The Process of Janusian

Thinking in Creativity
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Citation Rothenberg, Albert. 1971. “The Process of Janusian Thinking in

Creativity.” Archives of General Psychiatry 24 (3) (March 1): 195.
doi:10.1001/archpsyc.1971.01750090001001.

Published Version doi:10.1001/archpsyc.1971.01750090001001

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 The Process
of Janusian Thinking in Creativity
Albert Rothenberg, MD, New Haven, Conn

"Janusian thinking"\p=m-\thecapacity into art were studies of creativity,3

to conceive and utilize two or more many of his followers could not re¬
opposite or contradictory ideas, con- sist speculating about the richly
cepts, or images simultaneously\p=m-\is suggestive biographical and artistic
discussed in relation to its role in material they analyzed. Since great
the creative process in art, litera- artists were clearly creative individ¬
ture, architecture, music, science, uals, the early analysts assumed
and mathematics. I feel that under- that analysis of artists' life histo¬
standing the psychological factors ries in relation to characters and
in creativity should be of impor- themes in the artists' completed
tance in the theory and everyday works would inevitably shed direct
practice of the art of psychother- light on the creative process. Al¬
apy. though this type of approach to
creativity is fraught with basic con¬
ceptual pitfalls, as I have tried to
show extensively elsewhere,4 these
Poets, philosophers, and theolo- early forays into art produced many
gians have long been concerned with psychodynamic formulations about
the nature and meaning of creativi- creativity which still have a degree
ty in human experience. The scien- of creditability in psychoanalytic
tific study of creativity began large- circles. In recent years, analysts
ly with the biologically oriented have changed their approach some¬
investigations of genius by Lom- what and attempted to combine
broso1 and Galton2 in the late analyses of artists' biographies and
19th century. Both of these studies of great works of art with material
were based on long-standing as- derived from their own clinical
sumptions : Galton tried to establish work with gifted patients. In some
that genius was an inherited capaci- cases, earlier formulations about
ty and Lombroso tried to establish a creativity were reiterated with
link between genius and pathologi- slight modification and, in others,
cal disturbance. Neither study new formulations were presented.
proved its assertions about genius Examples of the more prominent
nor, by implication, any assertions psychoanalytic formulations about
about creativity. Furthermore, these the motive and capacity for creativ¬
investigations generated little scien- ity are the following: jealousy of
tific interest in the problem of female procreation,5 mobile depres¬
creativity and produced few follow- sion,6 heightened oedipal conflicts,7
ers. The real upsurge of interest in expansion of ego boundaries,8 and
creativity began with the advent of extended interest in the transitional
psychoanalysis in the early part of object in childhood.9 By far the
this century. Freud himself was a most famous and most widely held
highly cultured man, living in the psychoanalytic hypothesis about
artistically rich milieu of turn-of- creativity is the "regression in the
the-century Vienna, and he turned service of the ego" notion of Ernst
to great works of art and biogra- Kris.10 Kris developed his notion
phies of great artists to find corrob- from wide familiarity with art bi¬
oration of his theories about the ography, art history, and aesthetic
nature of man. Although he specif- theory as well as clinical observa¬
ically disclaimed that his forays tions. Like other psychoanalytic
formulations about creativity, "re¬
Accepted for publication July 8, 1970. gression in the service of the ego"
From the Department of Psychiatry, Yale is highly general and somewhat
University School of Medicine, New Haven,
Conn. vague but it sharply distinguishes
Reprint requests to Department of Psychia- creative states from pathological
try, Yale University School of Medicine, 333
Cedar St, New Haven, Conn 06510. states such as psychosis. Further-

