A Rogue of My Own (Reid Family, Book 3) by Johanna Lindsey

By Johanna Lindsey

"In number 1 *New York occasions *bestselling writer Johanna Lindsey’s eye-catching regency romance, an blameless younger lady’s first brush with royal court docket intrigue lands her on the altar along one in every of London’s such a lot infamous rogues.

For woman Rebecca Marshall, a whirlwind of pleasure starts whilst she turns into a maid of honor on the courtroom of Queen Victoria. but if Rebecca unknowingly steps into the competition among the Queen’s spymaster and a noblewoman who makes use of the maids as courtly spies, she is quickly entangled in an online of deceit with the fascinating marquis Rupert St. John. The devastatingly good-looking ne’er-do-well is the cousin of Raphael Locke, with whom Rebecca used to be infatuated…He’s additionally a undercover agent of the crown who leads a double lifestyles. convinced that guileless Rebecca is spying on *him, *Rupert seduces her—then, pressured to wed, he believes she has set a capture of the worst kind with a view to marry into his robust family members! yet as he involves comprehend Rebecca’s precise center, his vow of revenge and infidelity turns into a wish to proportion many passionate nights—*only *with his appealing wife.

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Extra info for A Rogue of My Own (Reid Family, Book 3)

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Men. Epitr. 303–305. See also Arist. Phgn. 806a15 where ‘γνωρίσματα’ are the signs through which we can identify a certain state of someone’s soul and body. See Hurst 1990; see also Scafuro 1997, pp. 156–162. degrees of understanding 27 Πελίαν τ’ ἐκείνους εὗρε πρεσβύτης ἀνὴρ αἰπόλος, ἔχων οἵαν ἐγὼ νῦν διφθέραν, ὡς δ’ ἤισθετ’ αὐτοὺς ὄντας αὑτοῦ κρείττονας, λέγει τὸ πρᾶγμ’, ὡς εὗρεν, ὡς ἀνείλετο. ἔδωκε δ’ αὐτοῖς πηρίδιον γνωρισμάτων, ἐξ οὗ μαθόντες πάντα τὰ καθ’ αὑτοὺς σαφῶς ἐγένοντο βασιλεῖς οἱ τότ’ ὄντες αἰπόλοι.

9. See also Gutzwiller 2000, p. 133 for a more general treatment of this topic. For further reflections on this arbitration scene and Smikrines’ character in Epitrepontes see Iversen 1998, especially pp. 121–153. Men. Epitr. 366–369. 28 chapter 2 anticipate consequences that the author will frustrate in the short term15 and to focus the audience’s attention on tokens of recognition that, at this moment, are not bringing about the recognition they are meant to enable. In the second scene of Act Two, we are once again close to the discovery of the identity of the foundling.

Poet. 5, 1449a32–37. For a recent and more detailed discussion of the shameful in comedy see Munteanu 2011(a), chapter 4. In this respect, Menander’s comedy can be classified as falling within Northrop Frye’s fourth kind of fictional mode: “If superior neither to other men nor to his environment, the hero is one of us: we respond to a sense of his common humanity, and demand from the poet the same canons of probability that we find in our own experience. This gives us the hero of the low mimetic mode, of most comedy and of realistic fiction” (Frye 1957, p.

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