By Stephanie Laurens
"All of Regency London is aware that no Cynster male might ever stroll clear of a woman in distress...but their defense can come at a tantalizingly excessive fee. And now, Stephanie Laurens has created her boldest Cynster yet--Gabriel--a guy who has recognized the excitement of many ladies, yet who has given his center to not anyone.
She was once determined for his help...When a mysterious woman, her face hidden via a black veil, begs Gabriel Cynster for his aid, he can't refuse her plea. For regardless of her hide, Gabriel unearths the girl appealing and he's powerless to disclaim her. yet he exacts money as just a Cynster might call for: with every piece of knowledge he uncovers, she needs to pay him--in the shape of a kiss.
He used to be powerless to resist...
Lady Alathea Morwellan is familiar with Gabriel is intrigued, yet regardless of the sparks that fly among them, they've got by no means handed a civil second jointly. but because the stakes get larger, so does Gabriel's wish for cost. And with each one overpowering kiss, each one passionate include, Alathea is aware that she is going to now not have the capacity to withstand his final seduction...but what's going to take place while she unearths the truth?
Read or Download A Secret Love (Cynster, Book 5) PDF
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Extra resources for A Secret Love (Cynster, Book 5)
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.