How we cite our quotes:
Quote #4
First, there was the subject seldom absent from [Arthur's] mind, the question, what he was to do henceforth in life; to what occupation he should devote himself, and in what direction he had best seek it. He was far from rich, and every day of indecision and inaction made his inheritance a source of greater anxiety to him. As often as he began to consider how to increase this inheritance, or to lay it by, so often his misgiving that there was some one with an unsatisfied claim upon his justice, returned; [...] Little Dorrit was a leading and a constant subject: for the circumstances of his life, united to those of her own story, presented the little creature to him as the only person between whom and himself there were ties of innocent reliance on one hand, and affectionate protection on the other; ties of compassion, respect, unselfish interest, gratitude, and pity. Thinking of her, and of the possibility of her father's release from prison by the unbarring hand of death--the only change of circumstance he could foresee that might enable him to be such a friend to her as he wished to be, by altering her whole manner of life, smoothing her rough road, and giving her a home--he regarded her, in that perspective, as his adopted daughter, his poor child of the Marshalsea hushed to rest. (1.16.3)
It's ironic that all Arthur ever wants to do is to protect Amy and give her the kind of life she's never had. Ironic because when they do finally get together, they are poor by choice, and it's she who is taking care of him. He finally starts to see her as she really is – strong and not in need of protection.
Quote #5
It was a charming place (none the worse for being a little eccentric), on the road by the river, and just what the residence of the Meagles family ought to be. It stood in a garden, no doubt as fresh and beautiful in the May of the Year as Pet now was in the May of her life; and it was defended by a goodly show of handsome trees and spreading evergreens, as Pet was by Mr. and Mrs. Meagles. It was made out of an old brick house, of which a part had been altogether pulled down, and another part had been changed into the present cottage; so there was a hale elderly portion, to represent Mr. and Mrs. Meagles, and a young picturesque, very pretty portion to represent Pet. There was even the later addition of a conservatory sheltering itself against it, uncertain of hue in its deep-stained glass, and in its more transparent portions flashing to the sun's rays, now like fire and now like harmless water drops; which might have stood for Tattycoram. (1.16.24)
The Meagleses' house is just what a home ought to be, especially in the 19th century imagination: a snug little middle-class place, well taken care of but not too rigidly constructed. What do you make of the way the architecture is supposed to represent the family members?
Quote #6
He heard the thrill in her voice, he saw her earnest face, he saw her clear true eyes, he saw the quickened bosom that would have joyfully thrown itself before him to receive a mortal wound directed at his breast, with the dying cry, 'I love him!' and the remotest suspicion of the truth never dawned upon his mind. No. He saw the devoted little creature with her worn shoes, in her common dress, in her jail-home; a slender child in body, a strong heroine in soul; and the light of her domestic story made all else dark to him. (1.32.36)
This is more of Arthur looking right past Amy the woman and just seeing sad Little Dorrit, the poor prison girl. The use of the word "domestic" is interesting here – it's like he's so used to conflating Amy with her home (however much he tries not to let himself be biased that way) that he can't imagine what she would be like outside of it.