section_path: Legacy
section_name: Legacy
paragraph_text: Legacy
  
  Wollstonecraft has what scholar Cora Kaplan labelled in 2002 a 'curious' legacy that has evolved over time: "for an author-activist adept in many genres... up until the last quarter-century Wollstonecraft's life has been read much more closely than her writing". After the devastating effect of Godwin's Memoirs, Wollstonecraft's reputation lay in tatters for nearly a century; she was pilloried by such writers as Maria Edgeworth, who patterned the "freakish" Harriet Freke in Belinda (1801) after her. Other novelists such as Mary Hays, Charlotte Smith, Fanny Burney, and Jane West created similar figures, all to teach a "moral lesson" to their readers. (Hays had been a close friend, and helped nurse her in her dying days.)
  
  However, the author Mary Robinson, who was associated with both Godwin and Wollstonecraft, is noted for her support and admiration for Wollstonecraft, even amidst the controversy of Godwin's biography. In her 1799 pamphlet, Thoughts on the Condition of Women, Robinson describes Wollstonecraft as “an illustrious British female, (whose death has not been sufficiently lamented, but to whose genius posterity will render justice).” The poet Anna Seward admired Wollstonecraft and was largely positive towards Godwin's Memoirs, writing in 1798: “Bearing strong marks of impartial authenticity as to the character, sentiments, conduct, and destiny of a very extraordinary woman, they appear to be highly valuable.”
  
  Jane Austen never mentioned the earlier woman by name, but several of her novels contain positive allusions to Wollstonecraft's work. The American literary scholar Anne K. Mellor notes several examples. In Pride and Prejudice, Mr Wickham seems to be based upon the sort of man Wollstonecraft claimed that standing armies produce, while the sarcastic remarks of protagonist Elizabeth Bennet about "female accomplishments" closely echo Wollstonecraft's condemnation of these activities. And when Mr. Collins' will not believe her refusal to his proposal of marriage, an exasperated Elizabeth tells him, “Do not consider me now as an elegant female, intending to plague you, but as a rational creature, speaking the truth from her heart.” As Chloe Rojas writes, “Using Wollstonecraft's idea of women being ‘rational creatures,’ Austen's underlying theme of women being intelligent, though different than men, and having the ability to learn and be educated is what lies behind her plot.”. The balance a woman must strike between feelings and reason in Sense and Sensibility follows what Wollstonecraft recommended in her novel Mary, while the moral equivalence Austen drew in Mansfield Park between slavery and the treatment of women in society back home tracks one of Wollstonecraft's favourite arguments. In Persuasion, Austen's characterisation of Anne Eliot (as well as her late mother before her) as better qualified than her father to manage the family estate also echoes a Wollstonecraft thesis.
  
  Scholar Virginia Sapiro states that few read Wollstonecraft's works during the nineteenth century as "her attackers implied or stated that no self-respecting woman would read her work". (Still, as Craciun points out, new editions of Rights of Woman appeared in the UK in the 1840s and in the US in the 1830s, 1840s, and 1850s.) If readers were few, then many were inspired; one such reader was Elizabeth Barrett Browning, who read Rights of Woman at age 12 and whose poem Aurora Leigh reflected Wollstonecraft's unwavering focus on education. Lucretia Mott, a Quaker minister, and Elizabeth Cady Stanton, Americans who met in 1840 at the World Anti-Slavery Convention in London, discovered they both had read Wollstonecraft, and they agreed upon the need for (what became) the Seneca Falls Convention, an influential women's rights meeting held in 1848. Another woman who read Wollstonecraft was George Eliot, a prolific writer of reviews, articles, novels, and translations. In 1855, she devoted an essay to the roles and rights of women, comparing Wollstonecraft and Margaret Fuller. Fuller was an American journalist, critic, and women's rights activist who, like Wollstonecraft, had travelled to the Continent and had been involved in the struggle for reform (in this case the 1849 Roman Republic)—and she had a child by a man without marrying him. Wollstonecraft's children's tales were adapted by Charlotte Mary Yonge in 1870.
  
