By Stephanie Laurens
"Demon Cynster has noticeable love carry his brethren to their knees, and he′s vowed that he'll now not percentage their destiny ... till he spies Felicity Parteger sneaking approximately his racing reliable. Demon recollects Felicity as an insignificant chit of a lady, yet now she stands sooner than him, all lush curves and glowing eyes...
Felicity understands Demon was once one of many town′s so much eligible bachelors and a rogue of the worst kind, yet he was once the single one able to getting her buddy out of difficulty. She understands Demon won't ever yield her the affection she desperately seeks, yet may a wedding of ardour on my own be enough?
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Additional resources for A Rogue's Proposal (Cynster, Book 4)
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.