“The first man he came to was running about in a great hurry, as if his thoughts were several yards in advance of his body, which they could never drag on fastt enough.”

“How strange and god-like was a composer's power, who from the grave could lead through sequences of emotion, which he alone had felt at first, a girl like her who had never heard of his name, and never would have a clue to his personality.”

“Suddenly an unexpected series of sounds began to be heard in this place up against the starry sky. They were the notes of Oak´s flute. It came from the direction of a small dark object under the hedge - a shephard´s hut - now presenting an outline to which an unintiated person might have been puzzled to attach either meaning or use. ... Being a man not without a frequent consciousness that there was some charm in this life he led, he stood still after looking at the sky as a useful instrument, and regarded it in an appreciative spirit, as a work of art superlatively beautiful. For a moment he seemed impressed with the speaking loneliness of the scene, or rather with the complete abstraction from all its compass of the sights and sounds of man. ... Oak´s motions, though they had a quiet energy, were slow, and their deliberateness accorded well with his occupation. Fitness being the basis of beauty, nobody could have denied tha his steady swings and turns in and about the flock had elements of grace. His special power, morally, physically, and mentally, was static. ... Oak was an intensely human man: indee, his humanity tore in pieces any politic intentions of his which bordered on strategy, and carried him on as by gravitation. A shadow in his life had always been that his flock should end in mutton - that a day could find a shepherd an arrant traitor to his gentle sheep.”

“A man's body is as the shell, or the tablet, of his soul, as he is reserved or ingenuous, overflowing or self-contained.”

“Or, to state his character as it stood in the scale of public opinion, when his friends and critics were in tantrums, he was considered rather a bad man; when they were pleased, he was rather a good man; when they were neither, he was a man whose moral colour was a kind of pepper-and-salt mixture.”

“This night the woman of his belittling deprecations was thinking how great and good her husband was. But over them both there hung a deeper shade than the shade which Angel Clare perceived, namely, the shade of his own limitations. With all his attempted independence of judgment this advanced and well-meaning young man, a sample product of the last five-and-twenty years, was yet the slave to custom and conventionality when surprised back into his early teachings. No prophet had told him, and he was not prophet enough to tell himself, that essentially this young wife of his was as deserving of the praise of King Lemuel as any other woman endowed with the same dislike of evil, her moral value having to be reckoned not by achievement but by tendency. Moreover, the figure near at hand suffers on such occasions, because it shows up its sorriness without shade; while vague figures afar off are honoured, in that their distance makes artistic virtues of their stains. In considering what Tess was not, he overlooked what she was, and forgot that the defective can be more than the entire.”

“He Looked and smelt like Autumn's very brother, his face being sunburnt to wheat-colour, his eyes blue as corn-flowers, his sleeves and leggings dyed with fruit-stains, his hands clammy with the sweet juice of apples, his hat sprinkled with pips, and everywhere about him the sweet atmosphere of cider which at its first return each season has such an indescribable fascination for those who have been born and bred among the orchards.”