I think we should not forget that Stockhausen also had a childlike - not childish! - joy of associative links. Why do we see a Luzikamel in MICHAELION? And not let's say a Luzikodil or a Luzifant? I guess because in this case he had the association Kamael - Kamel. MICHAELION is an example for the fact that some of Stockhausen's libretti are pure, funny nonsense we may laugh about - and that's wonderful! I love it.
(...whereas others might think that the composer of MICHAELION must have gone totally crazy...;-)...)
I learned by our discussion so far, that, as to the theme of Stockhausen's libretti, there is no general meaning, but every scene has to be investigated independently and especially. There are extreme differences, for instance between the texts of DONNERSTAG and of SAMSTAG. Here in the first 3 scenes the words just are an information, point to the meaning of the musical action. There is no literature as art, I think: just information. And then, on the contrary, the key-word-texts of the LIEDER DER TAGE. So it would be a very rewarding theme for a dissertation: The libretti of LICHT!
I feel that it could be useful to have a discussion-forum on the music of Stockhausen. There are so many people from all over the world, young and old, learned and eager to get into contact with this musical world: musicologists, composers, musicians, music lovers; people who plan concerts - who write books or have to give lectures and so on. So there should be much stuff, many ideas that we can share. And when we have open questions, there may be people who studied just that and could give a hint or a stimulus.
A problem might be the English language, but i feel that is the only possibility that many people who are interested can participate. And we can exercise tolerance to mistakes!