Simul astu et dentibus utor.
I use my cunning and my teeth simultaneously.

Scribit in marmore læsus.
The injured man writes in marble.

Quod huic deest me torquet.
What this creature lacks torments me.

Ei, qui semel sua prodegerit, aliena credi non oportere.
He who has once squandered his own, ought not to be trusted with another's.

This article analyses portrayals of Scottish female herring workers on the covers of romance novels and investigates how far these representations conform to, or subvert, the genre of romantic fiction. Covers are analysed to establish whether they accurately portray Scottish female herring workers at their labour. If romanticisation of the women's working role is evident, the ways in which this manifests itself and the possible reasons for this romanticisation are examined. Composition of images and the mise-en-scene of covers are analysed, as well as aspects concerning the narratives of the novels, and elements of herring processing work that are noticeably absent in the depictions are also considered. These elements excluded from the covers are examined through theory relating to the abject in an attempt to ascertain whether the covers potentially provide models of female empowerment for the reader.

Several factors may contribute to GSA. People commonly rank faces similar to their own as more attractive, trustworthy, etc. than average... Shared interests and personality traits are commonly considered desirable in a mate... In cases of parent-child attraction, the parent may recognize traits of their sometime mate in the child. Such reunions typically produce complex emotions in all involved.

Students of the Westermarck effect may be interested to know that this trap is depicted in the novel Frankenstein by Mary Shelley, in which Victor Frankenstein is expected to marry a cousin reared with him. Instead, he creates a monster that persecutes him and murders his prospective bride before the marriage can be consummated. It is suggested that the plot owes something to Mary Shelley's own experience of the Westermarck effect, following a childhood in which she was reared with a stepbrother. Her own personal solution was not to create a monster but to elope with a married man (Percy Bysshe Shelley) at the age of 16.