“Language is texture of images and music. We speak in images and rhythm, by taking help of words.”

— Suman Pokhrel

<span class="plainlinks"> Foreword, 'Tales of Transformation: English Translation of Tagore's Chitrangada and Chandalika', Lopamudra Banerjee, (2018). https://www.amazon.co.uk/dp/B07DQPD8F4/</span> <br class="br">From Prose

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Suman Pokhrel41

Nepali poet, lyricist, playwright, translator and artist 1967

Jan Zwicky (1955) Canadian philosopher

'Perfect Fluency' interview with Scott Rosenberg, University of Wyoming Campus, Oct. 2010.
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“The meanings of poetry take their growth through the interaction of the images and the music of the poem.”

Muriel Rukeyser (1913–1980) poet and political activist

Source: The Life of Poetry (1949), p. 31
Context: The meanings of poetry take their growth through the interaction of the images and the music of the poem. The music is not the rhythm, which is a representation of life, alone. The music involves the interplay of the sounds of words, the length of the sequences, the keeping and breaking of rhythms, and the repetition and variation of syllables unrhymed and rhymed. It also involves the play of ideas and images.

“Music is a language that doesn’t speak in particular words. It speaks in emotions, and if it’s in the bones, it’s in the bones.”

Keith Richards (1943) British rock musician, member of The Rolling Stones

Source: According to the Rolling Stones

“Music conveys moods and images. Even in opera, where plots deal with the structure of destiny, it’s music, not words, that provides power.”

Marcel Marceau (1923–2007) French mime and actor

US News & World Report (23 February 1987)

“There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.”

Eugéne Ionesco (1909–1994) Romanian playwright

The Paris Review interview (1984)
Context: Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.) Similarly, in my play The New Tenant, there is no speech, or rather, the speeches are given to the Janitor. The Tenant just suffocates beneath proliferating furniture and objects — which is a symbol of death. There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.