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

“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.”

“They strike one, above all, as giving no account of themselves in any terms already consecrated by human use; to this inarticulate state they probably form, collectively, the most unprecedented of monuments; abysmal the mystery of what they think, what they feel, what they want, what they suppose themselves to be saying.”

“He sat with his yes fixed on hers while she spoke; then he lowered them and attached them to a spot on the carpet as if he were making a strong effort to say nothing but what he ought. He was a strong man in the wrong, and he was acute enough to see that an uncompromising exhibition of his strength would only throw the falsity of his position into relief. Isabel was not incapable of taking any advantage of position over a person of this quality, and though little desirous to flaunt it in his face she could enjoy being able to say 'You know you oughtn't to have written to me yourself!' and to say it with an air of triumph.”

“It was one of the secret opinions, such as we all have, of Peter Brench, that his main success in life would have consisted in his never having committed himself about the work, as it was called, of his friend Morgan Mallow. This was a subject on which it was, to the best of his belief, impossible with veracity to quote him, and it was nowhere on record that he had, in the connexion, on any occasion and in any embarrassment, either lied or spoken the truth. Such a triumph had its honour even for a man of other triumphs--a man who had reached fifty, who had escaped marriage, who had lived within his means, who had been in love with Mrs Mallow for years without breathing it, and who, last but not least, had judged himself once for all.”

“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?”