If history, philosophy and so on vanish from academic life, what they leave in their wake may be a technical training facility or corporate research institute. But it will not be a university in the classical sense of the term, and it would be deceptive to call it one.

In the end, the humanities can only be defended by stressing how indispensable they are; and this means insisting on their vital role in the whole business of academic learning, rather than protesting that, like some poor relation, they don't cost much to be housed.

The study of history and philosophy, accompanied by some acquaintance with art and literature, should be for lawyers and engineers as well as for those who study in arts faculties.

We face a conflict between civilisation and culture, which used to be on the same side. Civilisation means rational reflection, material wellbeing, individual autonomy and ironic self-doubt; culture means a form of life that is customary, collective, passionate, spontaneous, unreflective and irrational.

Has the painter not always gone to an art school, or at least to an established master, for instruction? And the composer, the sculptor, the architect? Then why not the writer? Good poets, like good hybrid corn, are both born and made.

Throughout my life I have taken detours in acting and writing, but art remains my abiding passion.

I sometimes wish I had been educated a Catholic, in order to unite the poetry of religion with its higher principles. Are they necessarily inseparable? Is man really so much of a philosopher, that he can conceive of truth in its abstract purity, and divest life and the affections of all the aids of the imagination?

When I was doing 'In the Heights,' I was the co-music supervisor for 'The Electric Company' on PBS, so I was writing songs all day, doing the show, staying up until 3 A. M. Writing more songs, recording demos in the intermission in my dressing room.