Sensuality and Conformity in Regency Romance: A Comparative Study of Georgette Heyer, Jo Beverley, and Tessa Dare
By Katherine Yu (2025)
The Spectrum of Sexual Expression: From Chaste to Bold
This paper will explore the depictions of femininity in the Regency romance novels of Georgette Heyer, Jo Beverley, and Tessa Dare, spanning from the 1960s-70s, 1980s-90s, and 2000s-10s. Regency romance, a subgenre of historical romance, is set during the Regency era (1811-1820) in England and often features themes of societal constraints, and gender roles. Georgette Heyer, widely credited with establishing the Regency romance genre, defined much of the narrative structure and tone still seen today.[1] Jo Beverley, a Romance Writers of America Hall of Fame inductee, and Tessa Dare, are both also celebrated authors who have garnered commercial and critical success.[2] This paper examines how these three specific authors depict autonomy and individuality in their heroines, focusing on each author’s use and development of physical intimacy and their heroines’ relationship to societal expectations. In regards to sensuality, Heyer portrays her characters with restrained, idealized femininity, Beverley pushes boundaries with sexually empowered heroines, and Dare’s writing embraces sexual agency and modern values. Heyer, Beverley, and Dare also offer differing portrayals of female agency and rebellion: Heyer’s heroines navigate within societal norms, Beverley’s characters challenge them with calculated risks, and Dare’s women break free from traditional constraints altogether. These arguments will be supported by primary source evidence, including book reviews published in newspapers, interviews and media talks from each author, fan reviews on blogs, and the verbiage found on the books’ front and back covers.
Heyer, Beverley, and Dare portrayals of femininity are shaped by their varying degrees of sexual expression that range from Heyer’s idealized, chaste femininity to Beverley’s erotic empowerment and Dare’s joyful, humorous celebration of sexual desire. Heyer’s novels are devoid of any explicit scenes, crafting a version of femininity that is charming, witty, but ultimately contained. When reviewing Charity Girl, Heyer’s 1970 novel about a Viscount and his burgeoning feelings for his childhood friend, reviewer Maghanita Laski wrote that Heyer’s works have limited appeal for her because the lack of sex, noting how unrealistic it was that unconsummated marriages “could run till doomsday without either partner displaying nervous strain”.[3] This review received mixed reception from the public, with one male reader echoing that the “lack of sexual motivation in the behavior of the characters is too noticeable, and it is a detraction from essential human authenticity”, while another female reader passionately disagreed, writing that “to introduce sex between her lovely heroines (in reduced circumstances but well born) and her wealthy, masculine heroes would be traitorous!”.[4] Heyer’s depiction of femininity is thus safe, elegant, and untarnished. Even the “spirited” heroines never risk their reputations or bodily autonomy; emotional and social propriety are emphasized over physical desire.[5]
Beverley’s heroines, by contrast, are unafraid to express desire—physically and emotionally. Beverley was vocal about her views on sex’s role in romance novels as an author. In her Portland Media Talk, she reflects, “It surprises me how many people assume that books written by women, for women have to be coy about the sex. Where did people—and it’s mostly men—get the idea that women are coy about, or even scared of, sex?”.[6] Later in the talk, she discusses her transition from writing traditional regencies with no sex, following the archetype created by Georgette Heyer, to “sexier books,” which she initially worried wouldn’t appeal to her older audience.[7] She was proven wrong when one such reader wrote that she was eagerly anticipating a novel with explicit scenes, adding, “I might be eighty, but I’m not dead yet!”[8] In a later interview, Beverley discussed the complexity of writing heroes in her Rogues series, touching on themes such as rape, homosexuality, and the hero’s extramarital relationships.[9] However, explicit scenes between the hero and heroine often focused on mutual sensuality and the heroine’s pleasure, reflecting Beverley’s focus on female desire within a narrative that pushed the boundaries of traditional romance. Yet, Beverley was also keenly aware of the historical context in which her stories were set, acknowledging the limitations Regency society placed on female promiscuity. As she noted, “I don’t believe most respectable unmarried ladies of Regency society would risk everything for uncommitted sex, and I don’t believe any true gentleman would put a woman he respects in that danger”.[10] In her works, even when heroines take bold steps toward sexual freedom, their actions are carefully framed within the constraints of 1800s standards of social respectability and commitment.