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 more, it attempts to account for the almost every new curriculum or of psychotherapy in all its forms.
artist's apparent capacity to include teaching proposal. Results of di¬
unconscious, ordinarily repressed verse types of psychological studies The Definition of Creativity
material, in great works of art. His¬ in creativity and impressionistic
torically, Kris's work on creativity evaluations of educational programs A difficult problem besetting all
represented a divergence of interest designed to enhance creativity have scientific research in creativity per¬
from the earlier psychoanalytic so far consisted of delineation of tains to the essential definition of
studies on art. Whereas the earlier general traits or faculties such as: the phenomenon itself. Creativity is
works were primarily focused on verbal fluency, ideational fluency, not synonymous with originality,
universal psychodynamic processes redefinition, elaboration and evalua¬ productivity, spontaneity, good
exemplified in the lives of artists tion factors, and originality11; problem-solving, or craftsmanship
and in great works of art and were courage, femininity in male sub¬ although the term is often used in¬
only incidentally (albeit forcefully) jects, perceptiveness and openness terchangeably with all of these. Cre¬
concerned with creativity per se, to experience, and independence of ations are products which are both
Kris focused directly on creativity thought and actions12; capacity to new and valuable and creativity is
as part of his general interest in bring together remote associa¬ the capacity or state which brings
clarification and development of ego tions13; capacity to defer judgment forth creations. A painter may be
theory. Along with Anna Freud, and extend effort in idea produc¬ original but uncreative; a literary
Heinz Hartmann, and Rudolph tion.14 scholar may be productive, even
Loewenstein, Kris contributed to a In psychiatry, attempts to study prolific, but notably uncreative; a
new psychoanalytic emphasis on ego creativity continue to have perti¬ spontaneous person may produce
functioning, an emphasis that per¬ nence as explorations of ego func¬ conventional poems spontaneously ;
sists to the present day. tioning. In spite of the apparently computers as well as scientists pro¬
Approximately 20 years ago, psy¬ high incidence of psychopatholog- vide good but uncreative solutions
chologists of diverse theoretical ical disturbance among creative to problems; and the skilled crafts¬
backgrounds became interested in people, the process of creating man may replicate great works of
creativity partly because of a re¬ seems to be a highly adaptive func¬ art over and over again but never
surgence of interest in ego function tion. Erikson, for one, has asserted be able to create one of his own.
pervading the field of psychology at that an important but neglected Many scientific explorations into
the time. Returning from a notable form of ego adaptation is the capac¬ creativity have ignored or shown
preoccupation with motives, emo¬ ity to change the environment.15 confusion about these distinctions
tions, and psychopathology to their Since adaptation is a critical aspect and much laborious and meticulous
traditional concern with ego func¬ of so-called normal functioning, ex¬ research has yielded results which
tions such as perception and cogni¬ plorations in creativity potentially have little if any direct pertinence
tion, psychologists began to apply contribute to an understanding of to the phenomenon. But the basic
newly achieved experimental meth¬ normality as well as psychopatholog- problem lies deeper than that—even
odologies and computer technology ical abnormality. if we restrict the definition of crea¬
to the problem of creative thinking It is self-evident that better delin¬ tions to products which are both
as a special type of cognitive proc¬ eation of adaptation and normality new and valuable, it is difficult for a
ess. Creativity research in psychol¬ would be directly pertinent to the scientific psychology to attempt to
ogy and other fields received further theory and practice of psychiatric explain the appearance of such
impetus in this country at the be¬ therapy. One further issue bears products; it is difficult, if not im¬
ginning of the last decade when an mentioning, however. Psychother¬ possible, to explain the act of crea¬
apparent lag in space technology apy, a major modality of psychiat¬ tion. Value judgments are anathema
raised widespread concern about ric treatment, is clearly more an art to objective scientists and the value
traditional American superiority in than it is a science at the current judgment that designates a new
scientific achievement. Research on stage of our knowledge. Although product as true creation is subject
scientific creativity and artistic interest in creativity began with to extensive variation depending on
creativity as well was strongly en¬ poets, philosophers, and theologians, time, place, and person. Even more
couraged at that time in the hope it now seems crucially important difficult for the scientist, particular¬
that such research would help boost for psychiatrists to understand and ly the determinist scientist, is the
America's seemingly sagging poten¬ delineate the psychological factors criterial attribute of newness or
tial. Inteisest in developing creativi¬ in creativity, particularly artistic novelty. As Hausman16 and
ty swept the field of education creativity, since such understanding Morgan17 have pointed out, if the
particularly and today the word should have direct application to the concept of novelty in creation is
"creativity" has become a byword on basic theory and everyday practice taken literally, ie, a creation is truly

