How we cite our quotes: (Chapter.Paragraph)
Quote #1
In less than an hour from that time, Seth Bede was walking by Dinah's side along the hedgerow-path that skirted the pastures and green corn-fields which lay between the village and the Hall Farm. Dinah had taken off her little Quaker bonnet again, and was holding it in her hands that she might have a freer enjoyment of the cool evening twilight, and Seth could see the expression of her face quite clearly as he walked by her side, timidly revolving something he wanted to say to her. It was an expression of unconscious placid gravity—of absorption in thoughts that had no connection with the present moment or with her own personality—an expression that is most of all discouraging to a lover. Her very walk was discouraging: it had that quiet elasticity that asks for no support. Seth felt this dimly; he said to himself, "She's too good and holy for any man, let alone me," and the words he had been summoning rushed back again before they had reached his lips. But another thought gave him courage: "There's no man could love her better and leave her freer to follow the Lord's work." They had been silent for many minutes now, since they had done talking about Bessy Cranage; Dinah seemed almost to have forgotten Seth's presence, and her pace was becoming so much quicker that the sense of their being only a few minutes' walk from the yard-gates of the Hall Farm at last gave Seth courage to speak. (3.1)
Eliot portrays Seth's agonized love for Dinah by focusing on his moments of alternating doubt and courage. Doubt, then courage, then doubt, then courage, then—boy is this dizzying. But there is an underlying sense of certainty, since Seth firmly believes that his love for Dinah and his religious well-being are one and the same.
Quote #2
But as to marrying Adam, that was a very different affair! There was nothing in the world to tempt her to do that. Her cheeks never grew a shade deeper when his name was mentioned; she felt no thrill when she saw him passing along the causeway by the window, or advancing towards her unexpectedly in the footpath across the meadow; she felt nothing, when his eyes rested on her, but the cold triumph of knowing that he loved her and would not care to look at Mary Burge. He could no more stir in her the emotions that make the sweet intoxication of young love than the mere picture of a sun can stir the spring sap in the subtle fibres of the plant. She saw him as he was—a poor man with old parents to keep, who would not be able, for a long while to come, to give her even such luxuries as she shared in her uncle's house. And Hetty's dreams were all of luxuries. (9.4)
Hetty's conception of love is based on materialism, plain and simple. She is not jaded, but she seems incapable of thinking beyond possessions and wealth to value Adam's other virtues. None of that "inner beauty" nonsense for her.
Quote #3
Arthur too was very uneasy, but his feelings were lit up for him by a more distinct consciousness. He hurried to the Hermitage, which stood in the heart of the wood, unlocked the door with a hasty wrench, slammed it after him, pitched Zeluco into the most distant corner, and thrusting his right hand into his pocket, first walked four or five times up and down the scanty length of the little room, and then seated himself on the ottoman in an uncomfortable stiff way, as we often do when we wish not to abandon ourselves to feeling.
He was getting in love with Hetty—that was quite plain. He was ready to pitch everything else—no matter where—for the sake of surrendering himself to this delicious feeling which had just disclosed itself. It was no use blinking the fact now—they would get too fond of each other, if he went on taking notice of her—and what would come of it? (12.50-51)
Arthur is making a conscious effort not to "abandon" himself to his feelings for Hetty. We wish him luck, we really do. Alas, his preoccupation with her, and with the problem she poses, shows just how much she has come to dominate his thoughts.