"In Mad Hogarth sings: 'You've got Egypt in your head, I've got a headful of Troy'. In a brainwave an explanation for this lyric suddenly occurred to me, but I have to admit it is stretched rather far. Maybe I give the lyricist to much credit, but you never know what the use of 'joss sticks' may lead to. 'Egypt' refers to the character of Helen in Shakespeare's Midsummer Night's Dream. The play's king, I believe his name is Thesius, recites a monologue which begins with the words: 'Lovers and madmen have such seething brains, such shaping memories that apprehend, more than cool reason ever comprehends...'. Later in the monologue there's the following text: '...sees Helen's beauty in a brow of Egypt...'. This means that the person Thesius talks about worships Helen as a goddes who moves around in a glow of beauty. This is a positive approach to love. the remark made by Patrick van der Splinter an Martin Jansen that "in a confused mind strange things take place sometimes", is confirmed by the first line of the monologue [Which is: fools and lovers can, in their state of mind, sense more than reason will ever understand - PS&MJ]. 'Troy' refers to Helen of Troy. Troy is destroyed by the war between two warlords/kings fighting for the love of Helen of Troy.

"In issue number 5 you said that lyric didn't seem to fit in very well with the whole and I don't agree with that. I merely explain the lyric differently.
In many people who have to deal with the problems as described on Brave, you see the begginings of a dichotomy, dividing what they feel inside and what they show on the outside; the so-called 'mask principle'. They will try to hide their problems by pretending there are no problems, the exterior therefore. This dichotomy becomes stronger as the problems continue, or when they are not dealt with in the sense of therapy.
This exterior life often means a sacrifice of the interior one, one does not merely want to hide the interior from the outside world, but also from one's self, since there is not always a possiblility for dealing with it: 'I can feel the outside feeding on my inside'. This leaves a great black hole: 'leaves a growing darkness in its place'. It seems clear to me that this makes you lonely, because our fellow human beings address us according to what we show and not to what we feel inside: 'I think I have become one of the lonely, now that everybody talks to me'. Because of all this , the division between the exterior and the interior becomes ever greater, it starts to resemble a split personality, as if there were two different people: 'I think I have become one of a pair of men'. It now seems as if the exterior begins to push out the interior more and more: 'I look down upon myself and watch my movements, a blind eye sees the fragile vandalised'.

Subsequently also Lamyan suggests that deep within these 'men', despite their apparent callousness, there may be something resembling a conscience. But then there's this:
"The poem by Eliot refers to the fact that they are inside a church - 'In this last of meeting places/ We grope together/ And avoid speech/ Gathered on this beach of the tumid river'. So the men of straw come together in church to profess Christianity, whereas in fact they are people who do not believe in anything [Also keep in mind what we wrote about Eliot - PS&MJ]. This does indicate a contradiction, for the church preaches there is a paradise after life. Twice there's the line 'For Thine is the Kingdom', but the final four lines of the poem refer to how the men of straw see it: 'This is the way the world ends(...)/ Not with a bang but with a whimper'. So, in paradise, in life after death, they do not believe. In Marillion's The hollow Man it is the hard people who use other people for their own profit and who thus spead the poison. Maybe Steve Hogarth also wants to make clear that people in our society do things to better themselves, so that everyone just lives for himself and does not think about his feelings or take his fellow man into consideration."