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Romantic poem for her biography

Mary Shelley employed the techniques of many different novelistic genres, most vividly the Godwinian novel, Walter Scott's new historical novel, and the Gothic novel. The Godwinian novel, made popular during the 1790s with works such as Godwin's Caleb Williams (1794), "employed a Rousseauvian confessional form to explore the contradictory relations between the self and society",[151] and Frankenstein exhibits many of the same themes and literary devices as Godwin's novel.[152] However, Shelley critiques those Enlightenment ideals that Godwin promotes in his works.[153] In The Last Man, she uses the philosophical form of the Godwinian novel to demonstrate the ultimate meaninglessness of the world.[154] While earlier Godwinian novels had shown how rational individuals could slowly improve society, The Last Man and Frankenstein demonstrate the individual's lack of control over history.[155]

Shelley uses the historical novel to comment on gender relations; for example, Valperga is a feminist version of Scott's masculinist genre.[156] Introducing women into the story who are not part of the historical record, Shelley uses their narratives to question established theological and political institutions.[157] Shelley sets the male protagonist's compulsive greed for conquest in opposition to a female alternative: reason and sensibility.[158] In Perkin Warbeck, Shelley's other historical novel, Lady Gordon stands for the values of friendship, domesticity, and equality. Through her, Shelley offers a feminine alternative to the masculine power politics that destroy the male characters. The novel provides a more inclusive historical narrative to challenge the one which usually relates only masculine events.[159]
Gender

With the rise of feminist literary criticism in the 1970s, Mary Shelley's works, particularly Frankenstein, began to attract much more attention from scholars. Feminist and psychoanalytic critics were largely responsible for the recovery from neglect of Shelley as a writer.[160] Ellen Moers was one of the first to claim that Shelley's loss of a baby was a crucial influence on the writing of Frankenstein.[161] She argues that the novel is a "birth myth" in which Shelley comes to terms with her guilt for causing her mother's death as well as for failing as a parent.[162] Shelley scholar Anne K. Mellor suggests that, from a feminist viewpoint, it is a story "about what happens when a man tries to have a baby without a woman ... [Frankenstein] is profoundly concerned with natural as opposed to unnatural modes of production and reproduction".[163] Victor Frankenstein's failure as a "parent" in the novel has been read as an expression of the anxieties which accompany pregnancy, giving birth, and particularly maternity.[164]

Sandra Gilbert and Susan Gubar argue in their seminal book The Madwoman in the Attic (1979) that in Frankenstein in particular, Shelley responded to the masculine literary tradition represented by John Milton's Paradise Lost. In their interpretation, Shelley reaffirms this masculine tradition, including the misogyny inherent in it, but at the same time "conceal[s] fantasies of equality that occasionally erupt in monstrous images of rage".[165] Mary Poovey reads the first edition of Frankenstein as part of a larger pattern in Shelley's writing, which begins with literary self-assertion and ends with conventional femininity.[166] Poovey suggests that Frankenstein's multiple narratives enable Shelley to split her artistic persona: she can "express and efface herself at the same time".[167] Shelley's fear of self-assertion is reflected in the fate of Frankenstein, who is punished for his egotism by losing all his domestic ties.[168]

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