776 stage debut, after retiring per the Prince’s request from the stage, she penned poems, novels, essays, a play, and a memoir.1 In the 1790s alone she published seven novels, multiple volumes of poetry, and the prose tract A Letter to the Women of England, on the Injustice of Mental Subordination. Robinson gained critical acclaim for her writings, and especially her poetry: the Monthly Review lauded her “tenderness, feeling, poetic imagery, warmth, elegance, and, above all, delicacy of expression,” while the Critical Review commended “the genuine glow of genius” in her poems.2 Robinson details her early love of writing in her Memoirs, and in her Letter to the Women of England she strongly exhorts other women to write and publish as well, proclaiming: “The press will be the monuments from which the genius of British women will rise to immortal celebrity: their words