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 new and therefore radically dif¬ The Iceman Cometh* At that time biblical phrase "the bridegroom
ferent from its antecedents, it is I called the process "oppositional cometh" and the play is structured
impossible to account for all the thinking"-—the capacity to conceive as a modern parable of the Last Sup¬
factors leading to its production and utilize two or more opposite or per) ; and (3) the iceman was a
and it is impossible to predict what contradictory ideas, concepts, or im¬ sexually potent adulterer (based on
it will be before it actually appears. ages simultaneously. I have substi¬ an old joke known to O'Neill which
I will return to this problem again tuted the term "Janusian" for goes as follows: a husband comes
later. At this point, I would simply "oppositional" because it more accu¬ home from work and calls upstairs,
like to make clear that I am going
to define a previously undescribed
rately conveys the simultaneity of "Dear, has the iceman come yet?"
opposition and because, as a meta¬ His wife calls back down, "No, but
thought process operating in the act phor, it embodies the process it de¬ he's breathing hard!"). Substitut¬
of creation, a process which ac¬ notes. Janus, of course, was the Ro¬ ing these meanings into the central
counts for a limited aspect of crea¬ man god with two faces, the god creation of the play, the notion of
tivity although it by no means ex¬ who looked and apprehended in op¬ the iceman coming, produces four
plains the phenomenon. In defining posite directions simultaneously. He or more logically opposite ideas:
this process, I will assume that cre¬ was the god of all doorways and his (1) Christ's coming or deliverance
ations are products which appear two faces (Janus bifrons) allowed is the opposite of bleak death ; (2)
new and are considered valuable by him to observe both the exterior sexual potency is the biological and,
consensus, ie, experts have consid¬ and interior of a house and the according to Freud and others, the
ered them creations over extended entrance and exit of all buildings. It psychological antithesis of death;
periods of time. is perhaps not generally known that (3) a bridegroom and an adulterer
The thought process I will de¬ he was a very important god, ap¬ are polar extremes; and (4) in¬
scribe is based in part on the notion pearing at the head of religious cer¬ fidelity is opposed to the ultimate
of structural opposition. Although emonies and, on the Roman list, he tenet of Christian faithfulness,
Jung has emphasized the impor¬ came even before Jupiter. He was Christ's coming. A potential fifth
tance of opposition in all of psychic the god of "beginnings," presiding and probably more implicit opposi¬
life18 and philosophers, poets, and over daybreak, and was considered tion is the celebration and elevation
critics have, at various times, recog¬ to be the promoter of all initiative. of sexuality, particularly illicit sex¬
nized the importance of opposition His role as beginner is commemo¬ uality, in conjunction with Christ
in works of art, the thought process rated in the name January, the himself. Christ was not only the
I will describe pertains specifically month which begins our year. In opponent of illicit sex, especially
to the act of creation. It does not, fact, he had an essential role in the adultery, but his teaching could be
like Jung's opposition principle, creation of the world itself and was considered to be generally antisex-
necessarily pervade the psychic life also known as Janus Pater, the god ual or antihedonistic. In the uncon¬
of everyone or the entire psychic of gods. Of particular interest for scious, of course, many of these
life of the creative person, but func¬ this exposition of Janusian think¬ oppositions can be significantly
tions particularly when the creative ing,, especially in relation to artistic equivalent and one of the sources of
person is engaged in creating. Fur¬ creation, is the fact that Janus was the awful strength and beauty of the
thermore, it involves simultaneity also considered to be the god of all iceman symbol is its ability to con¬
of opposition. Although opposition communication, an extension of his note logical contradiction and basic
is often present in a completed work function as god of departure and truth simultaneously—in other
of art, a point I will soon corrobo¬ return. words, the integration of opposites.
rate, it has not previously been sug¬ In the original exposition of the In this same study, I also present¬
gested that a specific thought thought process, I presented evi¬ ed evidence that suggested that
process involving simultaneity of op¬ dence (derived from extensive study O'Neill arrived at a central idea in
position could account for its pres¬ of revisions in the play, life history the play, an idea which led in part
ence. information, and extensive inter¬ to his creation of the iceman sym¬
views with O'Neill's widow, Mrs. bol, by means of a simultaneous
Janusian Thinking Carlotta Monterrey O'Neill) that conceptualization of opposites. This
the central iceman symbol in the idea pertained to the suicide of the
I call this process "Janusian play The Iceman Cometh had at man who was O'Neill's roommate
thinking." I first described or dis¬ least three different connotations : during the year 1912, a man upon
covered this thought mechanism (1) the iceman was death (this is whom the 1939 play was based in
several years ago in connection with stipulated in the play itself) ; (2) large part and who was represented
an intensive study of the revision the iceman was Christ (the phrase in the play be a character named
process in Eugene O'Neill's play, "the iceman cometh" refers to the "Jimmy Tomorrow." O'Neill came

