Best 14098 quotes in «character quotes» category

A good moral character is the first essential. It is highly important not only to be learned but to be virtuous.

A great man, who was convinced that the truths of political and moral science are capable of the same certainty as those that form the system of physical science, even in those branches like astronomy that seem to approximate mathematical certainty. He cherished this belief, for it led to the consoling hope that humanity would inevitably make progress toward a state of happiness and improved character even as it has already done in its knowledge of the truth.

A great and frequent error in our judgment of human nature is to suppose that those sentiments and feelings have no existence, which may be only for a time concealed. The precious metals are not found at the surface of the earth, except in sandy places.

A great deal of it is mental, the ability to learn within the game, to perform at a high level - often with injury - and to weather the ups and downs of an emotional game through a 16-game season. Also, there is the willingness to prepare in the offseason, the film room, to learn the scheme and execute without a lot of repetition - that's football character.

A grave aspect to a grave character is of much more consequence than the world is generally aware of; a barber may make you laugh, but a surgeon ought rather to make you cry.

A great character, founded on the living rock of principle is, in fact, not a solitary phenomenon, to be at once perceived, limited, and described. It is a dispensation of Providence, designed to have not merely an immediate, but a continuous, progressive, and never-ending agency. It survives the man who possessed it; survives his age,--and perhaps, his country, his language.

A great man need not be virtuous, nor his opinions right, but he must have a firm mind, a distinctive luminous character.

A great part of its theories derives an additional charm from the peculiarity that important propositions, with the impress of simplicity on them, are often easily discovered by induction, and yet are of so profound a character that we cannot find the demonstrations till after many vain attempts; and even then, when we do succeed, it is often by some tedious and artificial process, while the simple methods may long remain concealed.

A great novel is concerned primarily with the interior lives of its characters, as they respond to the inconvenient narratives that fate imposes on them. Movie adaptations of these monumental fictions often fail because they become mere exercises in interior decoration.

A high character might be produced, I suppose, by continued prosperity, but it has very seldom been the case. Adversity, however it may appear to be our foe, is our true friend; and, after a little acquaintance with it, we receive it as a precious thing - the prophecy of a coming joy. It should be no ambition of ours to traverse a path without a thorn or stone.

A house is very much like a portrait. I cannot disconnect houses from people. The thought of arrangement, the curves and straight lines. It gives an indication of the character at the heart of it.

A jester, a bad character.

A Jew remains a Jew. Assimilalation is impossible, because a Jew cannot change his national character. Whatever he does, he is a Jew and remains a Jew. The majority has discovered this fact, but too late. Jews and Gentiles discover that there is no issue. Both believed there was an issue. There is none.

A journal is a very personal thing. As far as possible, to write this sort of book you need to know and feel your character as a person and then put yourself into that person's mind, place and time. Trying to stay in that person, place and time is a challenge when surrounded by this very different world of the 21st century.

A is for Alibi, my first book, was published in 1982. As it happened the next couple of books took place in June and August of that year. Without meaning to I painted myself into a corner. The other issue was the aging process. I did not want my main character to age one year for every book so I slowed the whole process down. This way I could get through all 26 letters of the alphabet without making her 109 years old in 2015. I might end the series in either 1990 or on New Years Eve 1989.

A jealous man only sees his own spectrum when he looks upon other men, and gives his character in theirs.

Akhnaten is kind of a dark, kind of mysterious character. We don't know a lot about him - a lot of information on him was lost. But he obviously was a kind of iconoclast of him time. I guess I'm attracted to people like that. Like [Albert] Einstein also, who radically changed our way of thinking about the world we live in.

A language is an exact reflection of the character and growth of its speakers.

Alan Rickman was such a terrific actor, and that was such a terrific character that he played. And it was a joy to be with him. We used to laugh together because we ran out of reaction shots. They were always - when everything had been done and the children were finished, they would turn the camera around and we'd have to do various reaction shots of amazement or sadness and things. We used to say we'd got to about number 200-and-something and we'd run out of knowing what to do when the camera came around on us. But he was a joy.

A large portion of human beings live not so much in themselves as in what they desire to be. They create what is called an ideal character, in an ideal form, whose perfections compensate in some degree for the imperfections of their own.

Alejandro Amenabar is a different kind of director than I lot of the directors I've asked for. He really asks you to enter his dream as opposed to, you know, a guy like Sidney Lumet or something is going to ask you to create a character almost like a documentary. He wants you to make the people really real and he's going to capture it like a documentarian.

A letter is not a dialogue or even an omniscient exposition. It is a fabric of surfaces, a mask, a form as well suited to affectations as to the affections. The letter is, by its natural shape, self-justifying; it is one's own evidence, deposition, a self-serving testimony. In a letter the writer holds all the cards, controls everything about himself and about those assertions he wishes to make concerning events or the worth of others. For completely self-centered characters, the letter form is a complex and rewarding activity.

