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" "I recall a discussion with a highly-respected psychotherapist colleague and friend on the significance of the tragedy of Romeo and Juliet. My friend stated that the trouble with Romeo and Juliet was that they hadn't had adequate counseling. If they had had, they would not have committed suicide. Taken aback, I protested that I didn't think that was Shakespeare's point at all, and that Shakespeare, as well as the other classical writers who have created and molded the literature which speaks to us age after age, is in this drama picturing how sexual love can grasp a man and woman and hurl them into heights and depths — the simultaneous presence of which we call tragic.
But my friend insisted that tragedy was a negative state and we, with our scientific enlightenment, had superseded it — or at least ought to at the earliest possible moment. I argued with him, as I do here, that to see the tragic in merely negative terms is a profound misunderstanding. Far from being a negation of life and love, the tragic is an ennobling and deepening aspect of our experience of sexuality and love. An appreciation of the tragic not only can help us avoid some egregious oversimplifications in life, but it can specifically protect us against the danger that sex and love will be banalized also in psychotherapy.
Rollo Reece May (21 April 1909 – 22 October 1994) was an American humanistic and existential psychologist, authoring the influential books Psychology and the Human Dilemma and Love and Will along with several other volumes explaining and expanding on his theories.
Biography information from Wikiquote
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Existential psychotherapy is the movement which, although standing on one side on the scientific analysis owed chiefly to the genius of Freud, also brings back into the picture the understanding of man on the deeper and broader level — man as the being who is human. It is based on the assumption that it is possible to have a science of man which does not fragmentize man and destroy his humanity at the same moment as it studies him. It unites science and ontology.
Dogmatists 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 destroyers of our nicely ordered systems. For the creative impulse is the speaking of the voice and the expressing of the forms of the preconscious and unconscious; and this is, by its very nature, a threat to rationality and external control.
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