The Duke and I by Julia Quinn

Romance in the Age of Etiquette
Julia Quinn’s The Duke and I is more than just the beginning of the globally celebrated Bridgerton series; it is a well-researched romantic tale deeply rooted in the social fabric of Regency England. Through the evolving relationship between Daphne Bridgerton and Simon Bassett, the Duke of Hastings, Quinn invites readers to explore an era where love and duty often clashed and where appearances held more power than truth.

This article offers a historical lens through which to view the story, unpacking the customs, gender roles and aristocratic dynamics that shaped the characters’ actions and decisions.

Regency England: An Era of Rules and Reputation
The Regency era (1811–1820) was marked by elegance, rigid social structures and economic transformation in Britain. The Prince Regent ruled in place of his mentally ill father, King George III and the aristocracy flourished with wealth and privilege. However, this was also a time of war (Napoleonic Wars), social inequality and changing gender roles.

For women, especially those of the upper class, life revolved around marriage and social standing. A young woman’s “coming out” into society marked the beginning of her search for a suitable husband. Reputation was everything; a single scandal could ruin a family’s name.

Quinn mirrors this reality in Daphne Bridgerton’s experiences. As the fourth child in the large and respected Bridgerton family, she feels the pressure to marry well. Her path is shaped not by personal desire alone but by the weight of family expectations, social norms and the limited autonomy afforded to women of her class.

Daphne Bridgerton: A Lady of Her Time
Daphne Bridgerton is a fascinating character because she exists in a transitional moment for women. She is intelligent, strong-willed and emotionally astute, yet constrained by the need to conform. What makes her compelling is her strategic navigation of the marriage market, a system that treats women as commodities.

Historically, marriage was a form of social contract. Women of the town (London’s high society) were expected to marry young and secure alliances through wealth and title. Quinn uses Daphne’s journey to highlight the double standard women faced: they had to appear demure yet desirable, virtuous yet appealing.

Daphne's decision to enter into a fake courtship with Simon Basset is not just a romantic plot device it is a form of subtle rebellion. By manipulating societal expectations, she seeks to gain agency in a system designed to suppress her choices.

Simon Bassett: The Wounded Duke
Simon, the Duke of Hastings, is not only a romantic lead but a study in trauma and masculinity. Orphaned emotionally by a cruel father and shaped by the pressures of nobility, Simon is a product of a system that values perfection and legacy over emotional well-being.

In Regency society, titles like “Duke” were among the highest honors. Dukes were expected to maintain family lines, manage estates and behave with absolute propriety. Simon’s refusal to marry or have children is a defiance of these norms rooted in deep psychological scars.

His stammer as a child and the emotional abuse he suffered are historically accurate portrayals of how perceived imperfections were handled within elite families. Quinn’s portrayal of Simon is important because it exposes the emotional cost of aristocratic life, especially for men who were expected to be stoic and flawless.

The Marriage Market and Social Contracts
A central theme of The Duke and I is the marriage market, a real and rigid system in Regency England. Daughters of noble families were presented during the London Season, introduced to potential suitors, and expected to attract proposals quickly.

Dowries, social connections and titles played major roles in determining a woman’s marital success. Daphne’s initial struggle being seen as pleasant but not exciting illustrates the shallow judgments women endured. Her fake romance with Simon makes her seem more desirable, illustrating how much value society placed on perception over reality.

Quinn uses this to satirize the superficiality of the era. By staging a courtship, Simon and Daphne manipulate social rules to their benefit, revealing the performative nature of upper-class society.

Gender, Consent and Controversy
One of the more debated aspects of The Duke and I involves issues of consent in the sexual dynamics between Simon and Daphne. Historically, the understanding of consent in marriage was drastically different from modern standards. Wives were expected to submit to their husbands and marital rape was not legally recognized until the late 20th century.

Quinn’s narrative does not shy away from complex power dynamics, though it has sparked controversy. A particularly pivotal moment where Daphne takes advantage of Simon during an intimate moment raises ethical questions. While Quinn contextualizes this within the pressures of lineage and Simon’s own withholding of the truth, it remains a critical talking point.

This moment is not just about two characters; it reflects the historical silencing of female desire and male vulnerability, both of which were taboo subjects during the Regency period.

Family, Class and Community
The Bridgertons as a family reflect both the ideals and the evolution of aristocratic families in the early 19th century. Lady Violet Bridgerton’s approach to parenting is compassionate, which contrasts with the more authoritarian parenting of the Hastings family.

The novel also presents a class-conscious world. Servants and social inferiors are present but peripheral, which is accurate for how upper-class households operated. Quinn doesn’t focus deeply on the working classes, but she hints at the vast differences between the life of a Duke and the average citizen of Britain during that time.

Simon and Daphne’s story, then, plays out in a rarefied world of balls, estates and carefully choreographed encounters but it is also shaped by invisible social pressures that define every aspect of their lives.

Language, Fashion and Culture
Quinn’s depiction of Regency culture is romanticized yet grounded. Her characters use language that feels accessible to modern readers but is peppered with the wit, restraint and euphemism typical of the time. Balls, promenades and courtship rituals form the backdrop of the narrative, all historically accurate elements of the London Season.

Fashion is also important empire waist gowns, gloves and bonnets signaled not only style but virtue. Clothing was a marker of class and status and women were judged by how they presented themselves publicly. Quinn uses fashion as another layer of character development, showing how characters like Daphne use appearance as both armor and communication.

The Gossip Economy: Lady Whistledown’s Voice
One of the unique aspects of the Bridgerton series is the anonymous gossip columnist Lady Whistledown, whose voice opens each chapter. This device is historically inspired by publications like The Morning Post and The Tatler circulated real gossip among the town.

Lady Whistledown’s commentary is a clever way to explore the hypocrisy of a society obsessed with decorum but addicted to scandal. In a time when women had little formal power, writing anonymously was one of the few ways they could influence public opinion, a tradition dating back to female writers like Frances Burney and Jane Austen.

Conclusion: Romance Rooted in Realism
The Duke and I succeeds because it combines emotional depth with historical texture. Julia Quinn doesn’t just give readers a love story; she delivers a nuanced exploration of a society in flux, one that demanded perfection, silenced individuality and glorified the illusion of control.

Daphne and Simon’s story resonates because it is not about ideal love, but about flawed people seeking honesty in a world built on façades. Their journey reflects the ongoing human struggle between duty and desire, tradition and transformation.

In revisiting Regency England through romance, Quinn offers a world that is both dazzling and difficult, where love is a risk but one worth taking.