ZANY, n. A popular character in old Italian plays, who imitated with ludicrous incompetence the _buffone_, or clown, and was therefore the ape of an ape; for the clown himself imitated the serious characters of the play. The zany was progenitor to the specialist in humor, as we to-day have the unhappiness to know him. In the zany we see an example of creation; in the humorist, of transmission. Another excellent specimen of the modern zany is the curate, who apes the rector, who apes the bishop, who apes the archbishop, who apes the devil.
I'm character-driven. If it's a great character and something different; because I find that a lot of the times you do get pigeon-holed, you do get the same characters over and over again because that's what producers are comfortable with. They've seen you do it, they know you can do it. I'm kind of getting a little stir crazy.
Cities force growth and make men talkative and entertaining, but they make them artificial. What possesses interest for us is thenatural of each, his constitutional excellence. This is forever a surprise, engaging and lovely; we cannot be satiated with knowing it, and about it; and it is this which the conversation with Nature cherishes and guards.
I do tend to gravitate to the more dramatic side of things. I love feeling intense emotions when I'm acting. I just love characters and stories with conflict.
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 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.
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.
I come from a theater background, so I always like to dissect the scene and try to get some hint about what the author was trying to get at. I still look up the meaning of the name of the character to see if there are any clues in that.
I was always casting about for role models as a kid and the Star Trek was always available via reruns and also full of possibilities. I wanted to be like Spock because he was unflappable. I wanted to be like Kirk because he had magnetism and the ladies loved him. Bones was a grouch but he was sympathetic. The show worked like a boy band in that way... it had characters who embodied different psychic or emotional positions and that allowed me to see a great range of things.
Our virtues are voluntary (and in fact we are in a sense ourselves partly the cause of our moral dispositions, and it is our having a certain character that makes us set up an end of a certain kind), it follows that our vices are voluntary also; they are voluntary in the same manner as our virtues.
By examining characters lighting the way to hell, as it were, are readers spared iniquity? Are stories a heeded warning, or merely an entertainment? Each story in the collection tries to wrestle with these questions.