What is essential here is that the act of creative perception in the form of a metaphor is basically similar in all these fields, in that it involves an extremely perceptive state of intense passion and high energy that dissolves the excessively rigidly held assumptions in the tacit infrastructure of commonly accepted knowledge.

Perfect knowledge of such things cannot be acquired without divine inspiration, given that all prophetic inspiration derives its initial origin from God Almighty, then from chance and nature. Since all these portents are produced impartially, prophecy comes to pass partly as predicted. For understanding created by the intellect cannot be acquired by means of the occult, only by the aid of the zodiac, bringing forth that small flame by whose light part of the future may be discerned. We need god to prosper those without him will not.

It is impossible that there should be so much providence in the last details, and none in the first principles. Then the arts of prophecy and of healing, which are part of the cosmos, come of the good providence of the Gods.

Both poetry and lyrics and all visual arts draw their power from their ability to express abstractions of reality. ...that is a feature of the musical brain.

Memory, prophecy and fantasy the past, the future and the dreaming moment between are all one country, living one immortal day. To know that is Wisdom. To use it is the Art.

Prophecy and prescience — How can they be put to the test in the face of the unanswered question? Consider: How much is actual prediction of the “wave form” (as Muad’Dib referred to his vision-image) and how much is the prophet shaping the future to fit the prophecy? What of the harmonics inherent in the act of prophecy? Does the prophet see the future or does he see a line of weakness, a fault or cleavage that he may shatter with words or decisions as a diamond-cutter shatters his gem with a blow of a knife?

Artistic symbols and myths speak out of the primordial, preconscious realm of the mind which is powerful and chaotic. Both symbol and myth are ways of bringing order and form into this chaos.

Wherever rights are denied the poor, the prophetic anger is turned not merely against the incumbent rulers but equally against the means society employs to gloss over its own mendacity. And foremost among these means is art. Catering to luxury and emphasizing only the beautiful, art denies the fact that wretchedness and destitution have a tight grip on the poor. This is the reason why the prophetic zeal turned against art, and not merely against the luxury of women and the pretentiousness of the rich.

Everything you make is being made by every single experience you've ever had in your whole life, and on top of that, things you were born with. I think your personality comes out. There's no way of really saying: "If A, then B, or A plus B equals C in creativity." The true strength of the creative arts is that you allow yourself to think about something. Then how it finds its way in your mind to the surface through your hands to-- whether it's paint or sculpture-- is intuited. I think there's reason to it. But could you extrapolate? Could you actually formulate a mathematical theorem? Absolutely not.

In an age of democracy and of peaceful or warlike communion among all parts of humanity, philosophy, like poetry and politics, must be prophetic. The content of its prophecy is a vision of how it is that we may respond, right now and with the instruments at hand, to the experience of being lost in a void that is made up of time, into the beginning and end of which we cannot see, and that is indifferent to our concerns. It is a prophecy of the path of our unchaining and of our ascent in a world of time, in which we remain always bound to death and forever denied insight into the ultimate nature of reality.... No philosopher or philosophical tradition in the last two centuries has had a monopoly on this prophecy. It is everywhere.

The power of the arts to anticipate future social and technological developments, by a generation and more, has long been recognized. In this century Ezra Pound called the artist “the antennae of the race.” Art as radar acts as “an early alarm system,” as it were, enabling us to discover social and psychic targets in lots of time to prepare to cope with them. This concept of the arts as prophetic, contrasts with the popular idea of them as mere self-expression. If art is an “early warning system,” to use the phrase from World War II, when radar was new, art has the utmost relevance not only to media study but to the development of media controls.

If we compare Sappho's poems with Anakreon's or the Sibyl's oracles with the prophet Bakis, then it is clear that the art of poetry or of prophecy is not one art practiced by men and another when practiced by women. It is the same. Can anyone protest this conclusion?

The mind of man possesses a sort of creative power on its own; either in representing at pleasure the images of things in the order and manner in which they were received by the senses, or in combining those images in a new manner, and according to a different order. This power is called imagination.

In many ways art is similar to religion. Its development consists not in new discoveries which invalidate the old truths (as is obviously the case in science). Its development consists in sudden illuminations, similar to lightning, in explosions, which burst in the sky like fireworks.. ..this illumination shows with blinding light new perspectives, new truths, which are basically nothing but the organic development, the further organic growth of the earlier wisdom.. .Was the New Testament possible without the Old? Could our time, that of the threshold of the 'third' revelation, be thinkable without the second?