The difference between the most dissimilar characters, between a philosopher and a common street porter, for example, seems to arise not so much from nature, as from habit, custom, and education.
My ability to adapt has always stood out. I've been immersed in many worlds and have had the influence of many things in my upbringing so I'm familiar with so many styles of living, so many characters, so many life paths and its just easy to simulate for me.
WRATH, n. Anger of a superior quality and degree, appropriate to exalted characters and momentous occasions; as, "the wrath of God," "the day of wrath," etc. . . .
There is need of a sound body, and even more need of a sound mind. But above mind and above body stands character-the sum of those qualities which we mean when we speak of a man's force and courage, of his good faith and sense of honor.
One must keep one's character. Earn a character first if you can, and if you can't, then assume one. From the code of morals I have been following and revising and revising for 72 years I remember one detail. All my life I have been honest - comparatively honest. I could never use money I had not made honestly - I could only lend it.
In order to contract, It is necessary first to expand. In order to weaken, It is necessary first to strengthen. In order to destroy, It is first necessary to promote. In order to grasp, It is necessary first to give. This is called subtle light. The weak and the tender overcome the hard and the strong.
We read Charlotte Bronte not for exquisite observation of character - her characters are vigorous and elementary; not for comedy - hers is grim and crude; not for a philosophic view of life - hers is that of a country parson's daughter; but for her poetry. Probably that is so with all writers who have, as she has, an overpowering personality, so that, as we say in real life, they have only to open the door to make themselves felt.
The myriad-minded man, our, and all men's, Shakespeare, has in this piece presented us with a legitimate farce in exactest consonance with the philosophical principles and character of farce, as distinguished from comedy and from entertainments. A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.
When you do a play, you have all this time to rehearse and grow into the character. In television, even though you're waiting and waiting and waiting, once you're actually on set engaging in the scene with another actor, time is of the essence.
I'm very interested in compassion - compassion for oneself and others. I write about very complicated characters and experiences and try to do it without judging the character or the action.
We now demand the light artillery of the intellect; we need the curt, the condensed, the pointed, the readily diffused - in place of the verbose, the detailed, the voluminous, the inaccessible. On the other hand, the lightness of the artillery should not degenerate into pop-gunnery - by which term we may designate the character of the greater portion of the newspaper press - their sole legitimate object being the discussion of ephemeral matters in an ephemeral manner.
There is something indefinably keen and wan about her anatomy, and she has a watchful way of looking out of the corners of her eyes without turning her head which could be pleasantly dispensed with, especially when she is in an ill humour and near knives. Through all the good taste of her dress and little adornments, these objections so express themselves that she seems to go about like a very neat she-wolf imperfectly tamed.
What then remains, but well our power to use,
And keep good-humor still whate'er we lose?
And trust me, dear, good-humor can prevail,
When airs, and flights, and screams, and scolding fail.