Jim Morrison was probably the most intelligent of the major rock stars, at least in a bookish sense. He did not show much practical intelligence, dying young, but he showed the fiery poetic intelligence and disdain for ordinary, day-to-day reality that is the mark on the foreheads of the Dreamer race.

He was interested in Blake, and Morrison's relationship to Blake extends past copping a few lyrics and ideas. For example, both poets, Blake and Morrison, created a dual body of play--at least, a body of play that has been dually interpreted. The popular "Songs of Innocence" and "Songs of Experience" of Blake and the Songs (with The Doors) of Morrison are the accessible and popular tip drawing the audience into the respective men's play. But both poets also created a deeper, more obscure body of play. Blake created his epic visions by reshuffling and reinterpreting the elements of Judeo-Christian mythology and world history. Morrison made his own, book-published epics out of the bits and pieces of the world of the West Coast 60s, invigorating them with the eternal dreams of poets. Blake's obscure poems reside in a world of freshly invented angels, demons, maidens, and beasts. Morrison's--in desert highways, city alleys, piers, broke-down car shops, seedy bars and the entire retinue of the LA aesthetic previously explored with different poetic stimulation by Raymond Chandler. Another similarity is that while Blake and Morrison's short lyrical works are quite popular, their longer explorations are rarely read, and rarely enjoyed. When you go past a certain point into a poet dreamer's world, you have to go slowly, building up your own anchors, because the poet offers no guidance and no map.

Anyone in doubt of Morrison's poetic ability should consider the following verse from Strange Days:

Strange days have found us
And through their strange hours
We linger alone
Bodies confused
Memories misused
As we run from the day
To a strange night of stone

Consider also Morrison's great ability as a punster and artist of the double entendre, which allows us to see the above lines in a different way, facilitated by the slurred way in which Morrison often sang:

Strange days have found (founded, made) us
And through their strange Ours
We linger on loan
Bodies con-fused (fused together)
Memories miss-you-sed
As we run from the day
To a strange night of stone

Powerful stuff, either way you see it.

And then there is the exquisite little "Under Waterfall" verse from "Far Arden":

Under waterfall
Under waterfall
The girls return from summer balls
Let's steal the eye that sees us all

Note the reversal in "Let's steal". "Let's" is almost the phonetic reverse of "steal". L-E-T-S-T-I-L.

Now to rewrite the verse a different way:

Underwater Fall
Underwater Fall
The girls return from Summer balls
Let's steal the I that seizes all

Etc, etc.