Countless times a week, furthermore, he receives proof in his consulting work that when men at last accept the fact that they cannot successfully lie to themselves, and at last learn to take themselves seriously, they discover previously unknown and often remarkable recuperative powers within themselves.

But in neurotic anxiety, two conditions are necessary: (1) the threat must be to a vital value; and (2) the threat must be present in juxtaposition with another threat so that the individual cannot avoid one threat without being confronted by another. In patterns of neurotic anxiety, the values held essential to the individual's existence as a personality are in contradiction with each other.

The line between 'normal' and 'neurotic' begins to appear when any activity becomes compulsive - that is, when the person feels pushed to perform the act because it habitually allays his anxiety rather than because of any intrinsic wish to perform the act.

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.

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Violence is the daimonic gone awry. It is "demon possession" in its starkest form. Our age is one of transition, in which the normal channels for utilizing the daimonic are denied; and such ages tend to be times when the daimonic is expressed in its most destructive form.

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If you wish to understand the psychological and spiritual temper of any historical period, you can do no better than to look long and searchingly at its art. For in the art the underlying spiritual meaning of the period is expressed directly in symbols.

Tenderness emerges from the fact that the two persons, longing, as all individuals do, to overcome the separateness and isolation to which we are all heir because we are individuals, can participate in a relationship that, for the moment, is not of two isolated selves but a union

Dogmatism of all kinds — scientific, economic, moral, as well as political — are threatened by the creative freedom of the artist. This is necessarily and inevitably so. We cannot escape our anxiety over the fact that the artists together with creative persons of all sorts, are the possible destroyer of our nicely ordered systems. (p. 76)

If, when he first begins tentatively to say “No,” his parents beat him down rather than love and encourage him, he thereafter will say “No” not as a form of true independent strength but as a mere rebellion.

Courage is not a virtue of value among other personal values like love or fidelity. It is the foundation that underlies and gives reality to all other virtues and personal values. Without courage our love pales into mere dependency. Without courage our fidelity becomes conformism.

True to the meaning of the rebel as one who renounces authority, he seeks primarily not the substitution of one political system for another. He may favor such a political change, but it is not his chief goal. He rebels for the sake of a vision of life and society which he is convinced is critically important for himself and his fellows. … the rebel fights not only for the relief of his fellow men but also for his personal integrity. For him these are but two sides of the same coin.