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He’s spent years building his reputation as the town’s most unrepentantly dissolute rakehell. She is determined to reform him. Enjoy this hilarious, bestselling Regency series. London is never the same once the Farthingales move onto Chipping Way, one of the loveliest streets in Mayfair. With five beautiful daughters in residence, the street has become a trap for unwary bachelors. Who will be next to fall? Daisy Farthingale protected her sister by taking blame for a scandalous incident that occurred during her sister’s debut season and now embarks upon her own entrance into society with a slight tarnish to her reputation. No one trusts her judgment when it comes to men, but Daisy is determined to redeem herself in the eyes of her beloved family by marrying the most honorable man she can find. Unfortunately, she finds herself falling in love with London’s most notorious rakehell, Lord Gabriel Dayne, a disreputable wastrel who may be spying for the French. What’s a girl to do? Fortunately, Daisy has gotten her hands on Lady Forsythia Haversham’s Rules for Reforming a Rake. Gabriel Dayne, younger son of the Earl of Trent, has spent the war years cultivating his image as a knave and drunken rakehell to hide his true occupation as a spy against Napoleon’s forces. His missions on the Continent have taken a harrowing physical toll on him as well as an emotional one. Sent home to recover from gunshot wounds acquired in a skirmish (though most of London Society believes he was shot by a jealous husband), he’s determined to enjoy the wastrel reputation he’s taken great pains to develop, for he soon expects to be recalled to battle. But the dangers he encountered in Napoleon’s war pale in comparison to the danger he faces from Daisy Farthingale, the beautiful slip of a girl who creates havoc with his heart from the moment he sets eyes upon her. Enjoy the entire series: The Viscount’s Rose A Midsummer’s Kiss Rules for Reforming a Rake My Fair Lily The Duke I’m Going To Marry Earl of Hearts Capturing the Heart of a Cameron
Jonathan Lindsay was surprised when he was confronted by the ever-passionate Miss Janey Hilton. Her love for lost causes drew him to her, along with her astonishing beautfy and forceful ways. But the scoundrel in him made a big mistake by wagering that he could seduce the naive miss! The joke was soon on him when the unthinkable happened—the determined bachelor Jonathan fell in love! Baffled by his sudden emotion, he knew he had to call off the wager. But would it be too much, too late, when Janey discovered his horrendous deception?
Fourteen specially commissioned essays provide essential information about staging, playwrights, themes and genres in the drama of the Restoration.
Charles Trent, Earl of Bythorne, was an unapologetic rake. Hester Blayne was a woman of passion whose writings incited women to stand up to men’s power. Hester set out to show Thorne the error of his immoral ways; Thorne accepted the challenge of convincing Hester that it was folly for women to defy men’s rule. But each discovered something unexpected in the process. Regency Romance by Anne Barbour; originally published by Signet
A Scandalous Secret was part of the dowry Katherine Sutcliff would bring to her bridal bed. And any prospective suitor on the Marriage Mart would have to live with it—or live without her! But her pressing need for a suitable match was diverted by her most unsuitable attraction to the disreputable Lord Benjamin Sinclair. A Rakish Life had been Benjamin’s choice, but now the adventurous gentleman was tempted to stay closer to home. How else could he keep a watchful eye on Kate Sutcliff, when the gangly girl he’d teased in childhood had grown into a most unconventional beauty?
In the first half of the eighteenth century, a new comic plot formula dramatizing the moral reform of a flawed protagonist emerged on the English stage. The comic reform plot was not merely a generic turn towards morality or sentimentality, Aparna Gollapudi argues, but an important social mechanism for controlling and challenging political and economic changes. Gollapudi looks at reform comedies by dramatists such as Colley Cibber, Susanna Centlivre, Richard Steele, Charles Johnson, and Benjamin Hoadly in relation to emergent trends in finance capitalism, imperial nationalism, political factionalism, domestic ideology, and middling class-consciousness. Within the context of the cultural anxieties engendered by these developments, Gollapudi suggests, the reform comedies must be seen not as clichéd and moralistic productions but as responses to vital ideological shifts and cultural transvaluations that impose a reassuring moral schema on everyday conduct. Thoroughly researched and elegantly written, Gollapudi's study shows that reform comedies covered a range of contemporary concerns from party politics to domestic harmony and are crucial for understanding eighteenth-century literature and culture.
