Other editions of book The Yellow God. An Idol Of Africa

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Sir Robert Aylward, Bart., M.P., sat in his office in the City of London. It was a very magnificent office, quite one of the finest that could be found within half a mile of the Mansion House. Its exterior was built of Aberdeen granite, a material calculated to impress the prospective investor with a comfortable sense of security. Other stucco, or even brick-built, offices might crumble and fall in an actual or a financial sense, but this rock-like edifice of granite, surmounted by a life-sized statue of Justice with her scales, admired from either corner by pleasing effigies of Commerce and of Industry, would surely endure any shock. Earthquake could scarcely shake its strong foundations; panic and disaster would as soon affect the Bank of England. That at least was the impression which it had been designed to convey, and not without success.

The Yellow God - An Idol of Africa - H. Rider Haggard - World Classics. Sir Henry Rider Haggard, KBE (22 June 1856 – 14 May 1925) was an English writer of adventure novels set in exotic locations, predominantly Africa, and a founder of the Lost World literary genre. He was also involved in agricultural reform throughout the British Empire. His stories, situated at the lighter end of Victorian literature, continue to be popular and influential. Haggard's stories are still widely read today. Ayesha, the female protagonist of She, has been cited as a prototype by psychoanalysts as different as Sigmund Freud (in The Interpretation of Dreams) and Carl Jung. Her epithet "She Who Must Be Obeyed" is used by British author John Mortimer in his Rumpole of the Bailey series as the private name which the lead character uses for his wife, Hilda, before whom he trembles at home (despite the fact that he is a barrister with some skill in court). Haggard's Lost World genre influenced popular American pulp writers such as Edgar Rice Burroughs, Robert E. Howard, Talbot Mundy, Philip José Farmer, and Abraham Merritt. Allan Quatermain, the adventure hero of King Solomon's Mines and its sequel Allan Quatermain, was a template for the American character Indiana Jones, featured in the films Raiders of the Lost Ark, Temple of Doom, Indiana Jones and the Last Crusade, and Kingdom of the Crystal Skull. Quatermain has gained recent popularity thanks to being a main character in the League of Extraordinary Gentlemen. Haggard was praised in 1965 by Roger Lancelyn Green, one of the Oxford Inklings, as a writer of a consistently high level of "literary skill and sheer imaginative power" and a co-originator with Robert Louis Stevenson of the Age of the Story Tellers. The first chapter of his book People of the Mist is credited with inspiring the motto of the Royal Air Force (formerly the Royal Flying Corps), Per ardua ad astra.

This book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature. In an attempt to preserve, improve and recreate the original content, we have worked towards: 1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions. 2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work. We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!