Old Mr. Rarx was not a pleasant man to look at, nor yet to talk to, or to be with, for no one could help seeing that he was a sordid and selfish character, and that he had warped further and further out of the straight with time.
Indeed the worthy housewife was of such a capricious nature, that she not only attained a higher pitch of genius than Macbeth, in respect of her ability to be wise, amazed, temperate and furious, loyal and neutral in an instant, but would sometimes ring the changes backwards and forwards on all possible moods and flights in one short quarter of an hour; performing, as it were, a kind of triple bob major on the peal of instruments in the female belfry, with a skilfulness and rapidity of execution that astonished all who heard her.
There is no telling what a human character is. Until the test comes. To most of us the test comes early in life. A man is confronted quite soon with the necessity to stand on his own feet, to face dangers and difficulties and to take his own line of dealing with them. It may be the straight way, it may be the crooked way --- whichever it is, a man usually learns early just what he is made of.
But the novels of women were not affected only by the necessarily narrow range of the writer's experience. They showed, at least in the nineteenth century, another characteristic which may be traced to the writer's sex. In Middlemarch and in Jane Eyre we are conscious not merely of the writer's character, as we are conscious of the character of Charles Dickens, but we are conscious of a woman's presence of someone resenting the treatment of her sex and pleading for its rights.
In a militia, the character of the laborer, artificer, or tradesman, predominates over that of the soldier: in a standing army, that of the soldier predominates over every other character.
That perhaps is your task--to find the relation between things that seem incompatible yet have a mysterious affinity, to absorb every experience that comes your way fearlessly and saturate it completely so that your poem is a whole, not a fragment; to re-think human life into poetry and so give us tragedy again and comedy by means of characters not spun out at length in the novelist's way, but condensed and synthesized in the poet's way--that is what we look to you to do now.
It's never really fun to have to cry in a scene, or anything like that. I just try to put myself in the characters position, and that helps. It's never really fun, but at the same time, if you're having a really bad day, it's a great way to get out all of your frustration by doing a really angry or sad scene. That's always a good release.
Be thou incapable of change in that which is right, and men will rely upon thee. Establish unto thyself principles of action; and see that thou ever act according to them. First know that thy principles are just, and then be thou.
There never was a strong character that was not made strong by discipline of the will; there never was a strong people that did not rank subordination and discipline among the signal virtues. Subjection to moods is the mark of a deteriorating morality. There is no baser servitude than that of the man whose caprices are his masters, and a nation composed of such men could not long preserve its liberties.
One thing about this face was very strange and startling. You could not look upon it in its most cheerful mood without feeling that it had some extraordinary capacity of expressing terror. It was not on the surface. It was in no one feature that it lingered. You could not take the eyes or mouth, or lines upon the cheek, and say, if this or that were otherwise, it would not be so. Yet there it always lurked-something for ever dimly seen, but ever there, and never absent for a moment.
So long as the spectator has to figure out the meaning of this or that person, or the presuppositions of this or that conflict of inclinations and purposes, he cannot become completely absorbed in the activities and sufferings of the chief characters or feel breathless pity and fear.
Wit makes its own welcome, and levels all distinction. No dignity, no learning, no force of character, can make any stand against good wit. It is like ice, on which no beauty of form, no majesty of carriage, can plead any immunity; they must walk gingerly, according to the laws of ice, or down they must go, dignity and all.
Be sure the safest rule is that we should not dare to live in any scene in which we dare not die. But, once realise what the true object is in life that it is not pleasure, not knowledge, not even fame itself, 'that last infirmity of noble minds' but that it is the development of character, the rising to a higher, nobler, purer standard, the building-up of the perfect Man and then, so long as we feel that this is going on, and will (we trust) go on for evermore, death has for us no terror; it is not a shadow, but a light; not an end, but a beginning!