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By Johanna Lindsey

"The impossible to resist name of event brings attractive Christina Wakefield to the appealing Arabian barren region. yet destiny imprisons her after she encounters Sheik Abu, the strikingly good-looking although boastful adventurer, whom she had recognized in England as Philip Caxton.

Once Christina had rejected Philip's fervent provide of marriage. yet now she is to be his slave -- determined for the freedoms denied her...yet weakened by means of her heart's blazing wish to willingly discover her virile captor's such a lot sensuous cravings.

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It was but one of many thousands of novelromances in which the little and great writers of the period tested the adaptability of the Waver ley-model to the historical experience of their own nations. The first to employ the Waverley-model successfully was the "American Scott," as James Fenimore Cooper hated to be called, in The Spy (1821) and The Pioneers (1823). Cooper was soon followed by Manzoni in The Betrothed (1827); by Pushkin in The Captain's Daughter (1831) and Adam Mickiewicz in the Polish epic Pan Tadeuz (1834); a n d much later by Tolstoy in The Cossacks (1852).

If, by way of parallel, we call "Tintern Abbey" successively a "conversation poem," an "ode," a "greater romantic lyric," and an "extended epiphanic lyric," we are implicitly surveying the leading characteristics of that poem rather than revealing our own or Wordsworth's confusion about the kind of poem it is. For most literary works, and perhaps all modern ones, display a mixed, eclectic, or "sedimented" character. As Fredric Jameson explains in a brilliant though not always perspicuous essay on romance: The notion of the text as a synchronic unity of structurally contradictory or heterogeneous elements, generic patterns and discourses (what we may call, following Ernst Bloch, the Ungleichzeitigkeit or synchronic "uneven development" within a single textual structure) now suggests that even Frye's notion of displacement can be rewritten as a conflict between the older deep-structural form and the contemporary materials and generic systems in which it seeks to inscribe and to reassert itself.

The Chouans (1829), while vigorous and original in its handling of French settings and the main love story, generally mimes Scott's characteristic historical themes, situations, and plot developments with enthusiastic fidelity. It was but one of many thousands of novelromances in which the little and great writers of the period tested the adaptability of the Waver ley-model to the historical experience of their own nations. The first to employ the Waverley-model successfully was the "American Scott," as James Fenimore Cooper hated to be called, in The Spy (1821) and The Pioneers (1823).

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