The Superior Man has nothing to compete for. But if he must compete, he does it in an archery match, wherein he ascends to his position, bowing in deference. Descending, he drinks the ritual cup.
For me, intrigue is a pretty powerful emotion. If you want to know more about a character, if you want to understand how they work, then you have enough curiosity to delve into their skin and their being. That was the biggest pull for me.
Time has a doomsday book, upon whose pages he is continually recording illustrious names. But as often as a new name is written there, an old one disappears. Only a few stand in illuminated characters never to be effaced.
I am a very religious person, so it is the presence of God, the constant unwavering, unrelenting presence of God which continues to help me to keep a character which I am proud to show.
Woe betide him, and her too, when it comes to things of consequence, when they are placed in circumstances requiring fortitude and strength of mind, if she have not resolution enough to resist idle interference ... It is the worst evil of too yielding and indecisive a character, that no influence over it can be depended on. You are never sure of a good impression being durable; everybody may sway it. Let those who would be happy be firm.
No one should be judged by their defects. The great virtues a person has are his or her especially. But their errors are the common weakness of humanity and should never be counted in estimating a person’s 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.
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.
As many know, the Chinese expression for "crisis" consists of two characters side by side. The first is the symbol for "danger," the second the symbol for "opportunity."
The magnanimous know very well that they who give time, or money, or shelter, to the stranger--so it be done for love, and not forostentation--do, as it were, put God under obligation to them, so perfect are the compensations of the universe.
I'm not comfortable being around too many people. I don't like being out in public too much. I don't like going to bars. I don't like doing celebrity stuff. So most of the characters I play are people who don't always feel comfortable beyond their small circle of friends.