How we cite our quotes: Citations follow this format: (Chapter.Paragraph)
Quote #4
"I [Richard] was born into this unfinished contention with all its chances and changes, and it began to unsettle me before I quite knew the difference between a suit at law and a suit of clothes; and it has gone on unsettling me ever since; and here I am now, conscious sometimes that I am but a worthless fellow to love my confiding cousin Ada."
We were in a solitary place, and he put his hands before his eyes and sobbed as he said the words.
"Oh, Richard!" said I. "Do not be so moved. You have a noble nature, and Ada's love may make you worthier every day."
"I know, my dear," he replied, pressing my arm, "I know all that. You mustn't mind my being a little soft now, for I have had all this upon my mind for a long time, and have often meant to speak to you, and have sometimes wanted opportunity and sometimes courage. I know what the thought of Ada ought to do for me, but it doesn't do it. I am too unsettled even for that. I love her most devotedly, and yet I do her wrong, in doing myself wrong, every day and hour." (23.38-45)
Many of the characters in the novel have opportunities to figure out key things about themselves. Richard is totally self-aware and knows what an idiotic and useless life he is leading, but he still can't stop. Why are characters who understand their problem still not able to solve it?
Quote #5
"So, Miss Summerson," [Mrs. Woodcourt] would say to me with stately triumph, "this, you see, is the fortune inherited by my son. Wherever my son goes, he can claim kindred with Ap-Kerrig. He may not have money, but he always has what is much better--family, my dear." (30.4)
Esther is frequently being made to feel bad about various aspects of herself – here because of her questionable birth and parents. Is this a way to tone down how totally and unrealistically perfect her character is?
Quote #6
"My little woman, why do you look at me in that way? Pray don't do it."
"I can't help my looks," says Mrs. Snagsby, "and if I could I wouldn't."
Mr. Snagsby, with his cough of meekness, rejoins, "Wouldn't you really, my dear?" and meditates. Then coughs his cough of trouble and says, "This is a dreadful mystery, my love! [...] Don't for goodness' sake speak to me with that bitter expression and look at me in that searching way! I beg and entreat of you not to do it. Good Lord, you don't suppose that I would go spontaneously combusting any person, my dear?"
"I can't say," returns Mrs. Snagsby.
On a hasty review of his unfortunate position, Mr. Snagsby "can't say" either. He is not prepared positively to deny that he may have had something to do with it. He has had something--he don't know what--to do with so much in this connexion that is mysterious that it is possible he may even be implicated, without knowing it, in the present transaction. [...] Mr. Snagsby casts his eye forlornly round the bar, gives Messrs. Weevle and Guppy good morning, assures them of the satisfaction with which he sees them uninjured, and accompanies Mrs. Snagsby from the Sol's Arms. Before night his doubt whether he may not be responsible for some inconceivable part in the catastrophe which is the talk of the whole neighbourhood is almost resolved into certainty by Mrs. Snagsby's pertinacity in that fixed gaze. His mental sufferings are so great that he entertains wandering ideas of delivering himself up to justice and requiring to be cleared if innocent and punished with the utmost rigour of the law if guilty. (23.15-37)
Snagsby is probably the best evidence for how heavy a layer of surveillance, dread, and general self-policing lies over the world of this novel. He is totally confused about what is going on, but even his confusion somehow transforms itself into feelings of guilt (as opposed to, say, curiosity).