How we cite our quotes: (Part.Paragraph)
Quote #1
Once, when he had been making a synopsis of a paragraph at the blackboard, his English teacher had stepped to his side and attempted to guide his hand. Paul had started back with a shudder and thrust his hands violently behind him. The astonished woman could scarcely have been more hurt and embarrassed had he struck at her. The insult was so involuntary and definitely personal as to be unforgettable. (1.3)
It's totally a power play to try to move someone's hand, but Paul has even more power—the power to hurt her feelings.
Quote #2
Older boys than Paul had broken down and shed tears under that baptism of fire, but his set smile did not once desert him, and his only sign of discomfort was the nervous trembling of the fingers that toyed with the buttons of his overcoat, and an occasional jerking of the other hand that held his hat. (1.4)
This is maybe the most admirable that Paul is ever going to be. He's got a room full of adults trying to break him, and he still manages to keep his cool.
Quote #3
His teachers left the building dissatisfied and unhappy; humiliated to have felt so vindictive toward a mere boy, to have uttered this feeling in cutting terms, and to have set each other on […]. Some of them remembered having seen a miserable street cat set at bay by a ring of tormentors. (1.10)
At least some of the teachers seem to realize how messed up they're being. Still, all the adults in this story need a serious dose of empathy.
Quote #4
He was horribly afraid of rats, so he did not try to sleep, but sat looking distrustfully at the dark, still terrified lest he might have awakened his father. (1.21)
So, it's not too weird that a teenager would get in trouble for coming home late. It's a little freakier that Paul is so terrified of waking up his father that he sits awake all night in a cold, rat-infested basement.
Quote #5
The manager at Carnegie Hall was told to get another usher in his stead; the doorkeeper at the theatre was warned not to admit him to the house; and Charley Edwards remorsefully promised the boy's father not to see him again. (1.35)
Paul maybe shouldn't be so quick to sneer at his father if the dude has this much power. He's managed to take away every single thing that Paul loves—no wonder the kid goes rogue.
Quote #6
Above, about, within it all was the rumble and roar, the hurry and toss of thousands of human beings as hot for pleasure as himself, and on every side of him towered the glaring affirmation of the omnipotence of wealth. (2.48)
This isn't one of those stories where the guy steals the money and then realizes that money isn't actually everything. Nope. Turns out, having money is exactly as awesome as Paul thought it would be.
Quote #7
The Cumberland minister had been interviewed, and expressed his hope of yet reclaiming the motherless lad, and his Sabbath-school teacher declared that she would spare no effort to that end. The rumour had reached Pittsburgh that the boy had been seen in a New York hotel, and his father had gone East to find him and bring him home. (2.56)
At this point, you have to think that Paul would rather be sent off to prison or a work camp or something other than back to the clutches of the very people he's been trying to escape.
Quote #8
When the right moment came, he jumped. As he fell, the folly of his haste occurred to him with merciless clearness, the vastness of what he had left undone. (2.65)
At the last minute, Paul realizes that there just might be other ways to take control of his life than throwing himself in front of a train. Oops. Felt powerless before? Well, how do you feel now that there's a giant train rushing at you?