In Conrad's "The Lagoon," single out some of the lines that demonstrate the flowing, rhythmic quality of the prose.
Conrad's prose in a number of his works is remarkable for its rhythmic, flowing qualities, and this is nowhere more apparent than in the initial description of the setting in this story, where he deliberately sets out to create an impression of a place untouched by the ravages of time and where civilisation in the form of white man has had negligible effect. The emphasis in such description is to conjure up a world that is almost Edenic in its presentation. Consider, for example, the following description:
The forests, sombre and dull, stood motionless and silent on each side of the broad stream. At the foot of big, towering trees, trunkless nipa palms rose from the mud of the bank, in bunches of leaves enormous and heavy, that hung unstirring over the brown swirl of eddies. In the stillness of the air every tree, every leaf, every bough, every tendril of creeper and every petal of minute blossoms seemed to have been bewitched into an immobility perfect and final.
The repetition in the final line of the word "every" serves to emphasise the "stillness" and the sense of "bewitched.. immobility" that is said to be "perfect and final." The prose itself lulls the reader into a sense of this stillness through the long sentences, punctuated regularly by commas as if to slow down the reader. The numerous adjectives likewise work to create the rhythmic prose. There are no short, direct sentences that would break up this rhythm. The reader is given the feeling that they are entering a place that is as old as time itself, and Conrad thus prepares the reader for hearing the story-within-a-story that captures the life of Arsat and the conflict that love brings.