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T Quotes

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All T Quotes

“They played, not beautifully but deep, ignoring their often discordant strings and striking right into the heart of the music they knew best, the true notes acting as their milestones. On the poop above their heads, where the weary helmsmen tended the new steering-oar and Babbington stood at the con, the men listened intently; it was the first sound of human life that they had heard, apart from the brief Christmas merriment, for a time they could scarcely measure.”

“They pop in the mouth, just like salmon roe! But inside... ... is the savory saltiness of seaweed!" "Those pearls are seaweed?!" But how?!" "Delicious! Not only is the pop of the pearl a fun texture, the salty, savory flavor of the seaweed melts seamlessly with the rice! I can barely stop myself! It's an addicting combination!" "Wait... how do you know that technique? Those pearls are seaweed extract gelled into a spherical shape. The only way to do that is by using a calcium-chloride bath and an alginic-acid gelling agent!" "What the heck?!" "That's food science!" "Yukihira pulled a page from Alice Nakiri's own book!" "I've experimented with this stuff before, y'know. When I was a little kid, anyway." "Wha-?! But that's-" "Convenience store Dagashi Candy?!" "Dagashi?! What's that?" Both chemicals are on the ingredients list! "It's what's called an educational candy. Kids play with that to learn how to make their own jelly pearls. I had a blast with it when I was little. I made lots of different stuff." "Dad, look! I made miso pearls!" "Aha ha ha! That's great! Now don't let any of the customers see that." "You can get both alginic acid and calcium chloride at any pharmacy. I used those, along with some seasoned seaweed extract and a little bit of ingenuity... ... to make these savory seaweed bombs- my own spin on the traditional seaweed bento!" "That's right! There were some educational candies in that pile of sweets he got from the kids yesterday!" "The transfer student used a food-science trick?" "And it was one he got off of a package of children's dagashi candy?!" "Hmm? What's this? I see something that looks like okaka minced tuna hiding inside the rice..." Mmmm! It's dried tunatsukudani! This, too, earns full marks for flavor! And its smooth, juicy texture is a wonderful contrast to the pop of the seaweed pearls!”

“They prove that there is no direct relationship between the personal freedom of the artist and the aesthetic quality of his works. For it is a fact that every intention of an artist has to make its way through the meshes of a closely entwined net; every work of art is produced by the tension between a series of aims and a series of resistances to their achievement— resistances represented by inadmissible motifs, social prejudices and faulty powers of judgment of the public, and aims which have either already assimilated these resistances or stand openly and irreconcilably opposed to them. If the resistances in one direction are impossible to overcome, then the artist’s invention and powers of expression turn to a goal the way to which is not obstructed, and it is very unusual for him even to be aware of the fact that his achievement is a substitute for the real thing. Even in the most liberal democracy the artist does not move with perfect freedom and unrestraint; even there he is restricted by innumerable considerations foreign to his art. The different measure of freedom may be of the greatest importance for him personally but in principle there is no difference between the dictates of a despot and the conventions of even the most liberal social order. If force in itself were contrary to the spirit of art, perfect works of art could arise only in a state of complete anarchy. But in reality the pre-suppositions on which the aesthetic quality of a work depends lie beyond the alternative presented by political freedom and compulsion. Therefore the other extreme, namely, the assumption that the ties which restrict the artist’s freedom of movement are profitable and fruitful in themselves, that the freedom of the modern artist is consequently responsible for the inadequacies of modern art and that compulsion and restrictions could and should be produced artificially as the supposed guarantees of true ‘style’, —such an assumption is just as wrong as the anarchist point of view.”

“They proved that it was possible to produce beauty in life by surrounding life with beauty. They discovered that symmetrical bodies were built by souls continuously in the presence of symmetrical bodies; that noble thoughts were produced by minds surrounded by examples of mental nobility. Conversely, if a man were forced to look upon an ignoble or asymmetrical structure it would arouse within him a sense of ignobility which would provoke him to commit ignoble deeds. If an illproportioned building were erected in the midst of a city there would be ill-proportioned children born in that community; and men and women, gazing upon the asymmetrical structure, would live inharmonious lives. Thoughtful men of antiquity realized that their great philosophers were the natural products of the æsthetic ideals of architecture, music, and art established as the standards of the cultural systems of the time.”

“They pulled apart when Keefe shouted, "YOU GUYS HAVE TO SEE THIS!" They ran to the main room and found Keefe standing under the skylight, holding up Mr. Snuggles like it was a baby lion about to be made king. The sparkly red dragon twinkled almost as much as Keefe's eyes as he said, "I went in to check on our boy and found him cuddling with THIS!" "Isn't that the same dragon Fitz brought to your house that one time?" Dex asked Sophie. "WHAT?" Keefe shouted. "YOU KNEW AND YOU DIDN'T TELL ME?!" "Mr. Snuggles wasn't my secret to share," Sophie said. "IT'S NAME IS MR. SNUGGLES?! That is... I can't even..." Keefe ran back to Fitz's room shouting, "ARE YOU MISSING YOUR SNUGGLE BUDDY?!" "Fitz is going to die of embarrassment, you know that, right?" Biana asked.”