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.
So, Mr. Chadband-of whom the persecutors say that it is no wonder he should go on for any length of time uttering such abominable nonsense, but that the wonder rather is that he should ever leave off, having once the audacity to begin-retires into private life until he invests a little capital of supper in the oil-trade.
It's never really fun to have to cry in a scene, or anything like that. I just try to put myself in the characters position, and that helps. It's never really fun, but at the same time, if you're having a really bad day, it's a great way to get out all of your frustration by doing a really angry or sad scene. That's always a good release.
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.
You cannot build character and courage by taking away people's initiative and independence. You cannot help people permanently by doing for them what they could and should do for themselves.
A state of war or anarchy, in which law has little force, is so far valuable, that it puts every man on trial. The man of principle is known as such, and even in the fury of faction is respected.
Fellows of colleges in the universities are in one sense the recipients of alms, because they receive funds which originally were of an eleemosynary character.
You only learn when you give your whole being to something. When you give your whole being to mathematics,you learn; but when you are in a state of contradiction, when you do not want to learn but are forced to learn, then it becomes merely a process of accumulation. To learn is like reading a novel with innumerable characters; it requires your full attention, not contradictory attention.
In life we only try to produce, to win, and enjoy the more we can; in science, to discoverand invent the more we can; in religion, to dominate (or rule over) on the greatest number of people we can; whereas the forming of the character, the further development (or in-dept analysis, "appronfondissement", Fr.) of the faculties of the intelligence ("les facultés de l'intelligence", Fr.), the refinement of the consciousness and of the heart, are considered incidental (or subordinate) things.
In fiction writing ideas have to be handled extremely carefully. You can't let your characters just be mouthpieces for your ideas. They have to live and breathe on their own.
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.