“To persons standing alone on a hill during a clear midnight such as this, the roll of the world eastward is almost a palpable movement. The sensation may be caused by the panoramic glide of the stars past earthly objects, which is perceptible in a few minutes of stillness, or by the better outlook upon space that a hill affords, or by the wind, or by the solitude; but whatever be its origin the impression of riding along is vivid and abiding. The poetry of motion is a phrase much in use, and to enjoy the epic form of that gratification it is necessary to stand on a hill at a small hour of the night, and, having first expanded with a sense of difference from the mass of civilized mankind, who are dreamwrapt and disregardful of all such proceedings at this time, long and quietly watch your stately progress through the stars. After such a nocturnal reconnoitre it is hard to get back to earth, and to believe that the consciousness of such majestic speeding is derived from a tiny human frame.”

“[She] soon perceived that as she walked in the flock, sometimes with this one, sometimes with that, that the fresh night air was producing staggerings and serpentine courses among the men who had partaken too freely; some of the more careless women were also wandering in their gait. . . . Yet however terrestrial and lumpy their appearance just now to the mean unglamoured eye, to themselves the case was different. They followed the road with a sensation that they were soaring along in a supporting medium, possessed of original and profound thoughts, themselves and surrounding nature forming an organism of which all the parts harmoniously and joyously interpenetrated each other. They were as sublime as the moon and stars above them, and the moon and stars were as ardent as they.”

“Of love it may be said, the less earthly the less demonstrative. In its absolutely indestructible form it reaches a profundity in which all exhibition of itself is painful.”

“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.”

“On Egdon there was no absolute hour of the day. The time at any moment was a number of varying doctrines professed by the different hamlets, some of them having originally grown up from a common root, and then become divided by secession, some having been alien from the beginning. West Egdon believed in Blooms-End time, East Egdon in the time of the Quiet Woman Inn. Grandfer Cantle's watch had numbered many followers in years gone by, but since he had grown older faiths were shaken. Thus, the mummers having gathered here from scattered points, each came with his own tenets on early and late; and they waited a little longer as a compromise.”

“It was still early, and the sun's lower limb was just free of the hill, his rays, ungenial and peering, addressed the eye rather than the touch as yet.”

“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.”