Character
Charlie Brown is a lovable loser, a child possessed of endless determination and hope, but who is ultimately dominated by his insecurities and a "permanent case of bad luck," and is often taken advantage of by his peers. He and Lucy Van Pelt star in a running gag that recurs throughout the series: Lucy holds a football for Charlie Brown to kick, but pulls it away before he can kick it, causing Charlie Brown to fly into the air and fall on his back.
Schulz acknowledged that he created Charlie Brown as somewhat of a self-portrait, in that the character shares Schulz's self-doubt and insecurities. Despite popular belief, Charlie Brown is not bald. Though Charlie Brown is drawn with only a small curl of hair at the front of his head, and a little in the back, Charles M. Schulz has explained that he saw Charlie Brown as having hair that was light and cut short, so that it could not be seen very easily.
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Famous quotes containing the word character:
“There appears to be but two grand master passions or movers in the human mind, namely, love and pride. And what constitutes the beauty or deformity of a man’s character is the choice he makes under which banner he determines to enlist himself. But there is a strong distinction between different degress in the same thing and a mixture of two contraries.”
—Sarah Fielding (1710–1768)
“She [Evelina] is a little angel!... Her face and person answer my most refined ideas of complete beauty.... She has the same gentleness in her manners, the same natural graces in her motions, that I formerly so much admired in her mother. Her character seems truly ingenuous and simple; and at the same time that nature has blessed her with an excellent understanding and great quickness of parts, she has a certain air of inexperience and innocency that is extremely interesting.”
—Frances Burney (1752–1840)
“An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.”
—Eleanor Robson Belmont (1878–1979)