Herman Melville Quotes

PHYSIOGNOMY, n. The art of determining the character of another by the resemblances and differences between his face and our own, which is the standard of excellence.

Fate is written in the face.

There's no art to find the mind's construction in the face.

If we want to make a statement about a man's nature on the basis of his physiognomy, we must take everything into account; it is in his distress that a man is tested, for then his nature is revealed.

If You are among the people, gain allies as does a man worthy of trust who reaches the heart. He who reaches the heart, does not vent his belly's speech.) He will himself become a man who commands, a man of means thanks to his behavior.

Revolution is like a love story, When you are in love, your become a much better person. And when you are in revolution, you become a much better person.

The individual in physical science is nothing; in human science everything.

You can't write good characters if you can't imagine what it's like being in another person's skin. And if you can imagine that, you naturally want other people's lives to be better. You want to make that happen.

I do not think a philosopher who would apply himself so earnestly to the explaining the ultimate principles of the soul, would show himself a great master in the very science of human nature, which he pretends to explain, or very knowing in what is naturally satisfactory to the mind of man.

Legitimately produced, and truly inspired, fiction interprets humanity, informs the understanding, and quickens the affections. It reflects ourselves, warns us against prevailing social follies, adds rich specimens to our cabinets of character, dramatizes life for the unimaginative, daguerreotypes it for the unobservant, multiplies experience for the isolated or inactive, and cheers age, retirement and invalidism with an available and harmless solace.

There's always that key to every character that lets you go to those places you need to go to. No matter how much you might hate the character, it makes you understand it.

There is a sort of knowledge beyond the power of learning to bestow, and this is to be had in conversation; so necessary is this to the understanding the characters of men, that none are more ignorant of them than those learned pedants whose lives have been entirely consumed in colleges and among books; for however exquisitely human nature may have been described by writers the true practical system can be learned only in the world.

Without my attempts in natural science, I should never have learned to know mankind such as it is. In nothing else can we so closely approach pure contemplation and thought, so closely observe the errors of the senses and of the understanding, the weak and strong points of character.

It's what each of us sows, and how, that gives us character and prestige. Seeds of kindness, goodwill, and human understanding, planted in fertile soil, spring up into deathless friendships, big deeds of worth, and a memory that will not soon fade out. We are all sowers of seeds-and let us never forget it!

Some writers, notably Anton Chekov, argue that all characters must be admirable, because once we've looked at anyone deeply enough and understood their motivation we must identify with them rather than judge them.

I've just finished a series of Olivia Manning novels. She's best known for two trilogies: Balkan Trilogy and Levant Trilogy. The six novels are continuous and contain the same set of characters. They are based on Manning's experiences in Eastern Europe and Egypt during the Second World War. Each novel is a wonderful picture of the peculiar British expatriate culture and what was happening during the war. She's one of those brilliant women who write very well about domestic relationships. All the books are slim, and it's easy to gallop through them.

You cannot hide any secret. If the artist succor his flagging spirits by opium or wine, his work will characterize itself as the effect of opium or wine. If you make a picture or a statue, it sets the beholder in that state of mind you had when you made it. If you spend for show, on building, or gardening, or on pictures, or on equipages, it will so appear. We are all physiognomists and penetrators of character, and things themselves are detective.

We are all of us more or less active physiognomists.

when someone speaks he looks at a mouth, not eyes and their colors, which, it seems to him, will always alter depending on the light of a room, the minute of the day. Mouths reveal insecurity or smugness or any other point on the spectrum of character. For him they are the most intricate aspect of faces. He's never sure what an eye reveals. but he can read how mouths darken into callousness, suggest tenderness. One can often misjudge an eye from its reaction to a simple beam of sunlight.

That the outer man is a picture of the inner, and the face an expression and revelation of the whole character, is a presumption likely enough in itself, and therefore a safe one to go on; borne out as it is by the fact that people are always anxious to see anyone who has made himself famous. Photography offers the most complete satisfaction of our curiosity.

Only strong natures can really be sweet ones; those that seem sweet are in general only weak, and may easily turn sour.

I think there's always pieces of yourself that bleed into your character. That's inevitable. In some ways, we have similarities, but in other ways, we're completely different. It's hard to say because I'm an actor living in a world where we're all pretty privileged, and this guy is fighting for his life. They're very different circumstances. Within those circumstances, there are probably ways that we react to certain situations that are similar.

An audience gets to hang onto the characters for the rest of their lives if they want. I think it's great that the fans do that. It's just not too practical for a man like myself because I have to move on.

Events are never absolute, their outcome depends entirely upon the individual. Misfortune is a stepping stone for a genius, a piscina for a Christian, a treasure for a man of parts, and an abyss for a weakling.