De Monfort is a romantic tragedy in five acts by the Scottish poet and playwright Joanna Baillie, who stands out as one of the best dramatists in English Romanticism. As a revolutionary feminist figure struggling to survive in the male-dominated Romantic milieu, Baillie had a significant influence on such writers as Byron, Wordsworth and Poe. Her plays accommodate intriguing themes such as intense human passions, female mind, construction of female identity and quasi-incestuous relationships. First published in 1798 in the inaugural volume of Plays on the Passions, De Monfort appears as a bridge between Romanticism and Gothic in the 19h century. In De Monfort, Baillie not only heralds the first Byronic character avant la lettre over her male character De Monfort, but also provides insights into the gender dynamics as well as women’s mental space on the stage through her female character, Jane De Monfort. On the surface, the play revolves around the representation of men under the themes of envy and vengeance and centres on a love triangle that leads to a murder. However, beneath the surface, it also features the themes of gender dynamics and the female mind. Jane De Monfort rebels against the religious and aristocratic systems of that time and subverts the stereotypical female victimization and immobility. She portrays women’s power by struggling with the patriarchal order to save De Monfort, her brother. Therefore, gender dynamics convert a female victim into a male one in the play. This paper, with reference to the feminist theories, aims to investigate how the gender dynamics undergird the feminist insights of Baillie’s female character. In effect, the gender dynamics embedded in De Monfort both challenge modern and postmodern readers, and invite them to alternative interpretations on literal and dramaturgical levels by critiquing the conventional romantic and gothic representation of femininity.