Rollo May

"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."

"We must rediscover the daimonic in a new form which will be adequate to our own predicament and fructifying for our own day. And this will not be a rediscovery alone but a recreation of the reality of the daimonic. The daimonic needs to be directed and channeled. Here is where human consciousness becomes so important. We initially experience the daimonic as a blind push. It is impersonal in the sense that it makes us nature's tool. … consciousness can integrate the daimonic, make it personal."

"Poets often have a conscious awareness that they are struggling with the daimonic, and that the issue is their working something through from the depths which push the self to a new plane."

"While the daimonic cannot be said to be evil in itself, it confronts us with the troublesome dilemma of whether it is to be used with awareness, a sense of responsibility and the significance of life, or blindly and rashly."

"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."

"My fellow liberals and I in America, and in Europe to a lesser extent, believed so strongly in peace and world brotherhood in those days that we could not even see Hitler or the destructively daimonic reality he represented. Human beings just couldn't be that cruel in the our civilized twentieth century — the accounts in the papers must be wrong. Our error was that we let our convictions limit our perceptions. We had no place for the daimonic; we believed that the world must somehow fit our convictions, and the whole daimonic dimension was ruled out of our perception. Not to recognize the daimonic itself turns out to be daimonic, it makes us accomplices on the side of the destructive possession. The denial of the daimonic is, in effect, a self-castration in love and a self-nullification in will. And the denial leads to the perverted forms of aggression we have seen in our day in which the repressed comes back to haunt us."

"[T]he daimonic power does not merely take the individual over as its victim, but works through him psychologically, it clouds his judgment, makes it harder for him to see reality, but still leaves him with the responsibility for the act. This is the age old dilemma of my own personal responsibility even though I am ruled by fate. It is the ultimate statement that truth and reality are psychologized only to a limited extent. Aeschylus is not impersonal but transpersonal, a believer in fate and moral responsibility at the same time."

"[D]epression… can be usefully seen, from one point of view, as the inability to see or construct a future."

"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."

"Care is a state in which something does matter; care is the opposite of apathy. Care is the necessary source of eros, the source of human tenderness."

"Life comes from physical survival; but the good life comes from what we care about."

"The experience of 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."

"Creativity is the result of a struggle between vitality and form. As anyone who has tried to write a sonnet or scan poetry, is aware, the forms ideally do not take away from the creativity but may add to it."

"Physical courage in whatever scene … seems to hinge on whether the individual can feel he is fighting for others as well as himself."

"However it may be confounded or covered up or counterfeited, this elemental capacity to fight against injustice remains the distinguishing characteristic of human beings."

"I must make the important distinction between the rebel and the revolutionary. One is in ineradicable opposition to the other. The revolutionary seeks an external political change, "the overthrow or renunciation of one government or ruler and the substitution of another." The origin of the term is the word revolve, literally meaning a turnover, as the revolution of a wheel. When the conditions under a given government are insufferable some groups may seek to break down that government in the conviction that any new form cannot but be better. Many revolutions, however, simply substitute one kind of government for another, the second no better than the first — which leaves the individual citizen, who has had to endure the inevitable anarchy between the two, worse off than before. Revolution may do more harm than good. The rebel, on the other hand, is "one who opposes authority or restraint: one who breaks with established custom or tradition." … He seeks above all an internal change, a change in the attitudes, emotions, and outlook of the people to whom he is devoted. He often seems to be temperamentally unable to accept success and the ease it brings; he kicks against the pricks, and when one frontier is conquered, he soon becomes ill-at-ease and pushes on to the new frontier. He is drawn to the unquiet minds and spirits, for he shares their everlasting inability to accept stultifying control. He may, as Socrates did, refer to himself as the gadfly for the state — the one who keeps the state from settling down into a complacency, which is the first step toward decadance. No matter how much the rebel gives the appearance of being egocentric or of being on an "ego trip," this is a delusion; inwardly the authentic rebel is anything but brash."

"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."

"The function of the rebel is to shake the fixated mores of the rigid order of civilization; and this shaking, though painful, is necessary if the society is to be saved from boredom and apathy. Obviously I do not refer to everyone who calls himself a rebel, but only to the authentic rebel. Civilization gets its first flower from the rebel."

"Civilization begins with a rebellion. Prometheus, one of the Titans, steals fire from the gods on Mount Olympus and brings it as a gift to man, marking the birth of human culture. For this rebellion Zeus sentences him to be chained to Mount Caucasus where vultures consume his liver during the day and at night it grows back only to be again eaten away the next day. This is a tale of the agony of the creative individual, whose nightly rest only resuscitates him so that he can endure his agonies the next day."

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

"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."

"Art is a substitute for violence. The same impulses that drive persons to violence — the hunger for meaning, the need for ecstasy, the impulse to risk all — drive the artist to create. He is by nature our archrebel. … the essence of the rebellion is in the new way of seeing nature and life."

"The authentic rebel knows that the silencing of all his adversaries is the last thing on earth he wishes: their extermination would deprive him and whoever else remains alive from the uniqueness, the originality, and the capacity for insight that these enemies — being human — also have and could share with him. If we wish the death of our enemies, we cannot talk about the community of man. In the losing of the chance for dialogue with our enemies, we are the poorer."

"The rebel is committed to giving a form and pattern to the world. It is a pattern born of the indomitable thrust of the human mind, the mind which makes out of the mass of meaningless data in the world an order and a form."

"Power is required for communication. To stand before an indifferent or hostile group and have one's say, or to speak honestly to a friend truths that go deep and hurt — these require self-affirmation, self-assertion, and even at times aggression. … My experience in psychotherapy convinces me that the act which requires the most courage is the simple communication, unpropelled by rage or anger, of one's deepest thoughts to another."

