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An Honourable Escape: Georgette Heyer

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An incredible number of people claim to be reincarnations of Cleopatra, and even more read novels about her. Purely sexual costume drama probably derives fiom a time when there was more licence to describe sexual activity in other periods than in our own-which produced a spate of watered-down versions of Fanny Hill and Moll Flanders. A bastard version of these is the pruriently suggestive novel for nice girls, which has it both ways--describes the life of some great whore, courtesan, society lady, with suggestive details but has a moral Scheme which ensures that the sex is narrowly avoided (except perhaps once), the tart has a heart of gold and really loves her dull, neglected husband all the time. There is straight cloak and dagger, as in Baroness Orczy; there is real curiosity about shifting cultures and belie&, as in the best of Scott. There is "serious" work "explaining"~some glamorous figure of the past in terms of modem psychiatry and sociology. The film 7he Lion in Winter, with its simplified Freudian explanations of Richard 1's homosexuality and the power saucture of mediaeval Europe, is one of these. It is bastard Albee-the "family romance," *tile needs controlling the language and behaviour ofbig business, the "deals" dictated by terror ofincest and sibling rivalry. It diminishes both big business and the Plantagenets in the process. Which brings me back to the "serious" literary-critical dismissal of escape literature. The Penguin literary history's Modem Age imperceptively lumps Georgette Heyer together with several other historical best-sellers as a "formula" writer who simply dresses up "modem bodies and feehgs" in period disguise. It claims that the values and drifi of her dialogue are essentially modem, despite the Regency phraseology. This, although true of the ponderously sigdicant The Lion in Winter, does not seem to me to apply to Miss Heyer's lighter btasies. They satisfy, too, much simpler emotions: the perennial need for a happy ending and, increasingly, a curios- ity about historical facts of daily life and thought. It is necessary to distinguish between her books. The earliest seem to be written out of a simple desire to create more of Baroness Orczy's world of bright colour and danger-rather as my unsuccessll Regency pieces were written out of frustration because I could get no more Heyer. She began by adapting Baroness Orczy's solid, large English hero, whose lazy good loold and "inanity" hid a keen intelligence and a grip of iron. (Other descendants, -T 235 . An Honourable Escape: Georgette Heyer of this aristocratic hero are Lord Peter Wimsey and Albert Campion in their version of the streamlined escape world.) The heroes of The Black Moth (gentleman turned highwayman) and The Masqueraders are of this kind. In The Masqueraders the lazy, large gentleman casually unmasks the girl, who is disguised, for no very good reason, as a man. In Miss Heyer's early novels great use is made of the htasy-fdfiilling clichii of sex-changing disguise; later she gets too subtle to need it. Rornan- tic heroines in real life were clearly possessed by the same need to get into the comparative fieedom of the man's world: both Mary Queen of Scots and Lady Caroline Lamb were fond of disguising themselves as beautifid page boys. Another costume-novel clichi which appears in Miss Heyer's early work is the villain with the fascinating sneer, cold thin mouth, complete sang-jioid and complete ruthlessness--except to his lady. The rather mechanically wicked villain of The Black Moth was resuscitated with a new name as Justin Alastair, Lord Avon, or Satanas, in These Old Shades and Devil's Cub. I imagine that the charm of Justin Alastair and his reckless son, Dominic, accounts for the names of small sons of many of my contemporaries. In these two books Miss Heyer comes her nearest to playing with her readers' sexual fantasies. She is so successful because she avoids coming very near. In the first, the young heroine-disguised-as-a-boy, with convention- ally flaming hair and huge violet eyes, is rescued, unmasked and finally married to a coldly "wicked" father-figure. This provides the faintjhsson of danger which appeals to female masochism, and the appeal of achieving the impossible which (psychoanalysts would say) satisfies the Oedipal desires. In Devil's Cub Miss Heyer uses one of the stocks-in-trade of the romantic novel: the characters are in close proximity and without a chaperon almost from the beginning. This provides a sense of danger and drama and height- ened expectation-the declarations of love, and the bedding, are of course delayed by points of honour and twists of the plot until the end. Both these novels are successful escape literature-particularly the sec- ond-for two reasons. There is the minimum of sexual titillation--only, indeed, the proximity and the romantic appearance of the hero-and there is an increasing clever balance between genuine romance and a saving comic mockery of romance within romance. The Convenient Marriage (1934) and Friday's Child (1944)both play with a variant of the delayed bedding trick: this one has been used by romantic novelists from Ethel M. Dell and Marie Corelli onwards. Hero and heroine ia, are married for purely practical reasons at the beginning of the novel, but .dns put: a3uep 02 @laue~oa 90 1adm3s oa 'auop laurqp . lauurp olgo os pue lapol mopue~e loj aqu! s'sawelas q3ealol- - peol a91 uo ha~a1e dow pw . 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