WRATH, n. Anger of a superior quality and degree, appropriate to exalted characters and momentous occasions; as, "the wrath of God," "the day of wrath," etc. . . .
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.
Everyone has the obligation to ponder well his own specific traits of character. He must also regulate them adequately and not wonder whether someone else's traits might suit him better. The more definitely his own a man's character is, the better it fits him.
Never forget that a man is made great and perfect as much by his faults as by his virtues. So we must not seek to rob a nation of its character, even if it could be proved that the character was all faults.
To be fond of learning is to draw close to wisdom. To practice with vigor is to draw close to benevolence. To know the sense of shame is to draw close to courage. He who knows these three things knows how to cultivate his own character. Knowing how to cultivate his own character, he knows how to govern other men. Knowing how to govern other men, he knows how to govern the world, its states, and its families.
A skillful commander is not overbearing. A skillful fighter does not become angry. A skillful conqueror does not compete with people. One who is skillful in using men puts himself below them. This is called the strength to use men. This is called matching Heaven, The highest principle of old.
There are people enough to tread upon me in my lowly state, without my doing outrage to their feelings by possessing learning. Learning ain't for me. A person like myself had better not aspire. If he is to get on in life, he must get on 'umbly, Master Copperfield!
In the tale proper--where there is no space for development of character or for great profusion and variety of incident--mere construction is, of course, far more imperatively demanded than in the novel.
Up to here, in general, we have mainly stuffed the brain of the young people with a indigestible multitude of varios notions, without thinking about enough of the prime necessity to form their character.