122
" One cannot laugh when in an anxiety panic, for then one is swallowed up, one has lost the distinction between himself as subject and the objective world around him. So long as one can laugh, furthermore, he is not completely under the domination of anxiety or fear—hence the accepted belief in folklore that to be able to laugh in times of danger is a sign of courage. In cases of borderline psychotics, so long as the person has genuine humor—so long, that is, as he can laugh, or look at himself with the thought, as one person put it, “What a crazy person I’ve been!”—he is preserving his identity as a self. When any of us, neurotic or not, get insights into our psychological problems, our spontaneous reaction is normally a little laugh—the “aha” of insight, as it is called. The humor occurs because of a new appreciation of one’s self as a subject acting in an objective world. "
― Rollo May , Man's Search for Himself
127
" We find a giant like Picasso shifting in his own lifetime from style to style, partly as a reflection of the shifting character of the last four decades in Western society, and partly like a man dialing a ship’s radio on the ocean, trying vainly to find the wave length on which he can talk to his fellow men. But the artists, and the rest of us too, remain spiritually isolated and at sea, and so we cover up our loneliness by chattering with other people about the things we do have language for—the world series, business affairs, the latest news reports. Our deeper emotional experiences are pushed further away, and we tend, thus, to become emptier and lonelier. "
― Rollo May , Man's Search for Himself
128
" Anxiety (loneliness or “abandonment anxiety” being its most painful form) overcomes the person to the extent that he loses orientation in the objective world. To lose the world is to lose one's self, and vice versa; self and world are correlates. The function of anxiety is to destroy the self-world relationship, i.e., to disorient the victim in space and time and, so long as this disorientation lasts, the person remains in the state of anxiety. Anxiety overwhelms the person precisely because of the preservation of this disorientation. Now if the person can reorient himself—as happens, one hopes, in psychotherapy—and again relate himself to the world directly, experientially, with his senses alive, he overcomes the anxiety. My slightly anthropomorphic terminology comes out of my work as a therapist and is not out of place here. Though the patient and I are entirely aware of the symbolic nature of this (anxiety doesn’t do anything, just as libido or sex drives don’t), it is often helpful for the patient to see himself as struggling against an “adversary.” For then, instead of waiting forever for the therapy to analyze away the anxiety, he can help in his own treatment by taking practical steps when he experiences anxiety such as stopping and asking just what it was that occurred in reality or in his fantasies that preceded the disorientation which cued off the anxiety. He is not only opening the doors of his closet where the ghosts hide, but he often can also then take steps to reorient himself in his practical life by making new human relationships and finding new work which interests him. "
― Rollo May , Love and Will
130
" 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 May , Love and Will
139
" In neurotic anxiety, the cleavage between expectations and reality is in the form of a contradiction . Expectation and reality cannot be brought together, and since nobody can bear the constant tension of the experience of such a cleavage, the individual engages in a neurotic distortion of reality. Though this distortions is undertaken for the purpose of protecting the individual from neurotic anxiety, in the long run it makes the contradiction between the individual's expectations and reality more rigid and hence sets the stage for greater neurotic anxiety.
In productive activity, on the other hand, the expectations are not in contradiction to reality, but are used as a means of creatively transforming reality. The cleavage is constantly being resolved by the individual's bringing expectations and reality progressively into greater accord. This, as we have endeavored to show at many points throughout this book, is the sound way to overcome neurotic anxiety. Thus our human power to resolve the conflict between expectation and reality - our creative power - is at the same time our power to transcend neurotic anxiety and to live with normal anxiety. "
― Rollo May , The Meaning of Anxiety