“Don't mind anything any one tells you about any one else. Judge everyone and everything for yourself.”

“A fig for my opinion! If you fall in love with Mr. Osmond what will you care for that?" "Not much, probably. But meanwhile it has a certain importance. The more information one has about one's dangers the better." "I don't agree to that—it may make them dangers. We know too much about people in these days; we hear too much. Our ears, our minds, our mouths, are stuffed with personalities. Don't mind anything any one tells you about any one else. Judge everyone and everything for yourself.”

“I'm a perfectly equipped failure. (...) 'Thank goodness you're a failure- it's why I so distinguish you! Anything else to-day is too hideous. Look about you- look at the successes. Would you be one, on your honour?”

“The right time is any time that one is still so lucky as to have.”

“Never say you know the last word about any human heart.”

“She [was] . . . one of those convenient types who don't keep you explaining --minds with doors as numerous as the many-tongued clusters of confessionals at St. Peters.”

“There is an old-fashioned distinction between the novel of character and the novel of incident, which must have cost many a smile to the intending romancer who was keen about his work. It appears to me as little to the point as the equally celebrated distinction between the novel and the romance- to answer as little to any reality. There are bad novels and good novels, as there are bad pictures and good pictures; but that is the only distinction in which I see any meaning, and I can as little imagine speaking of a novel of character as I can imagine speaking of a picture of character. When one says picture, one says of character, when one says novel, one says of incident, and the terms may be transposed. What is character but the determination of incident? What is incident but the illustration of character? What is a picture or a novel that is not of character? What else do we seek in it and find in it?”