Rollo May Quotes

Just as the poet is a menace to conformity, he is also a constant threat to political dictators. He is always on the verge of blowing up the assembly line of political power.

We are more apt to feel depressed by the perpetually smiling individual than the one who is honestly sad. If we admit our depression openly and freely, those around us get from it an experience of freedom rather than the depression itself.

Note the startling regularity through history with which society martyrs the rebel in one generation and worships him in the next. Socrates, Jesus, William Blake, Buddha, Krishna — the list is as endless as it is rich.

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.

Joy, rather than happiness, is the goal of life, for joy is the emotion which accompanies our fulfilling our natures as human beings. It is based on the experience of one's identity as a being of worth and dignity, who is able to affirm his being, if need be, against all other beings and the whole inorganic world.

Loneliness is such an omnipotent and painful threat to many persons that they have little conception of the positive values of solitude, and even at times are very frightened at the prospect of being alone. Many people suffer from “the fear of finding oneself alone,” remarks André Gide, “and so they don’t find themselves at all.

Bir kimsenin ancak sorumlu olduğu ölçüde özgür olabileceği paradoksu özgürlüğün her noktasında merkezdedir. Fakat aksi de doğrudur. Bir kimse ancak özgür olduğunda sorumlu olabilir.

Creative people, as I see them, are distinguished by the fact that they can live with anxiety, even though a high price may be paid in terms of insecurity, sensitivity, and defenselessness for the gift of the “divine madness,” to borrow the term used by the classical Greeks. They do not run away from non-being, but by encountering and wrestling with it, force it to produce being. They knock on silence for an answering music; they pursue meaninglessness until they can force it to mean.

"There is no meaningful "yes" unless the individual could also have said "no.

Stoicism, in our day, is not strength to overcome wishes, but to hide them.…Tendencies have become endemic in our culture for our denial of wishes to be rationalized and accepted with the belief that this denial of the wish will result in its being fulfilled.

Absorption, being caught up in, wholly involved, and so on, are used commonly to describe the state of the artist or scientist when creating or even the child at play. By whatever name one calls it, genuine creativity is characterized by an intensity of awareness, a heightened consciousness.

I have described the human dilemma as the capacity of man to view himself as object and as subject. My point is that both are necessary — necessary for psychological science, for effective therapy, and for meaningful living. I am also proposing that in the dialectical process between these two poles lies the development, and the deepening and widening, of human consciousness. The error on both sides — for which I have used Skinner and the pre-paradox Rogers as examples — is the assumption that one can avoid the dilemma by taking one of its poles. It is not simply that man must learn to live with the paradox — the human being has always lived in this paradox or dilemma, from the time that he first became aware of the fact that he was the one who would die and coined a word for his own death. Illness, limitations of all sorts, and every aspect of our biological state we have indicated are aspects of the deterministic side of the dilemma — man is like the grass of the field, it withereth. The awareness of this, and the acting on this awareness, is the genius of man the subject. But we must also take the implications of this dilemma into our psychological theory. Between the two horns of this dilemma, man has developed symbols, art, language, and the kind of science which is always expanding in its own presuppositions. The courageous living within this dilemma, I believe, is the source of human creativity.

Because it is possible to create — creating one’s self, willing to be one’s self, as well as creating in all the innumerable daily activities (and these are two phases of the same process) — one has anxiety. One would have no anxiety if there were no possibility whatever. Now creating, actualizing one’s possibilities, always involves negative as well as positive aspects. It always involves destroying the status quo, destroying old patterns within oneself, progressively destroying what one has clung to from childhood on, and creating new and original forms and ways of living. If one does not do this, one is refusing to grow, refusing to avail himself of his possibilities; one is shirking his responsibility to himself. Hence refusal to actualize one’s possibilities brings guilt toward one’s self. But creating also means destroying the status quo of one’s environment, breaking the old forms; it means producing something new and original in human relations as well as in cultural forms (e.g., the creativity of the artist). Thus every experience of creativity has its potentiality of aggression or denial toward other persons in one’s environment or established patterns within one’s self. To put the matter figuratively, in every experience of creativity something in the past is killed that something new in the present may be born. Hence, for Kierkegaard, guilt feeling is always a concomitant of anxiety: both are aspects of experiencing and actualizing possibility. The more creative the person, he held, the more anxiety and guilt are potentially present.

The significant question is whether the activity pursued permits the release of tension without resolving the underlying conflict. If so, the conflict still remains, and hence the activity must be engaged in repeatedly. We then may have the beginning of compulsion neurosis.

Artistic symbols and myths speak out of the primordial, preconscious realm of the mind which is powerful and chaotic. Both symbol and myth are ways of bringing order and form into this chaos.