By Sabrina Jeffries
"He was once enjoying a perilous masquerade...Griff Knighton′s discovered the precise solution to keep away from being trapped into marriage with one of many Earl of Swanlea′s daughters: he′ll change identities together with his guy of affairs in the course of their subsequent stopover at to Swan Park, and be unfastened to pursue his personal wishes! in spite of everything, he′s no longer approximately to marry a few homely spinster simply to declare his rightful identify. yet Griff didn′t reckon at the brazen, voluptuous Rosalind, who might tempt even a saint into sinning, and Griff is not any saint. She was resolute to unmask him...
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Additional info for A Dangerous Love (Swanlea Spinsters, Book 1)
That this form of historical romance was still viable for some greatly gifted writers long after "the Heyday of Sir Walter Scott" is proven by Stevenson's Kidnapped and Conrad's The Duelists. But the limitations of the classic form of historical romance were apparent even during Scott's own lifetime. Although not unmoved by the heroic clarions of epic literature, Hawthorne and Melville saw that the historical romance as written by Scott and Cooper would not meet their own needs unless its center of action and moral interest could be relocated inwards.
32 But detecting and A prospectus 27 decontextualizing them is rather beside the point I seek to make in this book. For notwithstanding their authors' ambition to recover the primitive strength and truth of earlier forms of literature, historical romances are essentially a product of modern times: of the mixed feelings of pride and guilt experienced by the beneficiaries of bourgeois revolutions and European colonial conquests; of the English novel of manners and morals as developed by Fielding, Smollett, and Edgeworth; of Enlightenment social-historical theory; and, not least, of the literary theory and practice of the Romantic Revival.
For Scott and most of his younger contemporaries, the historical romance was, above all, a modern version of the epic, hence a heroic and masculine genre preoccupied with the fate of entire societies and but little concerned with individualistic introspection or, reversing the mirror, cosmic questionings. That this form of historical romance was still viable for some greatly gifted writers long after "the Heyday of Sir Walter Scott" is proven by Stevenson's Kidnapped and Conrad's The Duelists. But the limitations of the classic form of historical romance were apparent even during Scott's own lifetime.