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As humans come to understand what love really is and how it feels, Epitome Of Romance celebrate its existence and even though there is more to love than just romance;Romanticism has always played a big part in love, reaching through depths of the soul between sea and shores tying hearts with sacred strings while sealing bonds beyond the wildest of dreams.As a keen observer of people who fall in love and from personal experiences, vevine wrote epitome of romance for every lover in each corner of the earth can relate to what romantic love is when it begin to manifest. Epitome Of Romance poetry are playful caressing deep yet gentle, and when it's valentines it reminds everyone that love someone playfully or deeply of the reason they're in that relationship and what that love represent;So like a colourful sonato the art gently teases love with nature and the music plays the heart like a harp where Cupid's bow land. Epitome Of Romance poetry wanders through every potion of ecstasy in a lover's dream. (About The Author )Vevine Goldson has been a freelance writer for over twenty years, she's got a diploma in fashion designing and has done modeling as a hobby while working as a part time secretary during her late teen years, she went on to become a manager in the garment industry, but that never stifled her creative writing and in 2017 she started publishing her poetry. Vevine is a spiritualists and practice mindfulness listens to classical music likes family water flowers bloom and often takes long walk where there's lots of green spaces. Vevine spend times alone and meditates which she finds intensely soul quenching, She paints draw and design but spend most of her time writing;She's a lifelong learner and her last studies are short story writing military ethics and taoism. She never shy away from the mystics of life and believes that even in dark there's still a light that
Wuthering Heights is the name of Mr. HeathcliffÕs dwelling. ÔWutheringÕ being a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather. Pure, bracing ventilation they must have up there at all times, indeed: one may guess the power of the north wind blowing over the edge, by the excessive slant of a few stunted firs at the end of the house; and by a range of gaunt thorns all stretching their limbs one way, as if craving alms of the sun. Happily, the architect had foresight to build it strong: the narrow windows are deeply set in the wall, and the corners defended with large jutting stones. Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door; above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date Ô1500,Õ and the name ÔHareton Earnshaw.Õ I would have made a few comments, and requested a short history of the place from the surly owner; but his attitude at the door appeared to demand my speedy entrance, or complete departure, and I had no desire to aggravate his impatience previous to inspecting the penetralium. One stop brought us into the family sitting-room, without any introductory lobby or passage: they call it here Ôthe houseÕ pre-eminently. It includes kitchen and parlour, generally; but I believe at Wuthering Heights the kitchen is forced to retreat altogether into another quarter: at least I distinguished a chatter of tongues, and a clatter of culinary utensils, deep within; and I observed no signs of roasting, boiling, or baking, about the huge fireplace; nor any glitter of copper saucepans and tin cullenders on the walls. One end, indeed, reflected splendidly both light and heat from ranks of immense pewter dishes, interspersed with silver jugs and tankards, towering row after row, on a vast oak dresser, to the very roof. The latter had never been under-drawn: its entire anatomy lay bare to an inquiring eye, except where a frame of wood laden with oatcakes and clusters of legs of beef, mutton, and ham, concealed it. Above the chimney were sundry villainous old guns, and a couple of horse-pistols: and, by way of ornament, three gaudily-painted canisters disposed along its ledge. The floor was of smooth, white stone; the chairs, high-backed, primitive structures, painted green: one or two heavy black ones lurking in the shade. In an arch under the dresser reposed a huge, liver-coloured bitch pointer, surrounded by a swarm of squealing puppies; and other dogs haunted other recesses.
This volume presents the first authoritative English translation and scholarly commentary on a little known but important ancient historical source: the 2nd/3rd century Roman historian Justin's epitome or abridged version of the Philippic History by Pompeius Trogus (27 BC-AD 14). This book covers books 11-12 and represents one of the five major sources for historians on the life and times of Alexander the Great.
