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T Quotes

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All T Quotes

“The desire to criticise becomes less and less as the character is developed. It is the mark of a fine character never to be critical and to mention but rarely the faults of others. A strong character does not resist evil, but uses their strength in building the good. They know that when the light is made strong, the darkness will disappear of itself.”

“The desire to “do more in less time” is not a neutral force in our culture; it is the handmaiden of miserable experts, specialists, and leaders. Not everyone has rushed to become efficient. Something else exists on the periphery: an inefficient utopia, a culture of consensus, collectives, and do-it-yourself ethics. A place where time is not bought, sold, or leased and no clock is the final arbiter of our worth. For many people in North America, the problem is not just poverty but lack of time to do the things that are actually meaningful. This is not a symptom of personal failures but the consequence of a time-obsessed society. Today, desire for efficiency springs from the scarcity model, which is the foundation of capitalism. Time is seen as a limited resource when we get caught up in meaningless jobs, mass-produced entertainment, and – the common complaint of activists – tedious meanings.”

“The desire to experience new kinds of community led a number of thoughtful and idealistic people to reject the patterns of vocation, family life and religion with which they had grown up. Their attempt to establish new patterns of social bonding in uncontaminated rural retreats can be seen as a secular monasticism, but they often discovered that to abolish the boundaries of authority, family and property created a whole series of problems which they did not have the spiritual and personal resources to solve. At their best, such groups have opened up new horizons of discipleship, but they have often learned some hard lessons about the intractable sinfulness and selfishness of partly-redeemed human nature.”

“The desire to express in an art form and to compose a tableau and vignette whether it's humorous, burlesque, or poetic comes simply from a desire to compose an image for cinema. It is not my fault that when I go to Ramallah there is a checkpoint and therefore it enters my film. Tell me a way to avoid that politicized image. The fact is that the police are everywhere, the army everywhere and occupation is total. Whether it's a love story or a thriller, you place the camera and these realities will cross the frame.”

“The desire to give advice is itself a symptom of disapproval; and further, it is usually the result of a desire to express that disapproval. And we are most moved to give advice to those for whom our affection and regard may be taken for granted, but to whom we would rather express our disapproval. We cannot go to them and say that we disapprove of them. That would not be affectionate, and might lead to reprisals. But we can give them advice in which the disapproval is implied and which yet seems innocently helpful.”

“The desire to go home that is a desire to be whole, to know where you are, to be the point of intersection of all the lines drawn through all the stars, to be the constellation-maker and the center of the world, that center called love. To awaken from sleep, to rest from awakening, to tame the animal, to let the soul go wild, to shelter in darkness and blaze with light, to cease to speak and be perfectly understood.”

“The desire to know the future gnaws at our bones. That is where it started, and might have ended, years ago. I had cast the stones, seeing their faces flicker and fall: Death, Love, Murder, Treachery, Hope. We are a treacherous people - half of our stones show betrayal and violence and death from those close, death from those far away. It is not so with other peoples. I have seen other sets that show only natural disasters: death from sickness, from age, the pain of a broken heart, loss in childbirth. And those stones are more than half full with pleasure and joy and plain, solid warnings like "You reap what you sow" and "Victory is not the same as satisfaction." Of course, we live in a land taken by force, by battle and murder and invasion. It is not so surprising that our stones reflect our history.”

“The desire to live life to its fullest, to acquire more knowledge, to abandon the economic treadmill, are all typical reactions to these experiences in altered states of consciousness. The previous fear of death is typically quelled. If the individual generally remains thereafter in the existential state of awareness, the deep internal feeling of eternity is quite profound and unshakable.”

“The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting. But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in swarms: "I am not an artist -- I am a phony. I have nothing worth saying. I'm not sure what I'm doing. Other people are better than I am. I'm only a [student/physicist/mother/whatever]. I've never had a real exhibit. No one understands my work. No one likes my work. I'm no good. Yet viewed objectively, these fears obviously have less to do with art than they do with the artist. And even less to do with the individual artworks. After all, in making art you bring your highest skills to bear upon the materials and ideas you most care about. Art is a high calling -- fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others -- indeed anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit. Each step in the artmaking process puts that issue to the test.”

“The desire to please is maligned, unfairly. There are many sides to it. First of all, pictures have to arouse interest before people will even look at them, and then they have to show something that holds that interst - and naturally they have to be presentable, just as a song has to be sung well, otherwise people run away. One mustn't underrate this quality, and I have always been delighted when my pieces have also appealed to the museum guards, the laymen.”

“The desire to please your boss is a good thing, but it could mutate into a weakness. One of the first challenges of getting promoted into management is negotiating the tension between the desire to please the person who promoted you while still remaining true to yourself. The tension is normal, and the fact that you feel it is probably indicative of why you were promoted.”

“The desire to punish is a desire that emanates from a place of equality and justice. The lesson I feel that we have to confront is that that impulse is so easily transmuted into something corrosive and corrupt in how it's actually put into practice. That's the danger. It's not that the impulse is wrong or unjust or not totally righteous. It's that the ways in which the system that operates, the system that we've constructed tends to not deliver the promise of equity we might want, when we look to the system to provide it.”