Which is why when he is caught after a moment of temptation with Rosalie Stratton, his course is clear: he must marry her, to protect their reputations. So when a difficult situation arises and she has to go to him for help, she is angry and ashamed.
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Engaged to a lovely—albeit boring—man, she has the rest of her life planned out. But until the wedding takes place, she decides to pursue the parts of life she has ignored—for research purposes, of course. Enter scoundrel Cross, gaming hall owner and sexual conquest. But can Philippa keep her attraction to Cross purely scientific? Now they are searching for two people, but conspiracy, and attraction, threaten to undo everything they are working for.
He got his vengeance against the man who gave the order, but it only made him hungry for more.
But revenge is a dish no longer served cold when passion ignites between them. The Pleasures of Passion , by Sabrina Jeffries Niall Lindsay has killed a man, which means he has to flee for his life. He expects the woman he loves, Brilliana, to come with him, but she does not. When the tarnished Earl returns to society on a mission for the government, he is forced to reunite with his former love, whom he now hates. A Duke of Her Own , by Eloisa James A rake must marry to take responsibility for his illegitimate children, fathered over his years of being irresponsible with women. Except that Lisette, the daughter of a different duke, engaged to another man…is the one who tempts him most.
With his scarred face and dangerous reputation, he is the perfect protector…but it will take a lot to get him to find the heart needed to truly care for her. She is won or, rather, purchased by Lord Saxton, a man who wears a mask and cloak to hide the results of a terrible fire. And yet, just as she starts to fall for him, Christopher Seton appears once more.
Which will she choose: to remain the wife of a man who may not be able to reveal himself to her, or to betray him? Forbidden , by Jo Beverly Serena Riverton is done with marriage after barely escaping her first one with her life. But in a moment of passion, she seduces Francis, Lord Middlethorpe, and suddenly finds herself wondering whether true love can undo the darkness of her past. Lord of Vengeance , by Lara Adrian The story of Beauty and the Beast is reinterpreted in this romance where a woman is taken captive in an act of revenge—but eventually, makes the man fall in love with her.
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At least not at first. But little does she know that Winter lives a double life, as a masked vigilante determined to protect his community, even with violence. Edenbrooke , by Julianne Donaldson Marianne Daventry is bored with her life—so when her sister invites her to a country estate that promises to have some adventure, she jumps at the chance.
While Cecily seduces the heir of Edenbrooke, she will enjoy her freedom. Except when she arrives, an innocent flirtation leads her to more adventure than she bargained for. Arabella , by Georgette Heyer Penned by the acknowledged original queen of Regency, this romance features a strong-willed heroine who, on her way to London, finds herself indisposed outside the home of Robert Beaumaris.
Arabella pretends to be an aristocratic heiress, and so when Beaumaris introduces her to London society as one of them, she is scared of the consequences if he finds out she is a phony. Trial by Desire , by Courtney Milan Lady Kate Carhart has finally healed from the damage done when her husband left her. So when Ned returns without notice, determined to win her back, she is equally determined to resist his charms.
But when a secret from her past comes back to haunt her, he is the only one she can depend on. So when he meets Helen Ravenel, his desire to possess her is equal to his desire for wealth.
The Earl of Ashford is a constant feature in the column for his rakish behavior…but when he extends an invitation to no longer write about him, but be with him, Eleanor is intrigued. But when the man of her dreams, Captain Logan Mackenzie, shows up, he turns out to be as close to her childish fantasies as she could have dreamed. However, if she had a husband, he could vote for her…enter Nicholas Dymond, brother of the candidate, who will do anything to help him win, including ensuring Phoebe finds a husband. But when an attraction grows between them, more than just politics is at stake.
But complications arise when a kidnapped woman is brought to him and he decides to avenge her—because its more than just king and country he winds up fighting for, but her heart. Lucien Vaudrey has been exiled to China for twenty years.
But his brother and father die in mysterious circumstances, and he has inherited both their titles, and their enemies. Stephen Day is a magician approached by the new Lord Crane to help him exact vengeance—and soon, as the magic of love forms between them, their relationship becomes more than just business. So where does the truth lie? The play — a blood-soaked tragedy — was initially performed before December of , and was published nine years later in Usage terms Public Domain Looking at The Duchess of Malfi , what strikes me is how much attitudes to the play have changed in the past 70 years.
There are still arguments about its ultimate status. But in modern times the play has acquired new resonances. It was first performed by the King's Men at the Blackfriars Theatre in but, although revived regularly, it survived in the following centuries only in adaptations. It finally came into its own in in a famous revival starring Peggy Ashcroft and John Gielgud at the Theatre Royal, Haymarket: since it opened at a time when the first reports of the survivors of Nazi concentration camps were being published in the papers, critics discovered a new seriousness in Webster's blood-soaked tragedy.
The Sam Wanamaker Playhouse is a candlelit indoor theatre with a thrust stage which is designed to replicate the indoor playhouses of the 17th century. Yet plays also spring out of a particular culture. But what is undoubtedly true of Jacobean dramatists is that Italy , as the birthplace of the Renaissance and the centre of Catholic authority, provoked in them a horrified fascination.
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Italy also became a potent theatrical metaphor. It allowed dramatists to obliquely criticise the favouritism and vice of the court of James I , and to comment on religious hypocrisy under the guise of attacking scarlet-cloaked cardinals. A painting of King James I riding to parliament with three noblemen.
This work provides a fascinating insight into Renaissance court life. Usage terms Public Domain Webster could also claim to be basing his play on actual events. There was a real-life Duchess of Amalfi who was widowed at the age of 19 in She then married her household's major-domo, secretly had a child by him, fled from her brothers when they discovered the truth and met an unknown end.
Webster took the story from a book called Palace of Pleasure by William Painter and embroidered it with great skill. Webster's Duchess does indeed marry her steward, Antonio. She has, however, not one but three children by him in the course of the play's first two acts. Her secret is then revealed to her two brothers who are violently opposed to any remarriage: the Cardinal for reasons of political power and Ferdinand because of his incestuous passion for his sister.
The informant on the Duchess is Bosola, one of those intellectual malcontents who stalk the dark world of Jacobean drama. It is Bosola, the hired assassin, who is eventually required to supervise the murder, by strangulation, of the Duchess and two of her children. But although Bosola feels the first pangs of remorse at the end of Act 4 and undergoes a change of heart in the final act, it is too late to avert catastrophe. The play ends with a pile-up of corpses including Bosola himself, Antonio, the Cardinal and Ferdinand, who has lapsed into madness believing himself to be a wolf.
This sensationalist story of the life, trial and death of Peeter Stubbe became the foremost English language source for early modern ideas about werewolf behaviour. Usage terms Public Domain Is this mere sensationalism or is there a serious dramatic purpose? It is possible for a play to combine both.
But the first thing to say about The Duchess of Malfi is that it is eminently stageable and contains great roles for actors. The Duchess herself is a superbly complex creation. But the play abounds in great roles. Ferdinand, too, is an astonishing character: a man who tortures and persecutes his twin sister but who, while imprisoning her, is himself imprisoned by incest. Connoisseurs of horror will also not soon forget the scene in which Ferdinand gives the Duchess a dead man's hand which she believes to be Antonio's: a moment that, in the darkness of the Sam Wanamaker Playhouse, acquired a chilling force.