... an ideal is really an impediment; the example is a horror to a creative man. When you want to write a poem and when you are imitating Keats, you cease to be a poet. But when you are really creative and you really want to write a poem, you don't care two pins about Keats as the ideal. That is why you need revolution of a fundamental, deep and psychological nature to free you from imitation, from the ideal; because it is only when you are free, you can be creative. When you are aware of the implications of 'becoming' which creates the ideal and which creates the example, it drops away. This means facing 'what is' and living very dangerously, sailing in uncharted seas and being very alert and awake all the time.
Group Discussion 30th December, 1947