I think of a plot, I think of an idea, and then I wonder, How can I get that onto the stage? . . . Whatever devices you use should always be there to serve the theme. If the theme has been overtaken by the device, then something's wrong.
Writing the record for me - every record is almost a surprise. When people ask me, what are the themes you want to grapple with on this one? I have no idea until the record's finished.
For the current of our spiritual life creeds, rituals and channels that may thwart or help, according to their fixity or openness. When a symbol or spiritual idea becomes rigidly elaborate in its construction, it supplants the idea which it should support.
The problem with clichés is not that they contain false ideas, but rather that they are superficial articulations of very good ones...If...we are obliged to create our own language, it is because there are dimensions to ourselves absent from clichés, which require us to flout etiquette in order to convey with greater accuracy the distinctive timbre of our thought.
The endless cycle of idea and action, / Endless invention, endless experiment, / Brings knowledge of motion, but not of stillness; / Knowledge of speech, but not of silence; / Knowledge of words, and ignorance of The Word.
Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness.
Imagine some foul and putrid corpse that has lain rotting and decomposing in the grave, a jelly-like mass of liquid corruption. Imagine such a corpse a prey to flames, devoured by the fire of burning brimstone and giving off dense choking fumes of nauseous loathsome decomposition. And then imagine this sickening stench, multiplied a millionfold and a millionfold again from the millions upon millions of fetid carcasses massed together in the reeking darkness, a huge and rotting human fungus. Imagine all this, and you will have some idea of the horror of the stench of hell.