All the housemaid hopes is, happiness for 'em - but marriage is a lottery, and the more she thinks about it, the more she feels the independence and the safety of a single life.
You do not settle whether an argument is justified by merely showing that it is of some use. The distinction is not between useful and useless experiments but between barbarous and civilized behaviour. Vivisection is a social evil because if it advances human knowledge, it does so at the expense of human character.
I don't know where the characters are going to go or what's going to happen. I know that something inevitable will happen. I know that they want certain things and they're in a certain room and they smell like this and they look like that. More often than not, an entropy creeps in that strangles me, and then the inevitable happens. I don't know if I have the ability to write an ending like My Fair Lady's, when everyone gets what they want after a few minor conflicts. If I tried to write that it would just be false. Or I'd have someone enter with a machine gun.
The road to gooď is the roughest and steepest in
the universe. It is a wonder that so many succeed,
no wonder that so many fall. Character has to be
established through a thousand stumbles.
Jay Lethal doing that Black Machsimo character, as good as that was, it was fantastic and so entertaining. But now Jay Lethal has turned himself into this very formidable, dominant world champion, who is having some of the best matches in the entire world. So it's really cool.
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.
There is a quickness of perception in some, a nicety in the discernment of character, a natural penetration, in short, which no experience in others can equal.
Those who are ashamed of what they ought not to be ashamed; and are not ashamed of what they ought to be - such men, embracing erroneous views, enter the woeful path.
The men who are great live with that which is substantial, they do not stay with that which is superficial; they abide with realities, they do not remain with what is showy. The one they discard, the other they hold.
An expense of ends to means is fate;Morganization tyrannizing over character. The menagerie, or forms and powers of the spine, is a book of fate: the bill of the bird, the skull of the snake, determines tyrannically its limits.
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.