Hester gazed after him a little while, looking with a half-fantastic curiosity to see whether the tender grass of early spring would not be blighted beneath him, and show the wavering track of his footsteps, sere and brown, across its cheerful verdure. She wondered what sort of herbs they were, which the old man was so sedulous to gather.
As she followed his finger her eyes lit upon the stars instead, and now he said, "There, there!" pointing to Orion, and now "Here, here!" lighting upon Aldebrande. As she followed his finger her thoughts were on their own paths, thinking, "This is Julien as he will be, not as I have known him." The soldier had been a wanderer like herself, a half-fantastic being.
Yet, again, it was a half-fantastic prayer, because, from childhood upwards, visions that she had no power to mistrust, and the voices which sounded in her ear for ever, had long since persuaded her mind, that for her no such prayer could be granted. Too well she felt that her mission must be worked out to the end, and that the end was now at hand. All went wrong from this time.
Yet, again, it was a half-fantastic prayer, because, from childhood upward, visions that she had no power to mistrust, and the voices which sounded in her ear for ever, had long since persuaded her mind that for her no such prayer could be granted. Too well she felt that her mission must be worked out to the end, and that the end was now at hand. All went wrong from this time.
Primitive Love found its poet in Longus the Greek, with his "Daphnis and Chloe"; but who has given us Modern Love? Not Meredith himself, despite his sonnets; though "The Egoist" is a terrible analysis of a modern lover, as saddening as the "Modern Lover" of George Moore. The poets are ill guides to love. Their passions are half-fantastic, if not of imagination all compact.
We trace in 'Bressant' the same intense yearning after a high and spiritual life, the same passionate love of nature, the same subtlety and delicacy of remark, and also a little of the same tendency to indulge in the use of a half-weird, half-fantastic imagery." From the New York Times. "'Bressant' is, then, a work that demonstrates the fitness of its author to bear the name of Hawthorne.
And such was his conception of loyalty to Rickman's, that he generally paid for these excesses out of his own pocket, so that conscience was satisfied both ways. Therefore there had been no moral element in his dislike to Rickman's; he had shrunk from it with the half-fantastic aversion of the mind, not with this sickening hatred of the soul.