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I work on words quite separately to music. They're both ongoing, and I don't ever feel like I'm working in a cycle in that respect, because it's every day anyway, no matter what I'm doing. Then I get to a point when I've collected together enough words that seem like they want to be songs rather than poems, or sometimes not. ↗
They become the keepers of the mystery. They place themselves between the communicants of the religion, and the immediate experience. And then they dictate the terms on which you can have contact with this wonderful mystery. We don't dictate those terms. ↗
Iago’s treatment of Othello conforms to Bacon’s definition of scientific enquiry as putting Nature to the Question. If a member of the audience were to interrupt the play and ask him: "What are you doing? could not Iago answer with a boyish giggle, "Nothing. I’m only trying to find out what Othello is really like"? And we must admit that his experiment is highly successful. By the end of the play he does know the scientific truth about the object to which he has reduced Othello. That is what makes his parting shot, What you know, you know, so terrifying for, by then, Othello has become a thing, incapable of knowing anything. And why shouldn’t Iago do this? After all, he has certainly acquired knowledge. What makes it impossible for us to condemn him self-righteously is that, in our culture, we have all accepted the notion that the right to know is absolute and unlimited. […] We are quite prepared to admit that, while food and sex are good in themselves, an uncontrolled pursuit of either is not, but it is difficult for us to believe that intellectual curiosity is a desire like any other, and to realize that correct knowledge and truth are not identical. To apply a categorical imperative to knowing, so that, instead of asking, "What can I know?" we ask, "What, at this moment, am I meant to know?" – to entertain the possibility that the only knowledge which can be true for us is the knowledge we can live up to – that seems to all of us crazy and almost immoral. But, in that case, who are we to say to Iago – "No, you mustn’t. ↗
I was raised in a solidly upper-middle class family who had really strong values and excess was not one of the things that my family put up with. And there's something wildy decadent about the young-star lifestyle, and I just don't really see the point. ↗
