"The Diagnosis" had ten drafts of very significant changing, where I went through the whole book, wholesale and changed everything. Then the last year or so it was making small changes. I would do something and let it sit for three months... just brood about and decide I needed to slightly change something here or there. Or one character wasn't quite right. But I think everybody goes through this.
The ultimate foundation of honor is the conviction that moral character is unalterable: a single bad action implies that future actions of the same kind will, under similar circumstances, also be bad.
America, we weaken our ties when we allow our political dialogue to become so corrosive that people of good character aren't even willing to enter into public service; so coarse with rancor that Americans with whom we disagree are seen not just as misguided but as malevolent. We weaken those ties when we define some of us as more American than others, when we write off the whole system as inevitably corrupt, and when we sit back and blame the leaders we elect without examining our own role in electing them.
Our Bible reveals to us the character of our god with minute and remorseless exactness... It is perhaps the most damnatory biography that exists in print anywhere. It makes Nero an angel of light and leading by contrast.
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!
It is the duty of men to judge men only by their actions. Our faculties furnish us with no means of arriving at the motive, the character, the secret self. We call the tree good from its fruits, and the man, from his works.
The future success of our nation depends on our ability to understand the difference between right and wrong and to have the strength of character to make the right choices.
As men get on in life, they acquire a love for sincerity, and somewhat less solicitude to be lulled or amused. In the progress ofthe character, there is an increasing faith in the moral sentiment, and a decreasing faith in propositions.
For how shall we fill people with blind faith in the correctness of a doctrine, if we ourselves spread uncertainty and doubt by constant changes in its outward structure? ...Here, too, we can learn by the example of the Catholic Church. Though its doctrinal edifice, and in part quite superfluously, comes into collision with exact science and research, it is none the less unwilling to sacrifice so much as one little syllable of its dogmas... it is only such dogmas which lend to the whole body the character of a faith.
What moralists describe as the mysteries of the human heart are solely the deceiving thoughts, the spontaneous impulses of self-regard. The sudden changes in character, about which so much has been said, are instinctive calculations for the furtherance of our own pleasures. Seeing himself now in his fine clothes, his new gloves and shoes, Eugène de Rastignac forgot his noble resolve. Youth, when it swerves toward wrong, dares not look in the mirror of conscience; maturity has already seen itself there. That is the whole difference between the two phases of life.
As a creator of character his peculiarity is that he creates wherever his eyes rest ... With such a power at his command Dickens made his books blaze up, not by tightening the plot or sharpening the wit, but by throwing another handful of people upon the fire.
Society gains nothing whilst a man, not himself renovated, attempts to renovate things around him; he has become tediously good insome particular but negligent or narrow in the rest; and hypocrisy and vanity are often the disgusting result.
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.
It was understood that nothing of a tender nature could possibly be confided to old Barley, by reason of his being totally unequal to the consideration of any subject more psychological than gout, rum, and purser's stores.