Dare’s portrayal of femininity is defined by an enthusiastic focus on female pleasure, where her heroines boldly express their sexuality with comedy and clarity. In The Duchess Deal, Dare writes that “bringing a woman to orgasm had always been a particular pleasure for [the Duke],” demonstrating her commitment to placing female gratification at the center of her explicit scenes.[11] In The Surrender of a Siren, the heroine has a hobby of drawing ribald illustrations. This novel is part of the “Wanton Dairymaid” trilogy, in which each heroine passes along a “naughty book,” emphasizing her focus on sexual liberation through humor.[12] This boldness is also reflected in the marketing of her books, such as the back cover of A Week to Be Wicked, which highlights intimate moments with “a very small carriage by day and an even smaller bed by night”.[13] Through these explicit scenes, Dare deviates greatly from Heyer’s conservative portrayal of traditional Regency femininity, and further expands on Beverley’s version of femininity by writing heroines who are unapologetically sexual and emotionally nuanced.
Navigating Social Norms: Differing Degrees of Defiance
The depiction of femininity in the Regency romance novels of the selected authors is also shaped by their varying approaches to women’s agency, emotional stakes, and societal constraints. These range from Heyer’s idealized, restrained femininity to Beverley’s complex, risk-taking heroines, and Dare’s modern, self-expressive women who challenge historical norms. Heyer’s portrayal of femininity is defined by her heroines’ ability to captivate with charm, wit, and emotional composure, all while operating within the boundaries of social propriety. As one reviewer notes, “What we want and what Miss Heyer provides, is… a romantic world where the girl captivates the hitherto unattainable hero and is in consequence looked after, considered, and protected to the hilt in a way that almost never happens in real life”.[14] Her heroines, like those in The Grand Sophy or Cotillion, may exude strength of personality, but they never truly disrupt the social order. The typical cast in her novels—“an amiable lordling, a pretty young lady with a disagreeable guardian, plus a scattering of Regency bucks, dandies, and assorted denizens of London’s better clubs”—reinforces the world she creates, one that embraces the conventions of Regency society without questioning them.[15] Though some side characters and antagonists are portrayed villainously, such as the heroine’s rival in Venetia, who is described as “a little, plump, black-eyed slut… whose marriage ring and noble degree hid the soul of a courtesan,” these characterizations are black-and-white, meant to highlight the hero and heroine’s virtuous superiority.[16] The emotional stakes in Heyer’s novels are typically light, with her stories often described as “literary bubble baths,” where characters’ virtues remain untarnished and emotional conflicts resolve with ease.[17] One review describes Heyer’s novels as “set in Regency England, in which people never lose their lives, their virtue, or even their tempers”.[18] Thus, her portrayal of femininity is firmly entrenched in safety and propriety rather than defiance.
In contrast, Beverley’s heroines take more risks while still being rooted in realism: they against the constraints of Regency society but do not break them. Characters like the “prickly, radical schoolmistress” in An Unwilling Bride or the “independent and dangerous” Countess of Arradale in Devilish, challenge societal norms in ways that result in both emotional and social fallout.[19] Beverley emphasized that she dislikes writing “stupid” or “selfish” characters, stating in an interview, “For me, it’s no fun to spend time with a character who keeps saying and doing bubble-headed things, especially if they’re creating pain and problems for others and don’t care”.[20] Though many of Heyer’s heroines are similarly imbued with smarts and cleverness, Beverley’s female characters are willing to forge their own agency through defiance and negotiation rather than charm alone. Nonetheless, Beverley is careful to not create heroines who are unrealistic in their social contexts, noting that while she enjoys writing “eccentric, rebellious characters,” they must remain grounded in the actuality of their time, where defiance often comes with a price.[21] Her focus on realistic, multifaceted heroines who confront the limitations of their social and emotional environments brings a different layer to her depiction of femininity.
Tessa Dare takes this a step further, offering a portrayal of femininity that embraces modern empowerment and self-expression, even at the expense of historical accuracy. Dare’s heroines break free from traditional gender roles by pursuing professions or interests that defy societal expectations. They are “quirky”, “nerdy”, and sometimes diverse in terms of ethnicity and disability.[22] Dare herself explains, “I love to write historical heroines who push against the social constraints of their time”.[23] In Surrender of a Siren, her heroine Sophia exemplifies this rebellious spirit: “She’s a runaway bride eager to embrace infamy and adventure”.[24] In Romancing the Duke, Alex is a clock setter and amateur astronomer who then becomes a governess to the hero’s daughters.[25] Tessa Dare describes her heroine Minerva, from A Week to be Wicked as “not only pushing against the idea that women couldn’t be scholars, [but] part of a new and controversial field of study in the early 19th century—geology”.[26] This approach of creating unconventional women who refuse to be defined by the constraints of their time allows Dare to explore a version of femininity defined by emotional and intellectual complexity. Additionally, in contrast to Georgette Heyer, many Dare’s side characters have greater nuance. A review praises her nuanced portrayal of Abigail, a side character who serves as ‘competition’ for the heroine: “It would have been the easy route to take the beautiful, charming, persistent girl who is practically perfect and make her horrible, evil, deceitful and mean, but she’s not. She’s generous and a good friend for the sake of being a good friend”.[27] This complexity in secondary female characters reflects Dare’s broader commitment to creating well-rounded, human portrayals of women, whether they are allies or rivals.