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 to realize that this roommate com¬ completely aware of the contradic¬ One important aspect of the concept
mitted suicide because, as the man tion in his roommate's simultaneous of Janusian thinking is that it
had said, he was upset about his wishes for fidelity and infidelity and offers a partial answer to this ques¬
wife's infidelity with another man, he must have been aware of some if tion in that it describes a specific
but also because of an opposite feel¬ not all of the contradictions embod¬ ego process which allows primary-
ing—he had unwittingly wanted his ied in the symbol of the iceman in process-like material to appear in
wife to be unfaithful to him. All his the play. Furthermore, he did not consciousness. This form of think¬
life, O'Neill had been plagued by the unearth his own unconscious by ing, the simultaneous conceptualiza¬
memory of this man's suicide and slavishly employing the freudian tion of opposites, produces artistic
plagued by the man's assertion formula that unconscious motiva¬ products which appear to embody
shortly before he died that his tions are often opposite conscious unconscious material because oppo¬
wife's infidelity had brought him to ones, nor did he engage in any proc¬ sites are equal in the unconscious.
his state of deep depression. It ap¬ ess of making his own unconscious O'Neill, for example, was not aware
pears that only in his later life did conscious. There is evidence that he that he was very likely unearthing
O'Neill come to realize that the man did not apply the insight about his his own unconscious sexual and ag¬
had also wanted his wife to be un¬ roommate, for example, to his own gressive fantasies in equating sex
faithful and that this was a moti¬ thoughts about infidelity and that and death in the iceman symbol, but
vating factor in the suicide. This the notions remained embedded as he was aware of the conflict and
insight was incorporated into The emotionally isolated issues in the opposition between the notion of a
Iceman Cometh and the evidence in¬ play itself. In fact, one of the gener¬ sexual coming and the coming of
dicates that it had a good deal of al characteristics of such creative death. Ambiguity, tension, and par¬
influence on the structure of the insights is that an author often ac¬ adox very frequently are manifest
play and O'Neill's motivation to tually denies that they have any goals in an aesthetic creative act.
write it. relation to his own feelings or con¬ The iceman symbol was not created
As exemplified in O'Neill's crea¬ flicts. They are considered to be rel¬ by means of the type of primary
tion of The Iceman Cometh, Janu¬ evant only to the work of art; a process symbolization found in
sian thinking is a type of thought common assertion of novelists and dreams. It was created, in part, by a
process used by a creator while en¬ playwrights is that such ideas are secondary process mechanism which
gaged in a creative act. It primarily only insights into the feelings, allowed unconscious material to ap¬
occurs early in the creative process, thoughts, and conflicts of the char¬ pear in consciousness but did not
the so-called inspiration phase (eg, acters in the work itself. overcome repression. The ego de¬
O'Neill's discovery early in the con¬ It is important to stress the sec¬ fense which allows such a phenome¬
ception of The Iceman Cometh play ondary process nature of Janusian non to occur, the defense associated
that his roommate both wanted and thinking because primary process with Janusian thinking, is negation.
did not want his wife to be unfaith¬ thinking has previously been con¬ Freud long ago pointed out that the
ful) and is often, therefore, fre¬ sidered to be a crucial aspect of the process of saying something was
quently hidden although its effects creative process. As a secondary not so could be an effective means of
may be manifest in the final prod¬ process mechanism, however, Janu¬ sidestepping repression without ov¬
uct, ie, the simultaneous oppositions sian thinking helps account for the ercoming it.20 Thinking of the op¬
in the iceman symbol. Janusian seeming ubiquity of primary proc¬ posite, the least likely alternate, si¬
thinking may enter into basic plot ess thought in works of art. As multaneously, is a way of utilizing
ideas, specific early metaphors, or mentioned earlier, Kris and others negation as a defense. In the exam¬
early formulations of the overall had long been interested in the ap¬ ple of O'Neill's iceman symbol,
structure of a work of art; it may parent ability of the artist to render again, the negation defense operates
not be apparent or remembered by unconscious material manifest in as follows: sex overtly negates
the artist himself and it may or art. Since the artist, unlike the death and vice versa but the simul¬
may not lead to clear oppositions in schizophrenic, does not seem to be taneous negation could indicate and
the completed work. Moreover, overwhelmed by primary-process¬ indirectly express O'Neill's re¬
within the psychoanalytic model of like thinking, Kris postulated his pressed castration fear. As I have
thought, the process of Janusian concept, "regression in the service pointed out in some detail else¬
thinking must be considered to be a of the ego," to emphasize the phe¬ where,4 creative artists use the ne¬
secondary process mechanism. The nomenon of ego control. At the time gation defense in other aspects of
evidence indicates that O'Neill ar¬ he presented this concept, Kris the creative act beside the Janusian
rived at these insights by a simulta¬ quoted Freud's comment that "one process and defensive negation may
neous conceptualization of opposites would like to know more about how, very well be one of the hallmarks of
on a conscious ego level. He was precisely, the ego achieves this."19 creativity.

