Tess Journal Entry #2
Pages 18 through 30 seem to discuss an assortment of themes, such as rationalism versus emotion, and religion/societal pressure versus sexuality. At the risk of sounding arrogant/nasty/evil - all hail Hardy! Master of the hackneyed clichee! Gah.
This passage discusses the relation (and conflict), between rationality and emotion. It seems to be suggested in "...days before the habit of taking long views had reduced emotions to a monotonous average." (Hardy 19) "Long views" might refer to lengthy, logical analysis (suggested as well in the description of the area earlier on in this passage), which reduces emotions to an expected, uninspired dimness. This is pretty ironic, since so far Hardy's work has brought about little else. Maybe the concepts weren't obvious at the time. Still, to quote a slightly less famous/noteworthy (?) source, the online comic "Sluggy Freelance":

First character: "Some jokes never get old."
Second character: "Others are born that way."

Hardy first mentions Tess as being "untinctured by experience" (Hardy 21), and then writes, "Phases of her [Tess'] childhood lurked in her aspect still." (Hardy 22) It seems that there's a line drawn between childhood and 'real experience'. Childhood is more of a constructive stage, while 'real experience' is a 'selective' and deconstructive one - growth and decline. A tie-in with emotion and rationalism also presents itself. This procession of (mostly) young girls, notably self-conscious (Hardy 20), seems to be representative of the 'top of the hill', or the approach to such a point. A major feature of adolescence is criticizing oneself, particularly in accord with societal norms. Hardy speaks of the "ideal and real [clashing] slightly" (Hardy 19), and seems to mean the tiny hopes and dreams that each of the girls carry with them. A whole slew of young individuals waiting to be cut down by dreary life. Gee. I love this book. Thin, Dirtied Chicken Broth for the Battered, Depressed, Disillusioned British Facsimile of a Soul.

The character Angel is introduced. My brilliant deductive skills alert me that he will be vitally important to the plot, for his refusal to follow his father's religious dogma and expectations. ... actually, I just flipped ahead and noticed that. But I'll pretend it's insight, mmkay? He's walking down the road with his friends, who reference A Counterblast to Agnosticism, etc. etc. Angel insists on stopping to dance for five minutes, because he's just cool like that. Coming Summer 2002: "How Angel Got His Groove Back". Ahem. He's eventually drawn away/reminded of his promise to Felix by the

CHURCH BELLS

(Ah! Hardy's subtle sledgehammer blows of symbolism are striking me!), but pauses to

FORESHADOW

, I mean, notice Tess and ponder what large orbs (Hardy 24) she has. ... Her eyes! He means her eyes!