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Quote by W.H. Auden

“For all his claims to be just a propagandist, [Bernard Shaw's] writing has an effect nearer to that of music than most of those who have claimed to be writing "dramas of feeling." His plays are a joy to watch, not because they purport to deal with social and political problems, but because they are such wonderful displays of conspicuous waste; the conversational energy displayed by his characters is so far in excess of what their situation requires that, if it were to be devoted to practical action, it would wreck the world in five minutes. The Mozart of English letters he is not – the music of the Marble Statue is beyond him – the Rossini, yes. He has all the brio, humor, cruel clarity and virtuosity of that master of opera buffa.”

Quote by W.H. Auden

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The Dyer's Hand and Other Essays

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W.H. Auden

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“The terms that Sforza Cesarini offered Rossini, 400 Roman Scudi, were not ungenerous, though it must have been galling for Rossini to see the Figaro, Luigi Zamboni, getting almost twice as much, and the Almaviva, Manuel Garcia, being offered three times the amount. Of the first-night cast, only the 'altro buffo', Bartolomeo Botticelli, who played Bartolo, and the 'seconda donna', Elisabetta Lowselet, who played Berta, were paid less than the composer.”

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“It was a shocking thing to say and I knew it was a shocking thing to say. But no one has the right to live without being shocked. No one has the right to spend their life without being offended. Nobody has to read this book. Nobody has to pick it up. Nobody has to open it. And if you open it and read it, you don't have to like it. And if you read it and you dislike it, you don't have to remain silent about it. You can write to me, you can complain about it, you can write to the publisher, you can write to the papers, you can write your own book. You can do all those things, but there your rights stop. No one has the right to stop me writing this book. No one has the right to stop it being published, or sold, or bought, or read.”

“First, we put some shallow cuts in the meat in a grill pattern... then, we pound it until it's thin! Next, we cover both sides of it with minced onions and let it sit." Covering the meat with onions? I think I read about that somewhere... "Okay, now we scrape off the onions and season the meat with salt and pepper. After searing the steak, we melt a dollop of butter in the same frying pan... ... and caramelize the minced onions in the juices left from the meat, melding the two flavors together! After they're done, we cover the whole top of the steak with the caramelized onions... ... and use the back of a knife to put the grill pattern back into the meat. Put it all on top of some cooked rice... and it's done!" "Oh, yeah! Now I remember! This... IS A CHALIAPIN STEAK!" CHALIAPIN STEAK It was created in 1936, specifically for visiting opera singer Feodor Chaliapin. Bothered by a toothache, the singer requested a dish with "tender steak." This was the result. Accordingly, it is a uniquely Japanese steak, unknown to the rest of the world. "Okay you two, taste it!" "A-all right..." It... It's so tender! "Whoa, now this is tender! I can cut it using my chopsticks! And when I take a bite... ...it practically melts in my mouth!" "Onions have an enzyme in them which breaks down protein, just like honey and pineapple do. That's why the steak is so tender." You'd never believe this was a cheap cut of meat. Its savory flavor fills the mouth with each bite... there's no knocking the combination it makes with the rice, either. Who would've thought of using a steak grilling technique... ... on a beef bowl?”