By Anne Perry
On a patrol boat close to Waterloo Bridge, police superintendent William Monk notices a tender couple engaged in an severe dialogue. Seconds later, the 2 plunge to their deaths within the icy waters of the Thames. used to be it an twist of fate, a suicide, or a homicide? Ever the investigator, Monk learns that the girl, Mary Havilland, had deliberate to marry the fair-haired guy who shared her destiny. He additionally discovers that Mary’s father had lately died in a meant suicide. yet Mary’s neighbors proportion their very own darks suspicions with Monk, who now faces the mysteries surrounding three deaths. Aided through his intrepid spouse, Hester, Monk searches for solutions. From sumptuous drawing rooms the place robust males hatch their unscrupulous plots, to the sewers underneath the town the place bad people struggle crippling poverty, Monk needs to attach the clues earlier than loss of life moves again.
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Extra resources for Dark Assassin (William Monk, Book 15)
30 If flesh enslaves or corrupts, the implication is that there is something there to be enslaved and corrupted: some part of the self that is not flesh. 31 The Augustinian formula of an ‘inner’ and ‘outer’ man was widely used throughout the Middle Ages to evoke a sense of the self, fractured and polarised by sin. The outer and inner man,Augustine said, are like Adam and Christ. Where one signifies corruptible, fallen humanity, the other holds the promise of man’s 24 S I G H T A N D E M B O D I M E N T I N T H E M I D D L E AG E S renewal in the ‘image and likeness of God’.
And as the embodiment of the flesh, Eve was united in nature and purpose with the serpent. 15 Not just because we are tempted by sensual pleasures as Eve was tempted by the serpent, but because sensuality is a movement. 17 In fact, in The Trinity the serpent provides Augustine with an image of the fall:‘the slippery movement of falling away [from the good] takes possession of the careless little by little . 19 In other words, because bodily sensations are (for the most part) pleasurable, the sensitive soul is drawn towards the source of those sensations.
22 In this sense, the ‘fall’ of vision describes the slippery—one might say serpentine—descent of the body and soul, from their original condition of complementarity to their present state of fleshly discord. The fleshly eye, then, is the eye held in thrall by earthly delights, and moved by sensual desires.