Love is generally confused with dependence; but in point of fact, you can love only in proportion to your capacity for independence.
The poet, like the lover, is a menace on the assembly line.
Interpretation
What this quote means
This quote suggests that creativity and passion disrupt the routine and mechanization of life, similar to a love affair.
Rollo May's quote compares poets to lovers, emphasizing how both embody a sense of creativity and passion that stands in stark contrast to the mundane and systematic nature of everyday life, much like an assembly line. The notion of being a 'menace' implies that this creativity can disrupt the order and efficiency of conventional existence, suggesting that true artistry and romance introduce chaos that is vital for genuine expression and connection.
Themes
In practice
Example use cases
In a speech about the importance of creativity in education, I might say, 'As Rollo May famously stated, the poet, like the lover, is a menace on the assembly line.'
More from Rollo May
All quotes βTo love means to open ourselves to the negative as well as the positive - to grief, sorrow, and disappointment as well as to joy, fulfillment, and an intensity of consciousness we did not know was possible before
Terrorism and the whole drug scene are vivid examples of the fact that what persons abhor most of all in life is the possibility that they will not matter.
Humor is the healthy way of feeling "distance" between one's self and the problem, a way of standing off and looking at one's problem with perspective.
Beauty is the experience that gives us a sense of joy and a sense of peace simultaneously.
Joy is the zest that you get out of using your talents, your understanding, the totality of your being, for great aims...That's the kind of feeling that goes with creativity. That's why I say the courage to create. Creation does not come out of simply what you're born with. That must be united with your courage, both of which cause anxiety, but also great joy.
Similar quotes
On the whole, dialogue is the most difficult thing, without any doubt. It's very difficult, unfortunately. You have to detach yourself from the notion of a lifelike quality. You see, actually lifelike, tape-recorded dialogue like this has very little to do with good novel dialogue. It's a matter of getting that awful tyranny of mimesis out of your mind, which is difficult.
There are no rules in filmmaking. Only sins. And the cardinal sin is dullness.
To make films, you have to have something to say. To have something to say, you have to be a student of life. And to be a student of life, you have to be feeding yourself with what life, politics, society, and your family fuels you with.
You must talk to me, Caravaggio. Or am I just a book? Something to be read, some creature to be tempted out of a loch and shot full of morphine, full of corridors, lies, loose vegetation, pockets of stones.
I've always believed in writing without a collaborator, because where two people are writing the same book, each believes he gets all the worry and only half the royalties.
Songwriting is my gift from God