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 Janusian Thinking tempted to support a strong asser¬ chitect, has described the operation
in the Creative Process tion that the basic feature of all of of Janusian thinking on an even
poetry is paradox. Even more perti¬ wider scale than this in his descrip¬
There is reason to believe that nent to the issue of simultaneous tion of the development of Organic
Janusian thinking operates widely opposition in the Janusian process, Architecture, the type of architec¬
in diverse types of creative process¬ Monroe Beardsley,23 the noted ture he created. He referred to the
es. In Eastern culture, the concepts aesthetician, has expounded a de¬ Organic Architecture idea as an
of Yin and Yang, Mazda and Ahri- tailed theory that all metaphor is "affirmative negation,"24 meaning
man, Nirvana and Samsara, are cre¬ based on verbal opposition. Meta¬ that it negated the three-dimension¬
ations of the mind of man which phor is a very specific and crucial al concept in architecture and
convey simultaneous oppositions. In entity in all forms of literature and affirmed it simultaneously. In the
Western culture, pre-Socratic con¬ many have considered the creation visual arts, the capacity to attend to
ceptions of Being and Becoming, of metaphor to be the paradigm for the ground (in Gestalt terms) with¬
religious conceptions of God and the all of literary creation. Further¬ out loss of figure perception and the
Devil, Nietzsche's formulation of more, a metaphor is a unity refer¬ painter's freedom to reverse figure
Dionysian and Apollonian, Freud's ring simultaneously to disparate as¬ and ground to a degree that is not
concept of the id containing a sex¬ pects of experience. If Beardsley is characteristic of ordinary percep¬
ual and aggressive instinct or the right and metaphor is based speci¬ tion seems to represent an ability to
Eros and Thanatos idea, all convey fically on verbal opposition, Janu¬ maintain opposite orientations si¬
an integration of opposites. These sian thinking would clearly play a multaneously. The visual effect of
concepts, like the iceman metaphor, large role in the creation of meta¬ moving back and forth while stand¬
are final products of creative phor. The importance of metaphor ing still, which has been achieved by
thought and their mere existence and the general importance of oppo¬ artists of the "Op" school, is an
does not prove that Janusian think¬ sition in all of literature suggests example of an art product which
ing, a relatively early phenomenon that Janusian thinking plays a cru¬ may have involved Janusian think¬
in the creative process, accounted cial role in the entire process of ing at some stage.
for their formulation. As mentioned literary creation. An interesting example of Janu¬
before, however, there is evidence In aesthetic fields other than lit¬ sian thinking in music comes from
that O'Neill's original idea for The erature, integrated opposition and, Arnold Schoenberg's creation of the
Iceman Cometh play was based on a by implication, Janusian thinking twelve-tone scale, an important de¬
simultaneous conception of opposites can be seen to have an important velopment leading to the so-called
and we can infer that thé oppo¬ role. In architecture, the Janus met¬ atonal movement in modern music.
sitional iceman symbol, a later for¬ aphor is particularly appropriate Schoenberg reported that he had ar¬
mulation related to the original since it is necessary for the creative rived at a notion that consonance
idea, also resulted from such a pro¬ architect to conceptualize the inside and dissonance were equivalent.
cess. Concepts such as Yin and Yang and outside of a building simultane¬ "Dissonances are only the remote
may have been formulated all at ously. For example, convex outer consonances,"25 he said—a highly
once and only later developed into a shapes produce concave inner shapes revolutionary integration of oppo¬
metaphysical system on the basis of and the architect must reconcile sites.
exegesis of the implications of the these contradictory spatial charac¬ Scientific and mathematical crea¬
metaphor. teristics with the overall conception tors also seem to use Janusian
In literary creation, the fact that of a building to be built. Further¬ thought. Poincaré, the great and
paradox or opposition plays a role more, the best buildings do not con¬ clearly creative mathematician, re¬
in the construction and aesthetic vey a quality of spaciousness on the ferred explicitly to a process of
appeal of various types of literature outside which is contradicted once combining elements "drawn from
seems to have been recognized for one is inside. Since external shapes domains which are far apart" and
some time. Aristotle was probably conveying spaciousness often decep¬ "as disparate as possible" in his
the first thinker to emphasize the tively require a great deal of inter¬ discoveries.26 The recent discovery
role of paradox or reversal in trage¬ nal buttressing structure and conse¬ of the "double helix" structure of
dy particularly.21 Modern critics quent cramping, it is necessary for DNA, the basic factor in genetic
such as Alan Tate, I. A. Richards, the creative architect to overcome replication, shows a dramatic exam¬
and, more recently, R. P. Warren this. He does this, I believe, by for¬ ple of the operation of Janusian
(unpublished observations) have mulating designs which accomplish thinking in creative scientific
implicitly and explicitly indicated spaciousness in opposite spatial ori¬ thought. The double helix structure
the importance of opposition in all entations simultaneously. Frank discovered by Watson contains two
of fiction. Cleanth Brooks22 has at- Lloyd Wright, the great creative ar- similar but opposed spatial forms.

