Rollo May Quotes

When people feel threatened and anxious they become more rigid, and when in doubt they tend to become dogmatic; and then they lose their own vitality. They use the remnants of traditional values to build a protective encasement and then shrink behind it; or they make an outright panicky retreat into the past.

There is considerable danger that psychoanalysis, as well as other forms of psychotherapy and adjustment psychology, will become new representations of the fragmentation of man, that they will exemplify the loss of the individual's vitality and significance, rather than the reverse, that the new techniques will assist in standardizing and giving cultural sanction to man's alienation from himself rather than solving it, that they will become expressions of the new mechanization of man, now calculated and controlled with greater psychological precision and on a vaster scale of unconscious and depth dimensions — that psychoanalysis and psychotherapy in general will become part of the neurosis of our day rather than part of the cure. This would indeed be a supreme irony of history. It is not alarmism nor the showing of unseemly fervor to point out these tendencies, some of which are already upon us. It is simply to look directly at our historical situation and to draw unflinchingly the implications.

One does not become fully human painlessly

The self is made up, on its growing edge, of the models, forms, metaphors, myths, and all other kinds of psychic content which give it direction in its self-creation. This is a process that goes on continuously. As Kierkegaard well said, the self is only that which it is in the process of becoming. Despite the obvious determinism in human life — especially in the physical aspect of ones self in such simple things as color of eyes, height relative length of life, and so on — there is also, clearly, this element of self-directing, self-forming. Thinking and self-creating are inseparable. When we become aware of all the fantasies in which we see ourselves in the future, pilot ourselves this way or that, this becomes obvious.

The daimonic is any natural function which has the power to take over the whole person. Sex and eros, anger and rage, and the craving for power are examples. The daimonic can be either creative or destructive and is normally both.

Freud describes the neurotic personality of the late nineteenth century as one suffering from fragmentation – that is, from repression of instinctual drives, blocking off of awareness, loss of autonomy, weakness and passivity of the ego, together with the various neurotic symptoms which result from this fragmentation. “Kierkegaard-who wrote the only known book before Freud specifically devoted to the problem of anxiety-analyzes not only anxiety but particularly the depression and despair which result from the individual’s self-estrangement, an estrangement he proceeds to clarify in its different forms and degrees of severity. Nietzsche proclaims ten years before Freud’s first book that the disease of contemporary man is that “his soul had gone stale” he is – he describes how blocked instinctual powers turn within the individual into resentment, self-hatred, hostility and aggression. Freud did not know Kierkegaard’s work, but he regarded Nietzsche as one of the authentically great men of all time.”

Both artist and neurotic speak and live from the subconscious and unconscious depths of their society. The artist does this positively, communicating what he experiences to his fellow men. The neurotic does this negatively.

It is the seeming contradiction that we must be fully committed, but we must also be aware at the same time that we might possibly be wrong.

When people feel their insignificance as individual persons, they also suffer an undermining of their sense of human responsibility.

This exile is a fascinating symbolic act from our modern psychoanalytic viewpoint, for we have held in earlier chapters that the greatest threat and greatest cause of anxiety for an American near the end of the twentieth century is not castration but ostracism, the terrible fate of being exiled by one’s group. Many a contemporary man castrates himself or permits himself to be castrated because of fear of being exiled if he doesn’t. He renounces his power and conforms under the great threat and peril of ostracism. — Rollo May, “The Tragedy of Truth About Oneself” (The Psycology of Existence: An Integrative, Clinical Perspective by Kirk Schneider and Rollo May), pp. 14-15

The central psychological endeavor of Kierkegaard may be summed up under the heading of the question he pursued relentlessly: How can one become an individual? The individual was being swallowed up on the rational side by Hegel's vast logical "absolute Whole," on the economic side by the increasing objectification of the person, and on the moral and spiritual side by the soft and vapid religion of his day. Europe was ill, and was to become more so, not because knowledge or techniques were lacking but because of the want of passion, commitment. ""Away from Speculation, away from the System," he called, and "back to reality!" p. 69

It is an old and ironic habit of human beings to run faster when we have lost our way; and we grasp more fiercely at research, statistics, and technical aids in sex when we have lost the values and meaning of love.

The two persons, longing, as all individuals do, to overcome the separateness and isolation to which we all are heir as individuals, can participate in a relationship that, for the moment, is not made up of two isolated, individual experiences, but a genuine union.

The daimonic refers to the power of nature rather than the superego, and is beyond good and evil. Nor is it man's 'recall to himself' as Heidegger and later Fromm have argued, for its source lies in those realms where the self is rooted in natural forces which go beyond the self and are felt as the grasp of fate upon us. The daimonic arises from the ground of being rather than the self as such.

Creativity arises out of the tension between spontaneity and limitations, the latter (like the river banks) forcing the spontaneity into the various forms which are essential to the work of art or poem.