This book is also available with 3 other stories in THE 4 SCOUNDRELS BOX SET: A PIRATE, A SPY, A MERCENARY AND A ROGUE. Each book in the boxed set is available separately, but by buying them in a bundle, you're getting a better deal! Contains SURRENDER, REDEMPTION, THE MERCENARY'S PRICE, COURTING HIS COUNTESS. Get the set here: https://play.google.com/store/books/details/C_J_Archer_The_4_Scoundrels_Box_Set?id=wJLiCgAAQBAJ&hl=en DESCRIPTION The last woman Thomas, Lord Avondale, expected to fall in love with was the wife he betrayed and abandoned six years ago. When Rose doesn't accept his apology, however, he loses all hope of a happy future together. Yet he's thankful she has agreed to come to his bed to beget an heir. Known as the Ice Maiden at Queen Elizabeth I's court, Rose has been trying to forget the man she once loved—a love she thought destroyed after he spent their wedding night with his mistress. Withstanding Thomas's charms, however, is proving more difficult than she expected. Can she forgive the ultimate betrayal? Can he ever atone for what he did? Note: Courting His Countess is a novella of approximately 20,000 words, about one-quarter the size of a full-length novel. A NOTE FROM THE AUTHOR COURTING HIS COUNTESS may be shorter than most of my other books, but it was one of the most difficult stories I've ever written. What Thomas did to his wife is despicable and when I began to write, I didn't think I could make you, the reader, believe he was hero material. Yet the characters and their tale wouldn't leave my head, nor would the opening lines, so I wrote the story anyway. As I progressed, and especially when I switched to Thomas's viewpoint, I realized how very male he was being, and part of me started to feel sorry for him. Being a nobleman of his time, he just didn't get it. Not until he finally saw how his actions had affected a wonderful, strong woman. COURTING HIS COUNTESS breaks one of the "rules" of the romance genre, and I know some of you will find Thomas's actions unforgiveable. I certainly don't blame you for that! But I've never been very good at sticking to the rules, and I hope you don't blame ME for listening to the voices in my head. If you like books about redemption, second chances, Christmas, hope, and history, featuring strong female characters, and men who've matured and want to make up for past mistakes, then you might like this book. Happy reading! ~CJ

This book is also available with 3 other stories in THE 4 SCOUNDRELS BOX SET: A PIRATE, A SPY, A MERCENARY AND A ROGUE. Each book in the boxed set is available separately, but by buying them in a bundle, you're getting a better deal! Contains SURRENDER, REDEMPTION, THE MERCENARY'S PRICE, COURTING HIS COUNTESS. Get the set here: https://play.google.com/store/books/details/C_J_Archer_The_4_Scoundrels_Box_Set?id=wJLiCgAAQBAJ&hl=en DESCRIPTION Being a national treasure wouldn't be such a curse if she only knew she could trust him. Lady Eliza Harcourt, the queen's seer, is in danger of being kidnapped. To avoid such a fate, she will be whisked to safety during a royal masked ball. But when the man doing the whisking turns out to be Thomas Blackstone, she's no longer sure fleeing is a good idea. Rejected by Eliza seven years earlier, Thomas has changed from the amiable second son of a lowly noble into a cold-hearted mercenary. Not only does she have to put up with the silent treatment, but she cannot be entirely certain he is on her side. The only thing she can be sure of is that he's still bitter about the rejection. And that she still loves him. NOTE: The Mercenary's Price is a 23,000 word novella. Keywords: short novel, cheap book, quick read, historical romance, paranormal romance, fantasy romance, romantic fantasy, alpha hero