In this volume a team of three dozen international experts presents a fresh picture of literary prose fiction in the Romantic age seen from cross-cultural and interdisciplinary perspectives. The work treats the appearance of major themes in characteristically Romantic versions, the power of Romantic discourse to reshape imaginative writing, and a series of crucial reactions to the impact of Romanticism on cultural life down to the present, both in Europe and in the New World. Through its combination of chapters on thematic, generic, and discursive features, Romantic Prose Fiction achieves a unique theoretical stance, by considering the opinions of primary Romantics and their successors not as guiding “truths” by which to define the permanent “meaning” of Romanticism, but as data of cultural history that shed important light on an evolving civilization.SPECIAL OFFER: 30% discount for a complete set order (5 vols.).The Romanticism series in the Comparative History of Literatures in European Languages is the result of a remarkable international collaboration. The editorial team coordinated the efforts of over 100 experts from more than two dozen countries to produce five independently conceived, yet interrelated volumes that show not only how Romanticism developed and spread in its principal European homelands and throughout the New World, but also the ways in which the affected literatures in reaction to Romanticism have redefined themselves on into Modernism. A glance at the index of each volume quickly reveals the extraordinary richness of the series' total contents. Romantic Irony sets the broader experimental parameters of comparison by concentrating on the myriad expressions of “irony” as one of the major impulses in the Romantic philosophical and artistic revolution, and by combining cross-cultural and interdisciplinary studies with special attention also to literatures in less widely diffused language streams. Romantic Drama traces creative innovations that deeply altered the understanding of genre at large, fed popular imagination through vehicles like the opera, and laid the foundations for a modernist theater of the absurd. Romantic Poetry demonstrates deep patterns and a sharing of crucial themes of the revolutionary age which underlie the lyrical expression that flourished in so many languages and environments. Nonfictional Romantic Prose assists us in coping with the vast array of writings from the personal and intimate sphere to modes of public discourse, including Romanticism's own self-commentary in theoretical statements on the arts, society, life, the sciences, and more. Nor are the discursive dimensions of imaginative literature neglected in the closing volume, Romantic Prose Fiction, where the basic Romantic themes and story types (the romance, novel, novella, short story, and other narrative forms) are considered throughout Europe and the New World. This enormous realm is seen not just in terms of Romantic theorizing, but in the light of the impact of Romantic ideas and narration on later generations. As an aid to readers, the introduction to Romantic Prose Fiction explains the relationships among the volumes in the series and carries a listing of their tables of contents in an appendix. No other series exists comparable to these volumes which treat the entirety of Romanticism as a cultural happening across the whole breadth of the “Old” and “New” Worlds and thus render a complex picture of European spiritual strivings in the late eighteenth and the nineteenth centuries, a heritage still very close to our age.
A master of the personal essay candidly explores love, death, and the counterfeit rituals of American life in this "brave, funny compendium" (Slate) Nearly fifteen years after her debut collection, My Misspent Youth, captured the ambitions and anxieties of a generation, Meghan Daum returns to the personal essay with The Unspeakable, a powerful collection of ten new works. Where her previous collection explores what it is to be a struggling twenty-something urban dweller with an overdrawn bank account and oversized ambition, The Unspeakable contends with parental death, the decision not to have children, and more-a new set of challenges tackled by a writer at her best, investigated in the same uncompromising voice that made Daum one of the most engaging thinkers writing today. In The Unspeakable, Daum pushes back against the false sentimentality and shrink-wrapped platitudes that surround so much of the contemporary American experience. But Daum also operates in a comic register. With perfect precision, she reveals the absurdities of the New Age search for the "Best Possible Experience," champions the merits of cream-of-mushroom-soup casserole, and gleefully recounts a quintessential "only-in-L.A." story of playing charades at a famous person's home. Combining the piercing insight of Joan Didion with humor reminiscent of Nora Ephron's, Daum dissects our culture's most dangerous illusions while retaining her own joy and compassion. Through it all, she dramatizes the search for an authentic self in a world where achieving an identity is never simple and never complete.
