“He suddenly began to look wretched, much as I had seen him look as a schoolboy: lonely: awkward: unpopular: odd; no longer the self-confident businessman into which he had grown. His face now brought back the days when one used to watch him plodding off through the drizzle to undertake the long, solitary runs across the dismal fields beyond the sewage farms: runs which were to train him for teams in which he was never included.”

“Later in life, I learnt that many things one may require have to be weighed against one's dignity, which can be an insuperable barrier against advancement in almost any direction. However, in those days, choice between dignity and unsatisfied curiosity was less clear to me as a cruel decision that had to be made.”

“Speaking about time’s relentless passage, Powell’s narrator compares certain stages of experience to the game of Russian Billiards as once he used to play it with a long vanished girlfriend. A game in which, he says, “...at the termination of a given passage of time...the hidden gate goes down...and all scoring is doubled. This is perhaps an image of how we live. For reasons not always at the time explicable, there are specific occasions when events begin suddenly to take on a significance previously unsuspected; so that before we really know where we are, life seems to have begun in earnest at last, and we ourselves, scarcely aware that any change has taken place, are careering uncontrollably down the slippery avenues of eternity."”

“He gave me a look of great contempt; as I supposed, for venturing, even by implication, to draw a parallel between a lack of affluence that might, literally, affect my purchase of rare vintages, and a figure of speech intended delicately to convey his own dire want for the bare necessities of life. He remained silent for several seconds, as if trying to make up his mind whether he could ever bring himself to speak to me again; and then said gruffly: 'I've got to go now.”

“For some reason, the sight of snow descending on fire always makes me think of the ancient world – legionaries in sheepskin warming themselves at a brazier: mountain altars where offerings glow between wintry pillars; centaurs with torches cantering beside a frozen sea – scattered, unco-ordinated shapes from a fabulous past, infinitely removed from life; and yet bringing with them memories of things real and imagined. These classical projections, and something in the physical attitudes of the men themselves as they turned from the fire, suddenly suggested Poussin’s scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outwards like the Seasons, moving hand in hand in intricate measure: stepping slowly, methodically, sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seeminly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.”

“She scarcely spoke at all and might have been one of those huge dolls which, when inclined backwards, say "Ma-ma" or "Pa-pa": though impossible to imagine in any position so undignified as that required for the mechanism to produce these syllables.”

“Dom Paulo had not expected to convince him. But it was with a heavy heart that the abbot noticed the plodding patience with which the thon heard him through; it was the patience of a man listening to an argument which he had long ago refuted to his own satisfaction.”