Do not do an immoral thing for moral reasons.
THOMAS HARDYIndifference to fate which, though it often makes a villain of a man, is the basis of his sublimity when it does not.
More Thomas Hardy Quotes
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We colour and mould according to the wants within us whatever our eyes bring in.
THOMAS HARDY -
Remember that the best and greatest among mankind are those who do themselves no worldly good. Every successful man is more or less a selfish man. The devoted fail.
THOMAS HARDY -
Women are attracted to silent men. They believe they are listening.
THOMAS HARDY -
Is a woman a thinking unit at all, or a fraction always wanting its integer?
THOMAS HARDY -
But his dreams were as gigantic as his surroundings were small.
THOMAS HARDY -
You have never loved me as I love you–never–never! Yours is not a passionate heart–your heart does not burn in a flame! You are, upon the whole, a sort of fay, or sprite– not a woman!
THOMAS HARDY -
Well, these sad and hopeless obstacles are welcome in one sense, for they enable us to look with indifference upon the cruel satires that Fate loves to indulge in.
THOMAS HARDY -
The first cause worked automatically like a somnambulist, and not reflectively like a sage.
THOMAS HARDY -
The business of the poet and the novelist is to show the sorriness underlying the grandest things and the grandeur underlying the sorriest things.
THOMAS HARDY -
If an offense come out of the truth, better is it that the offense come than that the truth be concealed.
THOMAS HARDY -
A lover without indiscretion is no lover at all.
THOMAS HARDY -
My weakness has always been to prefer the large intention of an unskilful artist to the trivial intention of an accomplished one: in other words, I am more interested in the high ideas of a feeble executant than in the high execution of a feeble thinker.
THOMAS HARDY -
Love is a possible strength in an actual weakness.
THOMAS HARDY -
I may do some good before I am dead–be a sort of success as a frightful example of what not to do; and so illustrate a moral story.
THOMAS HARDY -
There are accents in the eye which are not on the tongue, and more tales come from pale lips than can enter an ear. It is both the grandeur and the pain of the remoter moods that they avoid the pathway of sound.
THOMAS HARDY