Conclusion
In conclusion, the Regency romance novels of Heyer, Beverley, and Dare present distinct and varied portrayals of femininity, shaped by their heroines’ relationship with sensuality and expressions of agency through conformity or lack thereof. Heyer’s heroines, defined by their charm and wit, embody a subdued femininity that prioritizes social obedience and emotional composure and ignore any mention of sex. In contrast, Beverley’s characters push boundaries by exploring emotional and sexual empowerment, while still adhering to the realities of their time. Dare, however, fully embraces modern empowerment, having her heroines break free from traditional societal constraints to embrace sexual agency and intellectual independence, even when it borders on historical anachronism. These three authors showcase the wide range of female autonomy and rebellion in Regency romance and offer valued contributions to this beloved genre.
Footnotes
[1] “Before Bridgerton: How Georgette Heyer Re-Invented Regency.” Penguin UK, March 30, 2022. https://www.penguin.co.uk/discover/articles/georgette-heyer-regency-romance-bridgerton.
[2] Jo Beverley , “About the Author,” Jo Bev, accessed May 1, 2025, https://www.jobev.com/bio.html; Tessa Dare, “Meet Tessa,” Tessa Dare, accessed May 1, 2025, https://tessadare.com/author/.
[3] Marghanita Laski, “The Appeal of Georgette Heyer,” The Times, October 1, 1970. https://link.gale.com/apps/doc/CS268661569/TTDA?u=duke_perkins&sid=bookmark-TTDA&xid=8e3b10ee.
[4] Peter Anrold and Margaret B. Lodge, “Miss Georgette Heyer’s Regency novels”, The Times, October 3, 1970 https://go.gale.com/ps/i.do?p=TTDA&u=duke_perkins&id=GALE%7CCS219378499&v=2.1&it=r&sid=bookmark-TTDA&asid=c271b2ad.
[5] Laski, “The Appeal of Georgette Heyer.”
[6] Jo Beverley, “Text of a talk for romance readers, given in Portland, Oregon.” Accessed April 11, 2025, https://jobev.com/mediatalk.html.
[7] Ibid.
[8] Ibid.
[9] Laurie Likes Books. “Behind the Pen of…Jo Beverley.” All About Romance (blog). 1996. https://allaboutromance.com/author-interviews/jo-beverley-interview/
[10] Laurie Likes Books. “At the Back Fence Issue #147: Old School Heroes.” All About Romance (blog). October 15, 2002. https://allaboutromance.com/at-the-back-fence-147/
[11] Robert Gottlieb, “A Roundup of the Season’s Romance Novels.” The New York Times, September 26, 2017. https://www.nytimes.com/2017/09/26/books/review/macomber-steel-james-romance.html
[12] Tessa Dare. “Under the Covers with Tessa Dare.” Rhapsody Book Club (blog), September 10, 2009. https://www.facebook.com/notes/10158806226952520/.
[13] Ibid.
[14] Laski, “The Appeal of Georgette Heyer.”
[15] Richard Match, “The Problem of Kitty: Cotillion by Georgette Heyer.” New York Times, April 12, 1953. https://www.proquest.com/docview/112862658?pq-origsite=summon&sourcetype=Historical%20Newspapers.
[16] Henry Cavendish, “Wonderful Nonsense.” Chicago Daily Tribune, Feb 22, 1959. https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/historical-newspapers/wonderful-nonsense/docview/182257104/se-2.
