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Poets may be delightful creatures in the meadow or the garret, but they are menaces on the assembly line.

Rollo May

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Rollo May
Age: 85 †
Born: 1909
Born: April 21
Died: 1994
Died: October 22
Psychologist
Psychotherapist
Writer
Creatures
Menaces
Poet
Garret
Line
Meadow
Lines
Meadows
May
Menace
Assembly
Delightful
Poets

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The purpose of psychotherapy is to set people free.
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Intimacy requires courage because risk is inescapable.
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Reason works better when emotions are present the person sees sharper and more accurately when his emotions are engaged.
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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 form ideally do not take away from the creativity but may add to it.
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The ultimate error is the refusal to look evil in the face.
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People attain worth and dignity by the multitude of decisions they make from day to day.
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Ecstasy is the accurate term for the intensity of consciousness that occurs in the creative act.
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Good art wounds as well as delights. It must, because our defenses against the truth are wound so tightly around us. But as art chips away at our defenses, it also opens us to healing potentialities that transcend intellectual games and ego-preserving strategies.
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We must always base our commitment in the center of our own being, or else no commitment will be ultimately authentic.
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By whatever name one calls it, genuine creativity is characterized by an intensity of awareness, a heightened consciousness.
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I learned that healing and cure are active processes in which I myself needed to participate.
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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.
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Humans have a habit of running faster when they have lost their way.
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Professors will lecture with more inspiration if they occasionally alternate the classroom with the beach: authors will write better when, as Macaulay used to do, they write for two hours, then pitch quoits, and then go back to their writing. But certainly more than the mere mechanical alternation is involved.
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Our thesis is that symbols and myths are an expression of man's unique self-consciousness, his capacity to transcend the immediate concrete situation and see his life in terms of 'the possible,' and that this capacity is one aspect of his experiencing himself as a being having a world.
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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.
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There is a curiously sharp sense of joy - or perhaps better expressed, a sense of mild ecstasy - that comes when you find the particular form required by your creation.
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Our powerful hunger for myth is a hunger for community. The person without a myth is a person without a home...To be a member of one's community is to share in its myths.
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All our feelings, like the artist's paints and brush, are ways of communicating and sharing something meaningful from us to the world.
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Tools and techniques ought to be an extension of consciousness, but they can just as easily be a protection from consciousness. Then the tools become defence mechanisms... against the unconscious.
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