Dacier sat in an open carriage, facing a slip of bright moon. Poetical
impressions, emotions, any stirrings of his mind by the sensational stamp
on it, were new to him, and while he swam in them, both lulled and
pricked by his novel accessibility to nature's lyrical touch, he asked
himself whether, if he were near the throes of death, the thought of
having Diana Warwick to sit beside his vacant semblance for an hour at
night would be comforting. And why had his uncle specified an hour of
the night? It was a sentiment, like the request: curious in a man so
little sentimental. Yonder crescent running the shadowy round of the
hoop roused comparisons. Would one really wish to have her beside one
in death? In life--ah! But suppose her denied to us in life. Then the
desire for her companionship appears passingly comprehensible. Enter
into the sentiment, you see that the hour of darkness is naturally
chosen. And would even a grand old Pagan crave the presence beside his
dead body for an hour of the night of a woman he did not esteem? Dacier
answered no. The negative was not echoed in his mind. He repeated it,
and to the same deadness.

He became aware that he had spoken for himself, and he had a fit of
sourness. For who can say he is not a fool before he has been tried by a
woman! Dacier's wretched tendency under vexation to conceive grotesque
analogies, anti-poetic, not to say cockney similes, which had slightly
chilled Diana at Rovio, set him looking at yonder crescent with the hoop,
as at the shape of a white cat climbing a wheel. Men of the northern
blood will sometimes lend their assent to poetical images, even to those
that do not stun the mind lie bludgeons and imperatively, by much
repetition, command their assent; and it is for a solid exchange and
interest in usury with soft poetical creatures when they are so
condescending; but they are seized by the grotesque. In spite of efforts