TWO The Nature of Creativity, pp. 36–54
1. Ludwig Binswanger, in Existence: A New Dimension in Psychology and Psychiatry, eds. Rollo May, Ernest Angel, and Henri F. Ellenberger (New York, 1958), p. 11.
THREE Creativity and the Unconscious, pp. 55–76
1. This was in the mid-1940s, when being pregnant and unwed was considerably more traumatic than now.
2. Henri Poincaré, “Mathematical Creation,” from The Foundation of Science, trans. George Bruce Halsted, in The Creative Process, ed. Brewster Ghiselin (New York, 1952), p. 36.
3. Ibid., p. 37.
4. Ibid., p. 38.
5. Ibid.
6. Ibid.
7. Ibid., p. 40.
8. Werner Heisenberg, “The Representation of Nature in Contemporary Physics,” in Symbolism in Religion and Literature, ed. Rollo May (New York, 1960), p. 225.
9. Yevgeny Yevtushenko, The Poetry of Yevgeny Yevtushenko, 1953–1965, trans. George Reavey (New York, 1965), pp. x–xi. Emphasis mine.
10. Ibid., p. vii.
11. Ibid., p. viii–ix.
FOUR Creativity and Encounter, pp. 77–94
1. Archibald MacLeish, Poetry and Experience (Boston, 1961), pp. 8–9.
2. Ibid.
3. James Lord, A Giacometti Portrait (New York, 1964), p. 26.
4. Ibid., p. 22.
5. Ibid., p. 23.
6. Ibid., p. 18.
7. Ibid., p. 24.
8. Ibid., p. 41 (italics mine).
9. Ibid., p. 38 (italics mine).
10. MacLeish, pp. 8–9.
11. Frank Barron, “Creation and Encounter,” Scientific American (September, 1958), 1–9.
FIVE The Delphic Oracle as Therapist, pp. 95–111
1. E. R. Dodds, The Greeks and the Irrational (Berkeley, 1964), p.75.
2. The word tyrannos refers simply to an absolute ruler, of the type normally spawned in eras of political ferment and change. Some of these “tyrants,” like Pisistratus, the “tyrant of Athens” of the late sixth century, are regarded as benefactors by historians as well as by modern Greeks. I well recall my surprise when I first heard the boys of the school in Greece in which I taught speak of Pisistratus with the same quality of admiration, if not the same quantity, as people in this country speak of George Washington.
3. Translations from the Poetry of Rainer Maria Rilke, trans. M. D. Herter Norton (New York, 1938), p. 181.
4. Robert Flacelière, Greek Oracles, trans. Douglas Garman (New York, 1965), p. 49.
5. Dodds, p. 73.
6. Ibid.
7. Flacelière, p. 37.
8. Flacelière, p. 52.
9. Herodotus, The Histories, Book VII, 140–144.
SIX On the Limits of Creativity, pp. 112–123
1. Heraclitus, p. 28, Ancilla to the Pre-Socratic Philosophers, A complete translation of the Fragments in Diels, by Kathleen Freeman, Harvard U. Press, Cambridge, Mass., 1970.
2. Ibid., p. 28.
SEVEN Passion for Form, pp. 124–140
1. Rollo May, “The Meaning of Symbols,” in Symbolism in Religion and Literature, ed. Rollo May (New York, 1960), pp. 11–50.
2. Plato, Symposium, trans. Benjamin Jowett, in The Portable Greek Reader, ed. W. H. Auden (New York, 1948), p. 499.
3. Ibid., p. 497.
4. Elsewhere in this book I have noted that the mathematician Poincaré echoes a similar emphasis on Eros as bringing forth both beauty and truth at once. (See pp. 67–68.)
5. Alfred North Whitehead: His Reflections on Man and Nature, selected by Ruth Nanda Anshen (New York, 1961), p. 28. Emphasis mine.
6. Plato, p. 496.