punished for his egotism by losing all his domestic ties. Feminist critics often focus on how authorship itself, particularly female authorship, is represented in and through Shelley's novels. As Mellor explains, Shelley uses the Gothic style not only to explore repressed female sexual desire but also as way to "censor her own speech in Frankenstein". According to Poovey and Mellor, Shelley did not want to promote her own authorial persona and felt deeply inadequate as a writer, and "this shame contributed to the generation of her fictional images of abnormality, perversion, and destruction". Shelley's writings focus on the role of the family in society and women's role within that family. She celebrates the "feminine affections and compassion" associated with the family and suggests that civil society will fail without them. Shelley was "profoundly committed to an ethic of cooperation, mutual dependence, and self-sacrifice". In Lodore, for example, the central story follows the fortunes of the wife and daughter of the title character, Lord Lodore, who is killed in a duel at the end of the first volume, leaving a trail of legal, financial, and familial obstacles for the two "heroines" to negotiate. The novel is engaged with political and ideological issues, particularly the education and social role of women. It dissects a patriarchal culture that separated the sexes and pressured women into dependence on men. In the view of Shelley scholar Betty T. Bennett, "the novel proposes egalitarian educational paradigms for women and men, which would bring social justice as well as the spiritual and intellectual means by which to meet the challenges life invariably brings". However, Falkner is the only one of Mary Shelley's novels in which the heroine's agenda triumphs. The novel's resolution proposes that when female values triumph over violent and destructive masculinity, men will be freed to express the "compassion, sympathy, and generosity" of their better natures. Enlightenment and RomanticismFrankenstein, like much Gothic fiction of the period, mixes a visceral and alienating subject matter with speculative and thought-provoking themes. Rather than focusing on the twists and turns of the plot, however, the novel foregrounds the mental and moral struggles of the protagonist, Victor Frankenstein, and Shelley imbues the text with her own brand of politicised Romanticism, one that criticised the individualism and egotism of traditional Romanticism. Victor Frankenstein is like Satan in Paradise Lost, and Prometheus: he rebels against tradition; he creates life; and he shapes