One trait in the philosopher's character we can assume is his love of the knowledge that reveals eternal reality, the realm unaffected by change and decay. He is in love with the whole of that reality, and will not willingly be deprived even of the most insignificant fragment of it - just like the lovers and men of ambition we described earlier on.
Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
Mankind, transmitting from generation to generation the legacy of accumulated vengeances, and pursuing with the feelings of duty the misery of their fellow-beings, have not failed to attribute to the Universal Cause a character analogous with their own. The image of this invisible, mysterious Being is more or less excellent and perfect resembles more or less its original in proportion to the perfection of the mind on which it is impressed.
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.
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.
Be upright in thy whole life; be content in all its changes;so shalt thou make thy profit out of all occurrences; so shall everything that happeneth unto thee be the source of praise
I do not believe it is in the character of the British people to begrudge the lion's share to those who have genuinely played the lion's part. They are ready to recognise that those who create the wealth - and I mean not only material but intellectual wealth - enrich the whole nation.
He was the meekest of his sex, the mildest of little men. He sidled in and out of a room, to take up the less space. He walked as softly as the Ghost in Hamlet, and more slowly. He carried his head on one side, partly in modest depreciation of himself, partly in modest propitiation of everybody else.
The fighter (like the writer) must stand alone. If he loses he cannot call an executive conference and throw off on a vice president or the assistant sales manager. He is consequently resented by fractional characters who cannot live outside an organization.
The first diabolical character who intruded himself on my peaceful youth (as I called to mind that day at Dullborough), was a certain Captain Murderer. This wretch must have been an off-shoot of the Blue Beard family, but I had no suspicion of the consanguinity in those times. His warning name would seem to have awakened no general prejudice against him, for he was admitted into the best society and possessed immense wealth. Captain Murderer's mission was matrimony, and the gratification of a cannibal appetite with tender brides.
"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.