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 In his fascinating book describing everything was in our hands. Though itself in simultaneous opposition.
the discovery of this structure, Dr. as a principle he maintained
matter of Preserving the form of a previously
Watson makes clear that the notion skepticism for a few moments, the held general belief and assumption
of identical chains running in op¬ similarly shaped A-T and G-C pairs about messages, ie, "the content is
had their expected impact. His quickly the message," McLuhan substituted
posite directions occurred to him all pushing the bases together in a num¬
at once. After describing a long pe¬ ber of different ways did not reveal the word which was the antithesis
riod of struggle consisting of nu¬ any other way to satisfy Chargaff's of "content" in this context, "medi¬
merous observations by x-ray crys¬ rules. A few minutes later he spotted um." In doing so, he has it both
tallography combined with careful the fact that the two glycosidic bonds ways : he conveys a sense of content
logical assessment of alternate pos¬ (joining base and sugar) of each base to the medium. Although some may
sibilities, Watson indicates that the pair were systematically related by a question whether McLuhan has ac¬
actual discovery occurred as fol¬ dead axis perpendicular to the helical tually developed a new or creative
lows: axis. Thus, both pairs could be flipflop-
ped over and still have their glycosidic philosophical system or whether he
When I got to our still empty office
bonds facing in the same direction.
has actually applied notions de¬
the following morning, I quickly veloped by previous thinkers about
cleared away the papers from my desk This had the important consequence
that a given chain could contain both the relationship of form and con¬
top so that I would have a large flat purines and pyrimidines. At the same tent to a new context, there is little
surface on which to form pairs of
bases held together by hydrogen time, it strongly suggested that the doubt that the phrase itself was
bonds. Though I initially went back to backbones of the two chains run in new at the time it was formulated

