It's no secret that I hadn't been looking forward to reading this one. I'd last read it in my school library twenty-something years ago and had a clearer recollection of the cover of that particular edition than of any of the characters contained within. I did remember that it was one of Heyer's attempts to combine the mystery and Regency romance genres, which IMO are rarely successful (and where they are it's generally because she neglects the mystery element).
It's fair to say that it's still never going to be one of my favourites. For one thing, the central romance is largely neglected in favour of the mystery -- we rub along for nearly eighteen chapters before the idea that Drusilla is in love with Gervase (and has, apparently, been so since his "first smile") is sprung upon us, and then Gervase suddenly arrives at the reciprocal conclusion just in time to tie up the end of the plot. The two characters are also not immediately engaging; Drusilla is intelligent but doesn't express this through either bookishness or wit but rather through stolid common sense, while Gervase is a little bland and insubstantially-drawn. We don't even get much insight into their thoughts and feelings to make them more interesting. Nor is the mystery element sufficiently engaging to make up for these faults; we are presented with one suspect so obvious we know from the off that he can't possibly be guilty, which leaves only one other person with the opportunity and means to have made all the murder attempts.
And yet, and yet... I am glad to have re-read this and particularly to have done so as part of a chronological scheme of reading. I'd vaguely assumed that this was one of the early, still-learning-her-craft, Heyers and was surprised to realise that it came sandwiched mid-career between The Grand Sophy and Cotillion , two of my favourites. Seeing it in that context some of the features of TQG are cast in a new light. Heyer is playing around, at this stage in her writing career, with the conventional ideas of hero and heroine; in TGS we have the managing Sophy (and, as we discussed last thread, we see very little of her interior monologue or her feelings about Charles Rivenhall) while in Cotillion Jack Westruther, who in some of her earlier books would have been the hero, fills quite a different role and the diffident Freddy takes centre-stage. Seen as part of this progression, Drusilla and Gervase are part of Heyer exploring and playing about with her chosen form -- not her most successful experiments, but evidence that she wasn't content just to rest on her laurels. I also appreciated for the first time that she's introducing here some of the ideas that she would develop much more successfully eight years later in The Unknown Ajax - the heir to a title back from war and settling into the prickly bosom of a hostile family.
For its own sake, as well, TQG rewards a re-read. I found myself enjoying the characterisation of Martin and the developing relationship between the brothers (far better realised than the equivalent relationship between the romantic leads), and I liked the Bolderwoods and the Morvilles (would have liked to see rather more of them, in fact). Also, the mystery element doesn't involve any necklaces or other items of jewelry, and that has to be a point in its favour. I'm still unlikely to be hurtling towards a third read any time soon except when you lot all make brilliant points and I have to go back and appreciate them properly .
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The Quiet Gentleman: Georgette Heyer Book Club no. 18
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TolliverGroat · 20/02/2013 21:16
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