Character
Peggy Jean and Charlie Brown's relationship hit a brief snag almost immediately after it began, however. At summer camp, Peggy Jean once held the football down for Charlie Brown, who apparently declined, worried that she would pull it away like Lucy did. The fact that he took so long to make up his mind led Peggy to think that he did not trust her and she allegedly went home enraged. She later came back and made up, kissing Charlie Brown in the process. Charlie Brown went so far as to call Linus on the phone and tell him that she kissed him. But the phone was actually answered by Lucy who asked "What is this, an obscene phone call??!!"
Later, Charlie Brown wanted to buy her some gloves for Christmas but didn't have the money for them (Linus suggested he send her a card advising her to keep her hands in her pockets). Charlie Brown sold his entire comic collection in order to buy the gloves, only to meet Peggy Jean in the shop and her telling him that her mother had bought her the same sort of gloves; in the end, Charlie Brown gives the gloves he bought to Snoopy. This storyline was adaptated as a portion of the animated special It's Christmastime Again, Charlie Brown; curiously, Peggy was depicted there as a redhead instead of having brown hair as she did in the strip, which may have led to viewers confusing her with the Little Red-Haired Girl (the original VHS release of the special even mistakenly referred to her as the latter character).
On July 11, 1999, the last strip Peggy Jean appeared in, it is revealed that she found a new boyfriend.
Read more about this topic: Peggy Jean
Famous quotes containing the word character:
“Our character is not so much the product of race and heredity as of those circumstances by which nature forms our habits, by which we are nurtured and live.”
—Marcus Tullius Cicero (106–43 B.C.)
“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)
“The actor should not play a part. Like the Aeolian harps that used to be hung in the trees to be played only by the breeze, the actor should be an instrument played upon by the character he depicts.”
—Alla Nazimova (1879–1945)