Chapter 16: I liked the heroine putting faith in her man, except for the small fact she stands little to lose by doing so. The opera love scene really confused me although it's prettily written. There is no transition between the ride home and their arrival at Miranda's house.
Chapter 9 -- I see where the author was going in this chapter, but it still came across a bit sloppy and rough. This struck me as odd since much of the storytelling's been so smooth if a tad fast-paced.
Chapter 8: Smite finally feeds his undernourished love interest and feels well enough following his ordeal to initiate lovemakeing with her. He is promptly refused and is quite a gentleman about it. They say good-bye civilly, and not a mention of Miranda's business at the jailhouse.
Chapter 7: Miranda is willing to walk away from jail without ever finding out what may have happened to her missing friend because Smite is claustrophobic? Seriously? No, SERIOUSLY? Geez. These are the most artificial characters I've ever read.
Chapter 5 & 6: Interesting 2ndary characters are developing; there's an obvious gay male couple in the background trying to keep their romance a secret. A lot of the social interaction going on in the story strikes me as far-fetched. Beautiful language, but characters feel unrealized.
Chapter 4: Smite and Dalrymple sound more like ex-lovers than ex-friends. The MC's are more American than British in many of their attitudes. Smite's inconsistent attitudes towards class are confusing. He scorns aristocracy for not working and he suspects poor women of "acting guilty." His "perfect memory" is a bit too perfect; he sounds like a computer.
Chapter 3: I find the attraction and sexual tension between Smite and Miranda a tad too obvious. I liked how Milan incorporated various scenes and characters into this chapter, but ... Miranda's a little too good and too know-it-all. World-building could be better. There's enough, but barely enough.