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@daeus-lamb

Okay, I think I was making disposition larger than it should be. You said that disposition is, in itself, a kind of worldview (short-term, though). So, in the house illustration (this is just how my brain works), the disposition might be the part of the foundation beneath the emotion and mood of the character, while the worldview supports the rational, moral etc. part of the character, as well as disposition.  Like a bedrock under the foundation. Or something. Is that closer?

When you say disposition is narrow, does that mean narrow because it’s more focused toward emotions and mood, or narrow in a different sense?

In one scene, a character might sense opportunity everywhere and recklessly snatch it up. In the next scene, opportunity might become scarce and they desperately snatch it up.

I’m not sure I see this as disposition (as I currently understand it). The recklessness vs. desperation seems like a change in a state of being and emotion as related to circumstances. However, underlying it is the larger desire to get opportunity no matter the circumstances. The latter seems more like a view of the world (disposition) while the former seems more like a state of being and reaction to the world.   ?

Yay! I love obscure and philosophical topics like this. Thanks for starting this discussion 😀

@germaine-han – Yeah, I thought of the description of settings, too! Like when a character who is beaten-down and no longer has any hope in the world looks at an old building, he sees the peeling paint and broken porch railing and imagines ghosts haunting it at night. A character who just got engaged, however, might see the exact same house and notice the charming architecture, the quaint front yard and imagine what family the house contained back in its prime. Is that disposition like you’re referring to, Daeus? Or would you call that something else?

@literatureforthelight – Hmm, I like the word outlook, too. 🙂