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Enjoy this classic work today. These selected paragraphs distill the contents and give you a quick look inside Armorel of Lyonesse A Romance of To-day:
Look inside the book:
The girl, I say, saw this sight every day: she never tired of it, partly because no one ever tires of the place in which he was born and has lived—not even an Arab of the Great Sandy Desert; partly because the sea, which has been called, by unobservant poets, unchanging, does in fact change—face, colour, mood, even shape—every day, and is never the same, except, perhaps, when the east wind of March covers the sky with a monotony of grey, and takes the colour out of the face of ocean as it takes the colour from the granite rocks, last year's brown and yellow fern, and the purple heath. ...But it was a very old house, save for the square projecting window, which had been added recently—say thirty or forty years ago—a long, low house of two storeys, simply built; it stands half-way up the hill which slopes down to the water's edge; it is protected from the north and north-east winds, which are the deadliest enemies to Scilly, partly by the hill behind and partly by a spur of grey rock running like an ancient Cyclopean wall down the whole face of the hill into the sea, where for many a fathom it sticks out black teeth, round which the white surge rises and tumbles, even in the calmest time.
About Walter Besant, the Author:
Thereafter Besant continued to write voluminously by himself, his main novels being All in a Garden Fair (which Rudyard Kipling credited in Something of Myself with inspiring him to leave India and make a career as a writer), Dorothy Forster (his own favorite), Children of Gibeon, and All Sorts and Conditions of Men. ...John Goode, 'The Art of Fiction: Walter Besant and Henry James,' in David Howard, John Lucas, and John Goode, eds., Tradition and Tolerance in Nineteenth-Century Fiction: Critical Essays on Some English and American Novels (London: Routledge and Kegan Paul, 1966).