1
Intimacy requires courage because risk is inescapable. We cannot know at the outset how the relationship will affect us. Like a chemical mixture, if one of us is changed, both of us will be. Will we grow in self-actualization, or will it destroy us? The one thing we can be certain of is that if we let ourselves fully into the relationship for good or evil, we will not come out unaffected.Rollo May
2
Human freedom involves our capacity to pause between the stimulus and response and, in that pause, to choose the one response toward which we wish to throw our weight. The capacity to create ourselves, based upon this freedom, is inseparable from consciousness or self-awareness. (p. 100)Rollo May
3
It is highly significant and indeed almost a rule, that moral courage has its source in such identification through one's own sensitivity with suffering of one's fellow human beings." (p. 16-17)Rollo May
4
Courage is not a virtue or value among other personal values like love o fidelity. It is the foundations that underlies and gives reality to all other virtue and personal values. (p. 13)Rollo May
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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.Rollo May
6
Every authentic artist is engaged in this creating of the conscience of the race, even though he or she may be unaware of the fact. The artist is not a moralist by conscious intention, but is concerned only with hearing and expressing the vision within his or her own being. But out of the symbols the artist sees and creates–as Giotto created the forms for the Renaissance–there is later hewn the ethical structure of the society.Rollo May
7
Poets may be delightful creatures in the meadow or the garret, but they are menaces on the assembly line.Rollo May
8
Escapist creativity is that which lacks encounter.Rollo May
9
By the creative act, however, we are able to reach beyond our own death. This is why creativity is so important and why we need to confront the problem of the relationship between creativity and death.Rollo May
10
The concept of encounter also enables us to make clearer the important distinction between talent and creativity. Talent may well have its neurological correlates and can be studied as “given” to a person. A man or woman may have talent whether he or she uses it or not; talent can probably be measured in the person as such. But creativity can be seen only in the act. If we were purists, we would not speak of a “creative person, ” but only of a creative act.Rollo May
11
These poets and other creative persons are the ones who express being itself, he held. As I would put it, these are the ones who enlarge human consciousness. Their creativity is the most basic manifestation of a man or woman fulfilling his or her own being in the world.Rollo May
12
The battle with the gods thus hinges on our own mortality! Creativity is a yearning for immortality.Rollo May
13
Consciousness is the awareness that emerges out of the dialectical tension between possibilities and limitations.Rollo May
14
Opposites though they are, both solitude and solidarity are essential if the artist is to produce works that are not only significant to his or her age, but that will also speak to future generations.Rollo May
15
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.Rollo May
16
Dogmatism 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 destroyer of our nicely ordered systems. (p. 76)Rollo May
17
When I use the word rebel for the artist, I do not refer to revolutionary or to such things as taking over the dean’s office; that is a different matter. 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. .Rollo May
18
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. (p. 21)Rollo May
19
Courage is not a virtue or value among other personal values like love or fidelity. It is the foundations that underlies and gives reality to all other virtue and personal values. (p. 13)Rollo May
20
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.Rollo May
21
Are we to conclude that these chief gods, Zeus and Yahweh, did not wish humankind to have moral consciousness and the arts of civilization? It is a mystery indeed. The most obvious explanation is that the creative artist and poet and saint must fight the actual (as contrasted to the ideal) gods of our society–the god of conformism as well as the gods of apathy, material success, and exploitative power. These are the “idols” of our society that are worshiped by multitudes of people.Rollo May