my like-with-like prejudices, I saw all opposite directions [italics mine}. and that it did spark a relatively
The question then became whether new approach to art and modern
too well that they led nowhere. When
the A-T and G-C base pairs would
Jerry Donohue came in I looked up, easily fit the backbone configuration experience.
saw that it was not Francis [Crick],
and began shifting the bases in and
devised during the previous two
weeks. We both knew that we Recent Evidence
out of various other pairing possibili¬ . . .

ties. Suddenly I became aware that an would not be home until a complete
adenine-thymine pair held together by model was built in which all the ster¬ Clinical Evidence.—Later, I will
two hydrogen bonds was identical in eo-chemical contacts were satisfactory. discuss some of the reasons that
There was also the obvious fact that McLuhan's sentence and similar
shape to a guanine-cytosine pair held the implications of its existence were
together by at least two hydrogen formulations are experienced as cre¬
far too important to risk crying wolf.
bonds. All the hydrogen bonds seemed
Thus I felt slightly queasy when at ations. Now, I will briefly specify
to form naturally; no fudging was some further evidence for Janusian
lunch Francis winged into the Eagle
required to make the two types of thinking as a process in creation
base pairs identical in shape. [restaurant] to tell everyone within which has come out of clinical and
hearing distance that we had found
. . .

The hydrogen bonding requirement

meant that adenine would always pair the secret of life.27 experimental studies currently in
with thymine, while quanine could pair Watson's description makes clear progress. For the past seven years,
only with cytosine. Chargaff's rules that the actual breakthrough con¬ I have conducted intensive inter¬
[adenine equals thymine, guanine sisted of conceiving simultaneously view studies of prominent and nov¬
equals cytosine] then suddenly stood of identical but spatially opposed ice creative writers, studies which
out as a consequence of a double-heli¬ forms. Also, he indicates that this focus on the writing process itself.
cal structure for DNA. Even more breakthrough was not the complete These interviews are carried out on
exciting, this type of double helix sug¬ answer, not the total creation, so to a regular weekly or biweekly basis
gested a replication scheme much speak, but that a whole system of over extended periods of time, from
more satisfactory than my briefly con¬
reactions had to be worked out to months to several years in some
sidered like-with-like pairing. Always
pairing adenine with thymine and give it coherence and validity. cases, but they focus on the literary
guanine with cytosine meant that the A relatively recent and influential work in progress and are not con¬
base sequences of the two intertwined creation in the realm of social tracted to be therapeutically orient¬
chains were complementary to each thought is the work of Marshall ed or to be personality explorations
other. Given the base sequence of one McLuhan. Here, McLuhan's early per se. Although I can not reveal
chain, that of its partner was auto¬ and central idea is a clear represen¬ the identity of the subjects, the
matically determined. Conceptually, it tation of Janusian thinking.28 In prominent writers have been poets
was thus very easy to visualize how a the development of his theory about and novelists who have been win¬
single chain could be the template for the modern ethos based on techno¬ ners of Pulitzer Prizes, National
the synthesis of a chain with the com¬
plementary sequence. logical communication, McLuhan in¬ Book Awards, Bollingen Poetry
Upon his arrival Francis did not get itially formulated the idea, "the me¬ Prizes, and members of the Ameri¬
more than halfway through the door dium is the message." The sentence can Academy of Arts and Letters.
before I let loose that the answer to meaning and syntax turns back on Novice writers have been persons of