[17] Henry Cavendish, “All Skip and Dance–a Sort of Literary Bubble Bath: Georgette Heyer’s Novel–With 18th Century Slang.” Chicago Daily Tribune, April 12, 1953. https://www.proquest.com/docview/178468196?pq-origsite=summon&sourcetype=Historical%20Newspapers
[18] Richard Match, “Metamorphosis of the Duke of Sale: The Foundling by Georgette Heyer” New York Times, March 21, 1948. https://www.proquest.com/hnpnewyorktimes/docview/108233057/8D358E2934384D7EPQ/1?accountid=10598&sourcetype=Historical%20Newspapers
[19] Susan King, “Our Favorite Jo Beverleys.” Word Wenches (blog), June 15, 2016. https://wordwenches.typepad.com/word_wenches/2016/06/our-favorite-jo-beverleys.html; Kristen Ramsdell, “Devilish.” Library Journal, February 15, 2000. https://link.gale.com/apps/doc/A60029375/CPI?u=duke_perkins&sid=summon&xid=73f96fa6.
[20] Jo Beverley, “An Interview with Jo Beverley.” Interview by Valerie Holmes. Valerie Holmes, Author (blog), August 21, 2013. https://valerieholmesauthor.com/2013/08/21/an-interview-with-jo-beverley/.
[21] Ibid.
[22] St. Mary’s County Library, “Author Talk with Tessa Dare,” YouTube, May 3, 2021, 1:17:16, https://www.youtube.com/watch?v=9H5bB1S8ic8.
[23]Sheri Melnick, “Comic Absurdity and Deep Emotion: PW Talks with Tessa Dare.” PW, February 24, 2012. https://www.publishersweekly.com/pw/by-topic/authors/interviews/article/50761-comic-absurdity-and-deep-emotion-pw-talks-with-tessa-dare.html.
[24] Dare, “Under the Covers with Tessa Dare.”
[25] Jaime Green. “In These Romance Novels, the Characters are Sexy, Hot and Toting a Ton of Emotional Baggage.” The New York Times, September 20, 2018. https://www.nytimes.com/2018/09/20/books/review/tessa-dare-governess-game.html.
[26] Melnick, “Comic Absurdity and Deep Emotion.”
[27] Sarah. “Review: Romancing the Duke by Tessa Dare.” Smart Bitches, Trashy Books (blog), January 28, 2014. https://smartbitchestrashybooks.com/reviews/review-romancing-the-duke-by-tessa-dare/.
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“Before Bridgerton: How Georgette Heyer Re-Invented Regency.” Penguin UK, March 30, 2022. https://www.penguin.co.uk/discover/articles/georgette-heyer-regency-romance-bridgerton
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Beverley, Jo. “Text of a Talk for Romance Readers, Given in Portland, Oregon.” JoBev, 2002. https://jobev.com/mediatalk.html.
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Cavendish, Henry. “All Skip and Dance–a Sort of Literary Bubble Bath: Georgette Heyer’s Novel–With 18th Century Slang.” Chicago Daily Tribune, April 12, 1953. https://www.proquest.com/docview/178468196?pq-origsite=summon&sourcetype=Historical%20Newspapers
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Green, Jaime. “In These Romance Novels, the Characters are Sexy, Hot and Toting a Ton of Emotional Baggage.” The New York Times, September 20, 2018. https://www.nytimes.com/2018/09/20/books/review/tessa-dare-governess-game.html.
King, Susan. “Our Favorite Jo Beverleys.” Word Wenches (blog), June 15, 2016. https://wordwenches.typepad.com/word_wenches/2016/06/our-favorite-jo-beverleys.html
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Laurie Likes Books. “At the Back Fence Issue #147: Old School Heroes.” All About Romance (blog). October 15, 2002. https://allaboutromance.com/at-the-back-fence-147/
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Match, Richard. “Metamorphosis of the Duke of Sale: The Foundling by Georgette Heyer” New York Times, March 21, 1948. https://www.proquest.com/hnpnewyorktimes/docview/108233057/8D358E2934384D7EPQ/1?accountid=10598&sourcetype=Historical%20Newspapers
Match, Richard. “The Problem of Kitty: Cotillion by Georgette Heyer.” New York Times, April 12, 1953. https://www.proquest.com/docview/112862658?pq-origsite=summon&sourcetype=Historical%20Newspapers
Melnick, Sheri. “Comic Absurdity and Deep Emotion: PW Talks with Tessa Dare.” PW, February 24, 2012. https://www.publishersweekly.com/pw/by-topic/authors/interviews/article/50761-comic-absurdity-and-deep-emotion-pw-talks-with-tessa-dare.html.
Peter Anrold, Margaret B. Lodge, “Miss Georgette Heyer’s Regency novels”, The Times, October 3, 1970 https://go.gale.com/ps/i.do?p=TTDA&u=duke_perkins&id=GALE%7CCS219378499&v=2.1&it=r&sid=bookmark-TTDA&asid=c271b2ad
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