Wealthy Heiresses
Wealthy Heiresses
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The School for Heiresses $9.08 Inspired by New York Times bestselling author Sabrina Jeffries’s School for Heiresses series, this delightful anthology features four young women who learn that there’s nothing textbook about love . . . . “It is better not to marry at all than to marry badly.” — Mrs. Charlotte Harris, headmistress At the School for Heiresses, the lessons go far beyond etiquette and needlepoint. In addition to teaching her students how to avoid fortune hunters, headmistress and founder Charlotte Harris proposes the radical notion that women of means need not shackle themselves to men at all — unless they find a suitable, desirable mate. So lessons in the fine art of acquiring a loving and passionate husband are part of the curriculum at this highly unusual school. And as the holidays approach, Mrs. Harris sends her young ladies home with personally tailored lessons to work on. Will they return any closer to finding the perfect husband? Join this dazzling roster of authors as they put their own spin on the School for Heiresses in four spirited tales of passion! |
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Herederas / Heiresses $14.12 No Synopsis Available |
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The Adventure of the Lover’s Leap $1.99 … |
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Pilot/MOW $1.99 … |
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Geoffrey Cleans Up $1.99 … |
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To Marry an English Lord or, How Anglomania Really Got Started $15.95 There will always be and England To Marry an English Lord or, How Anglomania Really Got Started…especially in America From the Back of the Book: AMERICAN HEIRESSES TAKE ON THE PEERAGE In 1895, nine American girls, including a Vanderbilt (railroads), LaRoche (pharmaceuticals), Rogers (oil) and Whitney (New York trolleys), married peers of the British realm among them, a duke, an earl, three baron… |
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A middle sort of wickedness: Property, law, and the subversion of patriarchy in Farquhar’s drama. $49.99 In George Farquhar’s plays, English inheritance laws drive plots, and characters’ concerns are connected to the holding and distribution of property including estates, titles, successions, marriage settlements, and inheritances. Clearly Farquhar’s intention is to write comedy rather than expound on legal treatises. Nevertheless, literature and law share a common bond: both accept concepts of fiction. With the paradox that is comedy, a great deal of laughter stems from the dry realities of inheritance laws, which Farquhar houses within fictitious plots. In The Constant Couple, male rivalry erupts between Sir Harry Wildair (a baronet), Vizard (a theology student), and Standard (a soldier) over Lurewell (an heiress posing as a courtesan). Wildair, however, gains the advantage because he holds an estate. Sibling rivalry causes conflict in The Twin-Rivals as Benjamin Wou’dbe (the younger son of Lord Wou’dbe) plots to steal the estate of his twin brother, Hermes, who is first born—and thus heir. Heiresses, Melinda and Silvia, are instrumental in changing the plot lines of The Recruiting Officer. Rather than becoming mistresses of Worthy (a man of property) and Plume (an army captain), the women are given the power to secure firm marriage offers. In The Beaux Stratagem, Aimwell (a younger brother) pretends to be his rich, titled, and elder brother in a scheme to attract a wealthy bride. If the stratagem succeeds, Aimwell and his best friend Archer (another younger brother) may avoid the necessity of military enlistment. The gentry as property holders secure prominent roles in the plays; however, neither property holders nor the laws that endow them are immune from Farquhar’s critique. As Farquhar’s plays progress the roles of men in the professions gain a status on par with men of property. Arguably Farquhar’s changing focus reflects an English sociopolitical shift that the playwright would have continued to address if he had not died so young. |
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A middle sort of wickedness: Property, law, and the subversion of patriarchy in Farquhar’s drama. $49.99 In George Farquhar’s plays, English inheritance laws drive plots, and characters’ concerns are connected to the holding and distribution of property including estates, titles, successions, marriage settlements, and inheritances. Clearly Farquhar’s intention is to write comedy rather than expound on legal treatises. Nevertheless, literature and law share a common bond: both accept concepts of fiction. With the paradox that is comedy, a great deal of laughter stems from the dry realities of inheritance laws, which Farquhar houses within fictitious plots. In The Constant Couple, male rivalry erupts between Sir Harry Wildair (a baronet), Vizard (a theology student), and Standard (a soldier) over Lurewell (an heiress posing as a courtesan). Wildair, however, gains the advantage because he holds an estate. Sibling rivalry causes conflict in The Twin-Rivals as Benjamin Wou’dbe (the younger son of Lord Wou’dbe) plots to steal the estate of his twin brother, Hermes, who is first born—and thus heir. Heiresses, Melinda and Silvia, are instrumental in changing the plot lines of The Recruiting Officer. Rather than becoming mistresses of Worthy (a man of property) and Plume (an army captain), the women are given the power to secure firm marriage offers. In The Beaux Stratagem, Aimwell (a younger brother) pretends to be his rich, titled, and elder brother in a scheme to attract a wealthy bride. If the stratagem succeeds, Aimwell and his best friend Archer (another younger brother) may avoid the necessity of military enlistment. The gentry as property holders secure prominent roles in the plays; however, neither property holders nor the laws that endow them are immune from Farquhar’s critique. As Farquhar’s plays progress the roles of men in the professions gain a status on par with men of property. Arguably Farquhar’s changing focus reflects an English sociopolitical shift that the playwright would have continued to address if he had not died so young. |