Algebra looked like Chinese characters to me, and I could never get into reading Shakespeare. I just did not get it.

Alexandros of Antioch took a block of marble and chiseled away from it everything that was not his masterpiece, the Venus de Milo. If you will chisel away one fault from your character every day, you may discover - a) that you're actually a statue of Margaret Thatcher. b) that you're still just a block of marble. c) that there are pigeon droppings on your shoes. d) that you, too, are a hidden masterpiece.

Alfonso Cuarón, in the rehearsals, without J.K. Rowling's knowledge, told me that [my character] was, in fact, gay. So I'd been playing a part like a gay man for quite a long time. Until it turned out that I indeed got married to Tonks. I changed my whole performance after that. Just saw it as a phase he went through.

Algebra reverses the relative importance of the factors in ordinary language. It is essentially a written language, and it endeavors to exemplify in its written structures the patterns which it is its purpose to convey. The pattern of the marks on paper is a particular instance of the pattern to be conveyed to thought. The algebraic method is our best approach to the expression of necessity, by reason of its reduction of accident to the ghostlike character of the real variable.

Alice Munro is a particular kind of short story writer in that she writes long, character-driven short stories.

A life in Christ is a life of restfulness. There may be no ecstasy of feeling, but there should be an abiding peaceful trust. Your hope is not in yourself; it is in Christ. Your weakness is united to His strength, your ignorance to His wisdom, your frailty to His enduring might....Let the mind dwell upon His love, upon the beauty, the perfection of His character.

Alike for the nation and the individual, the one indispensable requisite is character.

A library is where you meet fascinating characters you never forget.

A library represents the mind of its collector, his fancies and foibles, his strength and weakness, his prejudices and preferences. Particularly is this the case if, to the character of a collector, he adds - or tries to add - the qualities of a student who wishes to know the books and the lives of the men who wrote them. The friendships of his life, the phases of his growth, the vagaries of his mind, all are represented.

Alice Munro can move characters through time in a way that no other writer can.

A little more grace, a motive made pure, a few truths tenderly told, a heart softened, a character subdued, a life consecrated, would restore the right action of the mental mechanism, and make manifest the movement of body and soul in accord with God.

All actors have to believe that our characters have a point that makes sense. Hopefully, they make sense to the crowd watching it, but at least he has to make sense in his own mind, in his own universe.

All action is for the sake of some end; and rules of action, it seems natural to suppose, must take their whole character and color from the end to which they are subservient.

All actors bring something unexpected to the role because they have to translate what's on the page and make a real character out of the black-and-white text that's there in the script.

All art is probably erotic in its ultimate character, but painting more than anything else is a purely nervous erotic activity.

All a writer's characters are imaginary, no matter whether they are based on real people or not. They are people as one imagines them to be.

All characters have a voice but not all voices have character. And it's all about character and personality.

All characters are based on elements of a writer's personal experience.

All cartoon characters and fables must be exaggeration, caricatures. It is the very nature of fantasy and fable.

All characters come from people I know, but after the initial inspiration, I tend to modify the characters so they fit with the story.

All combinations and associations, under whatever plausible character, with the real design to direct, control, counteract, or awe the regular deliberation and action of the constituted authorities, are destructive of this fundamental principle, and of fatal tendency. They serve to organize faction, to give it an artificial and extraordinary force; to put, in the place of the delegated will of the nation the will of a party, often a small but artful and enterprising minority of the community.

All fiction is about people, unless it's about rabbits pretending to be people. It's all essentially characters in action, which means characters moving through time and changes taking place, and that's what we call 'the plot'.

All greatness of character is dependent on individuality.

All greatness of character is dependent on individuality. The man who has no other existence than that which he partakes in common with all around him, will never have any other than an existence of mediocrity.

All great writers have, of course, an atmosphere in which they seem most at their ease and at their best; a mood of the general mind which they interpret and indeed almost discover, so that we come to read them rather for that than for any story or character or scene of seperate excellence.

All films created by Walt Disney at the time of his major outpouring of work were carefully crafted to fit scenes, characters, moods and situations. If these elements changed in any way, songs - no matter how good they were - were discarded. Others were written for the new scenes. Many times, character songs were dropped because characters were dropped...sequences were dropped etc.

All good plots come from well-orchestrated characters pitted against one another in a conflict of wills.

All I can guess is that when I write, I forget that it's not real. I'm living the story, and I think people can read that sincerity about the characters. They are real to me while I'm writing them, and I think that makes them real to the readers as well.