Beyond Seduction (Bastion Club, Book 6) by Stephanie Laurens

By Stephanie Laurens

Unique e-book: 2007

In a second of recklessness, Gervase Tregarth, sixth Earl of Crowhurst, swears he'll marry the following eligible girl to pass his course. Cloistered at his ancestral citadel in Cornwall, with nary an appropriate girl for miles, he by no means expects he'll need to satisfy his pledge, at the least no longer till the London Season starts. yet then he meets his neighbor, the very beautiful Madeline Gascoigne.

Years of mystery provider to the Crown have taught Gervase the worth of regularly having a loophole—there could be no marriage ceremony if he and Madeline are incompatible in any approach. So he units out to end up that they might make a such a lot dreadful fit . . . via luring her into his palms and, eventually, his bed.

From their first actual kiss, Gervase discovers that the headstrong and self sufficient Madeline is not any meek state pass over . . . and that the hearth among them will burn lengthy past that first seduction.

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Additional info for Beyond Seduction (Bastion Club, Book 6)

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People do talk to each other, do understand each other. And indeed it seems to me t hat t he relevance of the user's meaning to the understanding of what is said goes beyond tone, into sense and reference. ' An unfortunate Anglo­ phone might he in dire need to convince the authorities that the sounds he uttered were meant to represent English words, not Grim-Barbary words. Here the question of intention is absolutely crucial. ('What language were you speaking? ') But I think it is often quite central on countless other, much more everyday, occasions.

And why should we adopt ' relevance to the plot' as the decisive criterion ? That many people do, as a matter of fact, accept such a criterion is shown by the number of attempts that have been made to show that the ' irrelevances ' of Hamlet are not really irrelevant. But there is no compulsion to accept this criterion. Why should not a work be loosely knit and rambling ? Some people prefer that kind of work. There is a further, more subtle argument against the notion of genre. It is convenient to define literary kinds, like many other things, per differentiam.

As ver­ nacular literature became a subject for academic study the 42 Evaluative Criticism Academy tried to find it a haven from these contending winds of doctrine. Traditional literary scholarship had great things to its credit. But it had failed to supply a generally agreed doctrine of relevance with which to exclude all this barbarism. The need for this brought about the rise of formalism in university and college teaching in the twentieth century - what came to be known in the Anglo-American world as the ' new criticism '.

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