This essay examines Georgian representations of women who issue challenges, pose as male duelists, or fight duels. It constructs a cultural genealogy of female dueling in which the Chevalière d’Eon is a key figure. Although an autopsy following d’Eon’s death concluded that she was anatomically male, from 1776 to 1810 she self-identified and was accepted as a woman. Her readiness to engage in honor disputes and prowess as a swordswoman provided evidence to her contemporaries that exceptional women have the capacity to fight duels and may have influenced Mary Robinson’s defense of female dueling in A Letter to the Women of England (1799). Whereas Maria Edgeworth’s comical portrayal of an abortive duel between two women in Belinda (1801) has been read by many scholars as a satire of Wollstonecraftian feminism, this essay contends that the novel caricatures the belligerent brand of feminism championed by Robinson.