"Communication leads to community — that is, to understanding, intimacy, and the mutual valuing that was previously lacking. Community can be defined simply as a group in which free conversation can take place. Community is where I can share my innermost thoughts, bring out the depths of my own feelings, and know they will be understood."

"If you do not express your own original ideas, if you do not listen to your own being, you will have betrayed yourself. Also, you will have betrayed your community in failing to make your contribution."

"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."

"It is highly significant, and indeed almost a rule, that moral courage has its source in identification through one's own sensitivity with the suffering of one's fellow human beings."

"The acorn becomes an oak by means of automatic growth; no commitment is necessary. The kitten similarly becomes a cat on the basis of instinct. Nature and being are identical in creatures like them. But a man or woman becomes fully human only by his or her choices and his or her commitment to them. People attain worth and dignity by the multitude of decisions they make from day by day. These decisions require courage."

"Whereas moral courage is the righting of wrongs, creative courage, in contrast, is the discovering of new forms, new symbols, new patterns on which a new society can be built."

"The relationship between commitment and doubt is by no means an antagonistic one. Commitment is healthiest when it is not without doubt but in spite of doubt."

"Those who present directly and immediately the new forms and symbols are the artists — the dramatists, the musicians, the painters, the dancers, the poets, and those poets of the religious sphere we call saints. They portray the new symbols in the form of images — poetic, aural, plastic, or dramatic, as the case may be. They live out their imaginations."

"Artists are generally soft-spoken persons who are concerned with their inner visions and images. But that is precisely what makes them feared by any coercive society. For they are the bearers of the human being's age old capacity to be insurgent. They love to immerse themselves in chaos in order to put it into form, just as God created form out of chaos in Genesis. Forever unsatisfied with the mundane, the apathetic, the conventional, they always push on to newer worlds."

"Whatever sphere we may be in, there is a profound joy in the realization that we are helping to form the structure of the new world. This is creative courage, however minor or fortuitous our creations may be. We can then say, with Joyce, Welcome, O life! We go for the millionth time to forge in the smithy of our souls the uncreated conscience of the race."

"The creative process must be explored not as the product of sickness, but as representing the highest degree of emotional health, as the expression of the normal people in the act of actualizing themselves."

"Artists encounter the landscape they propose to paint — they look at it, observe it from this angle and that. They are, as we say, absorbed in it. Or, in the case of abstract painters, the encounter may be with an idea, an inner vision, that in turn may be led off by the brilliant colors on the palette or the inviting rough whiteness of the canvas."

"Reason works better when emotions are present; the person sees sharper and more accurately when his emotions are engaged."

"World is the pattern of meaningful relations in which a person exists and in the design of which he or she participates. It has objective reality, to be sure, but it is not simply that. World is interrelated with the person at every moment. A continual dialectical process goes on between world and self and self and world; one implies the other, and neither can be understood if we omit the other. This is why one can never localize creativity as a subjective phenomenon; one can never study it simply in terms of what goes on within the person. The pole of world is an inseparable part of the creativity of an individual. What occurs is always a process, a doing — specifically a process interrelating the person and his or her world."

"In this sense genuine artists are so bound up with their age that they cannot communicate separated from it. In this sense, too, the historical situation conditions the creativity. For the consciousness which obtains in creativity is not the superficial level of objectified intellectualization, but is an encounter with the world on a level that undercuts the subject-object split. "Creativity" to rephrase our definition, “is the encounter of the intensively conscious human being with his or her world.”"

"A dynamic struggle goes on within a person between what he or she consciously thinks on the one hand and, on the other, some insight, some perspective that is struggling to be born. The insight is then born with anxiety, guilt, and the joy and gratification that is inseparable from the actualizing of a new idea or vision."

"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."

"The vision of the artist or the poet is the intermediate determinant between the subject (the person) and the objective pole (the world-waiting-to-be). It will be nonbeing until the poet's struggle brings forth an answer — meaning. The greatness of a poem or a painting is not that it portrays the thing observed or experienced, but that it portrays the artist's or the poet's vision cued off by his encounter with the reality. Hence the poem or the painting is unique, original, never to be duplicated. No matter how many times Monet returned to paint the cathedral at Rouen, each canvas was a new painting expressing a new vision."

"Mark Tobey fills his canvases with elliptical, calligraphic lines, beautiful whirls that seem at first glance to be completely abstract and to come from nowhere at all except his own subjective musing. But I shall never forget how struck I was, on visiting Tobey's studio one day, to see strewn around books on astronomy and photographs of the Milky Way. I knew then that Tobey experiences the movement of the stars and solar constellations as the external pole of his encounter."

"Symbol and myth do bring into awareness infantile, archaic dreads and similar primitive psychic content. This is their regressive aspect. But they also bring out new meaning, new forms, and disclose a reality that was literally not present before, a reality that is not merely subjective but has a second pole which is outside ourselves. This is the progressive side of symbol and myth. This aspect points ahead. It is integrative. It is a progressive revealing of structure in our relation to nature and our own existence, as the French philosopher Paul Ricoeur so well states. It is a road to universals beyond discrete personal experience."

"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."

"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."

"Human freedom involves our capacity to pause, to choose the one response toward which we wish to throw our weight."

"The value of dreams, like … divinations, is not that they give a specific answer, but that they open up new areas of psychic reality, shake us out of our customary ruts, and throw light on a new segment of our lives. Thus the sayings of the shrine, like dreams, were not to be received passively; the recipients had to "live" themselves into the message."

"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."