"The Novel Stage: Narrative Form from the Restoration to Jane Austen traces the novel's relation to the theater over the course of the long eighteenth century, arguing that the familiar account of the novel as 'new' and distinct from other literary genres risks distorting a true reckoning of the form by failing to engage with the borrowings and departures from other more familiar genres, particularly drama. The Novel Stage traces the migration of tragicomedy, the comedy of manners, and melodrama from the stage to the novel. These genres were shared across print and performance, media that were not construed as opposites in a world in which individual silent reading took place beside playgoing, play-reading, amateur theatricals, and sociable reading aloud. The book thus expands an overly narrow conception of the novel as the genre of realism or domesticity whose highest achievement is its representation of characters' mental lives by describing the influence of the stage and its genres. Beginning in the later 1600s with Aphra Behn, The Novel Stage concludes with a chapter on some novelists of the Romantic period and a coda about Victorian novels. The Novel Stage's account of the novel provides an enriched, because more specific, sense of its formal accomplishments that drew on this ensemble of cultural forms and turns that lens back onto drama"--Provided by publisher.
Sukey Vickery?s Emily Hamilton is an epistolary novel dealing with the courtship and marriages of three women. Originally published in 1803, it is one of the earliest examples of realist fiction in America and a departure from other novels at the turn of the nineteenth century. From the outset its author intended it as a realist project, never delving into the overly sentimental plotting or characterization present in much of the writing of Vickery?s contemporaries. Emily Hamilton explores from a decidedly feminine perspective the idea of a woman?s right to choose her own spouse and the importance of female friendship. Vickery?s characterization of women further diverges from the typical eighteenth- and early nineteenth-century didactic of the righteous/sinful woman and depicts, instead, believable female characters exhibiting true-to-life behavior. ø A presentation of this novel accompanied by Vickery?s poetry, letters, a diary fragment, and a few nineteenth-century responses to her work, Emily Hamilton and Other Writings is the first complete collection of Vickery?s writings.
This first critical collection on Delarivier Manley revisits the most heated discussions, adds new perspectives in light of growing awareness of Manley’s multifaceted contributions to eighteenth-century literature, and demonstrates the wide range of thinking about her literary production and significance. While contributors reconsider some well-known texts through her generic intertextuality or unresolved political moments, the volume focuses more on those works that have had less attention: dramas, correspondence, journalistic endeavors, and late prose fiction. The methodological approaches incorporate traditional investigations of Manley, such as historical research, gender theory, and comparative close readings, as well as some recently influential theories, like geocriticism and affect studies. This book forges new paths in the many underdeveloped directions in Manley scholarship, including her work’s exploration of foreign locales, the power dynamics between individuals and in relation to states, sexuality beyond heteronormativity, and the shifting operations and influences of genre. While it draws on previous writing about Manley’s engagement with Whig/Tory politics, gender, and queerness, it also argues for Manley’s contributions as a writer with wide-ranging knowledge of both the inner sanctums of London and the outer developing British Empire, an astute reader of politics, a sophisticated explorer of emotional and gender dynamics, and a flexible and clever stylist. In contrast to the many ways Manley has been too easily dismissed, this collection carefully considers many points of view, and opens the way for new analyses of Manley’s life, work, and vital contributions to the full range of forms in which she wrote.
“A wildly entertaining read.”—The Washington Post What if we've been reading Jane Austen and romantic classics all wrong? A literary scholar offers a funny, brainy, eye-opening take on how our contemporary love stories are actually terrifying. Covering cultural touchstones ranging from Normal People to Taylor Swift and from Lord Byron to The Bachelor, The Darcy Myth is a book for anyone who loves thinking deeply about literature and culture—whether it’s Jane Austen or not. You already know Mr. Darcy—at least you think you do! The brooding, rude, standoffish romantic hero of Pride and Prejudice, Darcy initially insults and ignores the witty heroine, but eventually succumbs to her charms. It’s a classic enemies-to-lovers plot, and one that has profoundly influenced our cultural ideas about courtship. But what if this classic isn’t just a grand romance, but a horror novel about how scary love and marriage can be for women? In The Darcy Myth, literature scholar Rachel Feder unpacks Austen’s Gothic influences and how they’ve led us to a romantic ideal that’s halfway to being a monster story. Why is our culture so obsessed with cruel, indifferent romantic heroes (and sometimes heroines)? How much of that is Darcy’s fault? And, now that we know, what do we do about it?