While the novel's longevity resides partially in its social message, posing questions still relevant to twenty-first century readers, its combination of literary genre keeps the story entertaining and enjoyable. Not just the story of the romance between Rochester and Jane, the novel also employs the conventions of the bildungsroman (a novel that shows the psychological or moral development of its main character), the gothic and the spiritual quest. As bildungsroman, the first-person narration plots Jane's growth from an isolated and unloved orphan into a happily married, independent woman. Jane's appeals to the reader directly involve us in this journey of self-knowledge; the reader becomes her accomplice, learning and changing along with the heroine. The novel's gothic element emphasizes the supernatural, the visionary, and the horrific. Mr. Reed's ghostly presence in the red-room, Bertha's strange laughter at Thornfield, and Rochester's dark and brooding persona are all examples of gothic conventions, which add to the novel's suspense, entangling the reader in Jane's attempt to solve the mystery at Thornfield. Finally, the novel could also be read as a spiritual quest, as Jane tries to position herself in relationship to religion at each stop on her journey. Although she paints a negative picture of the established religious community through her characterizations of Mr. Brocklehurst, St. John Rivers, and Eliza Reed, Jane finds an effective, personal perspective on religion following her night on the moors. For her, when one is closest to nature, one is also closest to God: "We read clearest His infinitude, His omnipotence, His omnipresence." God and nature are both sources of bounty, compassion and forgiveness.