Discover the love, passion and heartbreak through the ages in this collection of carefully selected historical romance novels which will transport you to the time of Ancient Egypt, Medieval Castles, Renaissance Cities, Regency Social Circles and Parisian Belle Époque: Uarda: A Romance of Ancient Egypt (Georg Ebers) The New Abelard: Love in the Times of Cathedrals (Robert Williams Buchanan) Hildebrand: The Days of Queen Elizabeth (Anonymous) Love-at-Arms (Rafael Sabatini) The Cloister and the Hearth (Charles Reade) The Princess of Cleves (Madame de La Fayette) The Forest Lovers (Maurice Hewlett) Malcolm (George MacDonald) Scarlet Letter: Love in the Colonial Period (Nathaniel Hawthorne) The Wild Irish Girl (Lady Sydney Morgan) The Dark Mile (D. K. Broster) Sophia (Stanley John Weyman) Paul and Virginia (Bernardin de Saint-Pierre) Memoirs of Emma Courtney (Mary Hays) The History of Miss Betsy Thoughtless (Eliza Haywood) Olinda's Adventures (Cockburn) Belinda (Maria Edgeworth) Dangerous Liaisons (De Laclos) Evelina (Fanny Burney) Pamela Trilogy Mary (Mary Wollstonecraft) First Love (Mrs. Loudon) Jane Austen: Pride & Prejudice Sense & Sensibility Mansfield Park Emma Persuasion Miss Marjoribanks & Phoebe, Junior (Mrs. Olifant) Vanity Fair (Thackeray) Mr. Rowl (D. K. Broster) The Battle of the Strong (Gilbert Parker) Kitty Alone (Sabine Baring-Gould) Sentimental Education (Gustave Flaubert) Lady Anna (Anthony Trollope) The Manoeuvring Mother (Lady Charlotte Bury) Ramona (Helen Hunt Jackson) Jane Eyre (Charlotte Brontë) Wuthering Heights (Emily Brontë) The Tenant of Wildfell Hall (Anne Brontë) The Lady of the Camellias (Alexandre Dumas) The Portrait of a Lady (Henry James) Anna Karenina (Leo Tolstoy) The Age of Innocence (Edith Wharton) Tess of the d'Urbervilles (Thomas Hardy) Bel Ami (Guy de Maupassant) The Squatter and the Don The Four Feathers (A. E. W. Mason) The Miranda Trilogy (Grace Livingston Hill) The Great Gatsby (F. Scott Fitzgerald)

He turned and looked at her with a benevolent smile. "Come hither, my child," said he. "You would speak with the emperor. I am he."The girl uttered a stifled cry, and falling on her knees, she hid her death-like face in her hands. For she had recognized her unknown protector. Yes, this noble man, who had proffered help and promised protection, this was the emperor, and to his face she had called him miser and tyrant!-from "Chapter XXXV: The Disguise Removed"In the constrained culture of 19th-century Europe, Luise M hlbach was thwarted in her desire to become a historian, so instead she wrote historical novels in her native German-more than 100 of them, most of which were bestsellers in Europe and many of which were translated into English, with great success.This 1865 novel, set among the intrigue of the court of Austrian emperor Joseph II, is a wonderful example of German literary realism, a movement to which M hlbach was an important contributor, though one frequently overlooked today. And it is a shining model of the fierce feminism M hlbach evinced in her life as well as her fiction-Empress Maria Theresa is a potent presence here, a beautifully realized womanly force.With deftly realized characters-male and female-and page-turning plots, M hlbach's stirring historical novels are ready to find a new readership today.Luise M hlbach was the pseudonym of German author LUISE MUHLBACH (1814-1873). Among her many works of historical fiction are A Conspiracy of the Carbonari, The Daughter of an Empress, Henry VIII and His Court, Marie Antoinette and Her Son, and Napoleon and Blucher.

The period from her first London assembly to her wedding day was the narrow span of autonomy for a middle-class Englishwoman in the eighteenth and early nineteenth centuries. For many women, as Katherine Sobba Green shows, the new ideal of companionate marriage involved such thoroughgoing revisions in self-perception that a new literary form was needed to represent their altered roles. That the choice among suitors ideally depended on love and should not be decided on any other grounds was a principal theme among a group of heroine-centered novels published between 1740 and 1820. During these decades, some two dozen writers, most of them women, published such courtship novels. Specifically aiming them at young women readers, these novelists took as their common purpose the disruption of established ideas about how dutiful daughters and prudent young women should comport themselves during courtship. Reading a wide range of primary texts, Green argues that the courtship novel was a feminized genre—written about, by, and for women. She challenges contemporary readers to appreciate the subtleties of early feminism in novels by Eliza Haywood, Mary Collyer, Charlotte Lennox, Samuel Richardson, Frances Brooke, Fanny Burney, Mary Wollstonecraft, Jane West, Mary Brunton, Maria Edgeworth, and Jane Austen—to recognize that these courtship novelists held in common a desire to reimagine the subject positions through which women understood themselves.