  Wollstonecraft's work was exhumed with the rise of the women's suffrage movement in the United Kingdom and the United States. First was an attempt at rehabilitation in 1879 with the publication of Wollstonecraft's Letters to Imlay, with prefatory memoir by Charles Kegan Paul. The first volume of History of Woman Suffrage, published in 1881, states, “THESE VOLUMES ARE AFFECTIONATELY INSCRIBED TO THE Memory of Mary Wollstonecraft, Frances Wright, Lucretia Mott, Harriet Martineau, Lydia Maria Child, Margaret Fuller, Sarah and Angelina Grimké, Josephine S. Griffing, Martha C. Wright, Harriot K. Hunt, M.D., Mariana W. Johnson, Alice and Phebe Carey, Ann Preston, M.D., Lydia Mott, Eliza W. Farnham, Lydia F. Fowler, M.D., Paulina Wright Davis, Whose Earnest Lives and Fearless Words, in Demanding Political Rights for Women, have been, in the Preparation of these Pages, a Constant Inspiration TO The Editors”. Then followed the first full-length biography, which was by Elizabeth Robins Pennell; it appeared in 1884 as part of a series by the Roberts Brothers on famous women. Millicent Garrett Fawcett, a suffragist and later president of the National Union of Women's Suffrage Societies, wrote the introduction to the centenary edition (i.e. 1892) of the Rights of Woman; it cleansed the memory of Wollstonecraft and claimed her as the foremother of the struggle for the vote. By 1898, Wollstonecraft was the subject of a first doctoral thesis and its resulting book.
  
  With the advent of the modern feminist movement, women as politically dissimilar from each other as Virginia Woolf and Emma Goldman embraced Wollstonecraft's life story. By 1929 Woolf described Wollstonecraft—her writing, arguments, and "experiments in living"—as immortal: "she is alive and active, she argues and experiments, we hear her voice and trace her influence even now among the living". Others, however, continued to decry Wollstonecraft's lifestyle. A biography published in 1932 refers to recent reprints of her works, incorporating new research, and to a "study" in 1911, a play in 1922, and another biography in 1924. Interest in her never completely died, with full-length biographies in 1937 and 1951.
  
  With the emergence of feminist criticism in academia in the 1960s and 1970s, Wollstonecraft's works returned to prominence. Their fortunes reflected that of the second wave of the North American feminist movement itself; for example, in the early 1970s, six major biographies of Wollstonecraft were published that presented her "passionate life in apposition to radical and rationalist agenda". The feminist artwork The Dinner Party, first exhibited in 1979, features a place setting for Wollstonecraft.
  
  Wollstonecraft's work has also had an effect on feminism outside academia. Ayaan Hirsi Ali, a political writer and former Muslim who is critical of Islam in general and its dictates regarding women in particular, cited the Rights of Woman in her autobiography Infidel and wrote that she was "inspired by Mary Wollstonecraft, the pioneering feminist thinker who told women they had the same ability to reason as men did and deserved the same rights". British writer Caitlin Moran, author of the best-selling How to Be a Woman, described herself as "half Wollstonecraft" to the New Yorker. She has also inspired more widely. Nobel Laureate Amartya Sen, the Indian economist and philosopher who first identified the missing women of Asia, draws repeatedly on Wollstonecraft as a political philosopher in The Idea of Justice.
  
  In 2009, Wollstonecraft was selected by the Royal Mail for their "Eminent Britons" commemorative postage stamp issue. Several plaques have been erected to honour Wollstonecraft. A commemorative sculpture, A Sculpture for Mary Wollstonecraft by Maggi Hambling, was unveiled on 10 November 2020; it was criticised for its symbolic depiction rather than a lifelike representation of Wollstonecraft, which commentators felt represented stereotypical notions of beauty and the diminishing of women. In November 2020, it was announced that Trinity College Dublin, whose library had previously held forty busts, all of them of men, was commissioning four new busts of women, one of whom would be Wollstonecraft.