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Historical Romance

Duke of Scandal (Duke Trilogy, Book 2) by Adele Ashworth

By Adele Ashworth

"*The scandalously good-looking Samson Carlisle isn't the deceiving nobleman girl Olivia was once looking out for...but he's the sweetheart she fervently desires.*

**A lady's middle is a tempting plaything for the Duke of Scandal.**

He stands except different men—a darkish, tall, breathtaking determine of seductive masculinity. With a grin, he can topple the defenses of even the main right maiden.

And with a unmarried whisper, she's going to be his.

A spouse in identify purely, woman Olivia Shea has back to London in a rage, decided to confront her new husband, who vanished months in the past together with her inheritance on their marriage ceremony evening. but this hauntingly commonly used guy who stands earlier than her—this face and shape she adores—is no longer her deceiving Edmund however the blackguard's dual brother, Samson Carlisle, Duke of Durham. Samson understands of his sibling's penchant for perfidy and he graciously bargains to assist the beautiful Olivia find the lacking rogue and get better her stolen fortune.

But Olivia fears that accompanying this mysterious, harmful, eminently fascinating guy will be relationship the main devastating kind of scandal—especially because it is now Samson's palms she aches to suppose surrounding her, and his kiss she longs to taste

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Additional info for Duke of Scandal (Duke Trilogy, Book 2)

Example text

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.

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