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The excerpt represents the core issue or deciding factor on which you must meditate, and is drawn from Travels with a Donkey in the Cevenne by Robert Louis Stevenson: heaven, and cast great ungainly splashes of shadow and sunlight
over the scene.
Luc itself was a straggling double file of houses wedged between
hill and river. It had no beauty, nor was there any notable
feature, save the old castle overhead with its fifty quintals of
brand-new Madonna. But the inn was clean and large. The kitchen,
with its two box-beds hung with clean check curtains, with its wide
stone chimney, its chimney-shelf four yards long and garnished with
lanterns and religious statuettes, its array of chests and pair of
ticking clocks, was the very model of what a kitchen ought to be; a
melodrama kitchen, suitable for bandits or noblemen in disguise.
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