To me, “The Meaning of Prince” was that I saw him as an unexcelled paragon of the courage of letting his artistic soul shine the way it wanted and needed to, of being who he authentically truly was, of following his inner guide, regardless of what was the safe, acceptable, or practical thing to do.
Even though I get it that there are no objects in this world, only events, I’m still shocked some times when people that simply seem like guiding stars, like point of reference and orientation, turn out to be impermanent mammals as much as the rest of us.
“Melodies which run through one’s mind … may give the analyst a clue to the secret life of emotions that every once of us lives … In this inward signing, the voice of an unknown self conveys not only passing moods and impulses, but sometimes a disavowed or denied wish, a longing and a drive we do not like to otherwise admit to ourselves … Whatever secret message it carries, the incidental music accompanying our conscious thinking is never accidental” — Theodor Reik, in “The Haunting Melody: Psychoanalytic Experiences in Life and Music
“Do you know that old age, disease, and death must overcome us, no matter what we are doing? What do you wish to be doing when it overtakes you? If you have anything better to be doing when you are so overtaken, begin on that now.”
In the cosmology of the ninetieth century German philosopher Arthur Schopenhauer, the pure Will-in-itself, like the Christian God, the Hindu Brahman, or the Buddhist Nirvana, exists outside of space and time, beyond the realm of human comprehension or perception. It does, however, phenomenologically manifest itself, almost pantheistically, in our realm as both the unified totality of all of the objects of the physical universe, and as the will to exist and to act that propels these objects along their respective courses.