A duke's daughter. An irrestible earl. And an energetic Corgi named Mr. Shorty. What more could you want in a Christmas novella by Megan Frampton? It's Christmastime in London, and Lady Pearl Howlett is eagerly ready for the festivities—until her family goes off to their country estate...accidentally leaving her home alone! But she's not dismayed. Rather, she's thrilled to do exactly what she wants. Unfortunately, this daughter of a duke doesn't know how to do anything. The Earl of Llanover has come to London to take refuge in his godmother's townhouse, free to be as awkward and grumpy as he wants. With his pet Corgi, Mr. Shorty, for company, Owen Dwyfor is ready for a quiet holiday away from his mother and sisters who would have him married off. That is, until his godmother's neighbor, Lady Pearl Howlett comes barging in to his solitude. After some reluctance, the two come together for a joyous—and steamy—Christmas they won't forget.
The TikTok sensation, now with new exclusive content! It’s an office romance on the ice rink in this heart melting story about love’s power not in spite of difference but because of it. Ren has known Frankie Zeferino was a woman worth waiting for since the moment they met. She’s a master of deadpan delivery, has a secret heart of gold, and a rare one-dimpled smile that makes his knees go weak. But as long as Frankie’s the team’s social media manager, she’s off limits. Frankie is a self-admittedly blunt, grumbly grump, but even she isn’t immune to sunshiney Ren Bergman. Who could be, when he’s a six-foot-three hunk of happy with a hockey player’s physique? Maybe in the past, Frankie would have gone for a guy like him, but since being burned too many times by people who learn about her diagnoses and see a problem, not a person, she’s wised up. After waiting years for the right time to make his move, Ren learns Frankie plans to leave the team to pursue a new career. But what he didn’t anticipate is how hard he’ll have to work to convince her to let him have his shot at winning her heart.
EVEN THE MOST REFINED LADY Lady Emeline Gordon is the model of sophistication in London's elite social circles, always fashionable and flawlessly appropriate. As such, she is the perfect chaperone for Rebecca, the young sister of a successful Boston businessman and former Colonial soldier. CRAVES AN UNTAMED MAN Samuel Hartley may be wealthy, but his manners are as uncivilized as the American wilderness he was raised in. Who wears moccasins to a grand ball? His arrogant disregard for propriety infuriates Emeline, even as his boldness excites her. TO RELEASE HER PASSION . . . But beneath Samuel's rakish manner, he is haunted by tragedy. He has come to London to settle a score, not to fall in love. And as desperately as Emeline longs to feel this shameless man's hands upon her, to taste those same lips he uses to tease her, she must restrain herself. She is not free. But some things are beyond a lady's control . . .
Book one in a mystery series featuring a queer, nameless amateur detective is ambisexual Kinsey Millhone meets Canadian Lisbeth Salander Rescued from torpor and poverty by the need to help a good friend deal with the murder of her beloved granddaughter, our downsized-social-worker protagonist and her cat, Bunnywit, are jolted into a harsh, street-wise world of sex, lies, and betrayal, to which they respond with irony, wit, intelligence (except for the cat), and tenacity. With judicious use of the Oxford comma, pop culture trivia, common mystery tropes, and a keen eye for deceit, our protagonist swaggers through the mean streets of — yes, a Canadian city! — and discovers that what seems at first to be just a grotty little street killing is actually the surface of a grandiose and glittering set of criminal schemes.
An Epitome of the History of Faire Argenis and Polyarchus is Judith Man's English translation of a 1623 French work by Nicolas Coeffeteau, Histoire de Poliarque et d'Argenis, which is itself an abridgement and translation of one of the most widely read fictional works of the seventeenth century, John Barclay's 1621 Latin romance Argenis. An extended political allegory of the rise to power of the French king Henri IV, Barclay's romance is peppered with numerous veiled anecdotes of politics at the English and other European courts and long disquisitions on statecraft and political ethics. It has been assumed that Barclay's work was strictly for a male audience, but Man's translation is evidence that women did in fact read Argenis, and might even suggest that allegorical romance offered women writers and readers an inroad into political discourse.