By Sarah MacLean
"What a scoundrel desires, a scoundrel will get. . .
A decade in the past, the Marquess of Bourne was once forged from society with not anything yet his name. Now a associate in London's such a lot specific gaming hell, the chilly, ruthless Bourne will do no matter what it takes to regain his inheritance—including marrying ideal, right woman Penelope Marbury.
A damaged engagement and years of disappointing courtships have left Penelope with no interest in a quiet, cozy marriage, and a eager for anything extra. How fortunate that her new husband has entry to an unexplored international of pleasures.
Bourne could be a prince of London's illicit underworld, yet he vows to maintain Penelope untouched by means of its wickedness—a problem certainly because the woman discovers her personal wants, and her willingness to bet whatever for them . . . .even her heart.
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Additional resources for A Rogue by Any Other Name (The Rules of Scoundrels, Book 1)
2. Bibliography in Jean Froissart, Chroniques. 2 Vols. Ed. Ainsworth, Diller and Varvaro. htm. 3. It may be appropriate to speak of ‘propaganda’ in this connection, though ‘party sympathy’ might be just as apt. 4. According to Godfried Croenen (paper, July 2005 Medieval Chronicle Conference, Reading) similarities between the rubrics found in these manuscripts suggest a possible common origin. 5. This manuscript provided the focus for a paper delivered in February 2005 at the Institute of English Studies, University of London, in the context of the British Library’s project aiming to produce a complete electronic catalogue of all of the manuscripts in the Arundel Collection.
20 Peter Ainsworth ——— (1974). French Painting in the Time of Jean de Berry: The Limbourgs and their Contemporaries. 2 vols. London and New York: Thames & Hudson. Stratford, J. (1993). The Bedford Inventories: the worldly goods of John, Duke of Bedford, Regent of France (1389-1435). London: Society of Antiquaries of London. -H. (1986). ’ Romania 107: 282-368. Varvaro, A. (1994). ‘Il libro I delle Chroniques di Jean Froissart. ’ Medioevo Romanzo 19: 3-36. Villela-Petit, Ines (2004). ’ Paris 1400, Les arts sous Charles VI.
Clearly such a translatio of a learned text for a courtly audience will include rhetorical embellishment in the shape of ornate and elegant speeches, or passages in which the poet describes such scenes as court festivities and battles. , Chronique 30742-70). In the same way, he sprinkles descriptive vignettes across his page. An excellent example occurs in his version of the story of duke Richard Sans Peur’s encounter with a diabolically animated corpse. Wace, who includes the anecdote in his Geste des Normanz, gives no more than a basic background; Benoît, on the other hand, transforms the scene into a perfect example (possibly the earliest in Old French) of the ghost-story genre with a vivid little sketch full of atmospheric details: the graveyard at dusk, the wind blowing through the yew tree, the single light just 18 visible through the half-open chapel door.