From Glossary in Bella Merlin's book on KONSTANTIN STANISLAVSKY in routledge performance pracitionners

subtext
This term refers to the motivations which underlie the surface of
the spoken text and external action. A character’s subtext can be
expressed through specific intonation, looks, gestures, pauses, or
stillness. As Stanislavsky puts it: ‘Keep in mind that a person says
only ten per cent of what lies in his head, ninety per cent remains
unspoken. On the stage [we] forget this, [we] are concerned only
with what is said aloud, and thereby destroy the living truth.
Playing any scene, you should first create all the thoughts which
precede this or that cue. You don’t have to express them but you
have to live with them’ (cited in Toporkov 1998: 181).

The Songs of Kabir: VI

The Songs of Kabir: VI: "VI
I. 83. candâ jhalkai yahi ghat mâhîn
THE moon shines in my body, but my blind eyes cannot see it:
The moon is within me, and so is the sun.
The unstruck drum of Eternity is sounded within me; but my deaf ears cannot hear it.
So long as man clamours for the I and the Mine, his works are as naught:
When all love of the I and the Mine is dead, then the work of the Lord is done.
For work has no other aim than the getting of knowledge:
When that comes, then work is put away.
The flower blooms for the fruit: when the fruit comes, the flower withers. p. 50
The musk is in the deer, but it seeks it not within itself: it wanders in quest of grass."