According to Stockhausen biographer Michael Kurtz, "Michael, Lucifer and Eve are, for Stockhausen, more than theatrical figures. They are the expression of a world beyond, to which terrestrial eyes are blind, but which is given concrete form by The Urantia Book and other sources" (Kurtz 1992, 228). Wager also takes care to assert that Lucifer, Eve, and Michael are "personal inventions of Stockhausen's that were made more meaningful through the Urantia Book. … The listener can also assume that Stockhausen has used these symbols freely and enjoys the style of absurdist theater manifested in Originale where no clear meaning is apparent" (Wager 1998, 208). Furthermore, according to Markus Bandur, the Urantia Book references are concealed by means of associative strategies to other fields of meaning and, as work progressed on Licht after the first-composed opera, Donnerstag, their significance progressively diminishes (Bandur 2004, 144). The importance of the Urantia Book for Stockhausen's work should not be overestimated (Ulrich 2001, 28).
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