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 varying ages who are serious about this poet's mind as he wrote the Hart Crane's "penniless rich
a writing career and who have been poem. palms,"29 Keat's "all his men looked
identified as talented by prominent In another instance, a poet was at each with a wild surmise/Silent
literary critics and teachers. In ad¬ cooking cream of celery soup and upon a peak in Darien,"30 Hopkins'
dition to these criteria, subjects in began to think of arguments she "all life death does end"31 and
both these groups are consistently had heard as child at school that "Elected silence, sing to me,"32 as
rated as highly creative by their things had no form unless they had well as Emerson's33 section from
writer peers. In order to establish a boundaries or were in a container. the poem, "Brahma" :
comparison baseline for the results She thought of the fact that cream Far or forget to me is near
of these interview studies with cre¬ of celery soup had no form outside Shadow and sunlight are the same
ative writers, I have also conducted the pot and simultaneously thought The vanished gods to me appear
similar intensive interviews with of the first line of a poem which And one to me is shame and fame.
"noncreative" persons engaging in went as follows: "Cream of celery This is an explicit series of poetic
an attempt to produce a work of soup has a soul of its own." In this statements embodying Janusian
fiction or poetry for financial reim¬ case, using the term "soul", she was thought.
bursement. These noncreative per¬ thinking of an entity which was Novels also, in their early stages,
sons are similar to both the promi¬ both formed and formless. The total have been powered by Janusian
nent and novice writer subjects in poem went on to become a vibrant thinking. In one instance, a revolu¬
age, sex, socioeconomic characteris¬ statement of conflict between her¬ tionary hero was conceived as being
tics, and ethnic background, but self as a child and as an adult. responsible for the deaths of
differ in that they have never been The two examples cited indicate hundreds of people but only killing
interested in literature, have never the way in which Janusian thinking one person with his own hand ; this
engaged in serious creative writing enters into the formation of poetic person was someone who was kind
on their own, and are not consid¬ content. A third example relates to to him and whom he loved. This
ered creative or creatively oriented the operation of Janusian thinking idea occurred early during the ger¬
by peers or superiors. To be specific, in relation to alliteration, a formal mination of the plot and much of
they have not shown evidence or property (not, of course, divorced the subsequent novel became an
inclination for literary creativity. from content) of the poem. A poet elaboration of it.
During these interview series, I with a Southern background created The examples cited pertain to
have seen many examples of the a line, the best in the poem he felt, concrete manifestations of form or
process of Janusian thinking in op¬ which contained the words "price" content that demonstrate Janusian
eration in the prominent and novice and "praise" in an alliterative se¬ thought. I would like to make clear,
writer subjects but never in the quence. Spontaneously, the poet in¬ however, that such thinking can op¬
noncreative persons. In order to in¬ formed me that he had thought of erate to dictate formal aspects of
dicate the nature of the evidence I these words together and, in the cognition as well as to account for
have collected and to clarify the South, they would be pronounced actual words and contents. The art¬
specific operation of Janusian almost identically. After some ques¬ ist's capacity to integrate abstract
thinking in the literary creative tioning, the poet readily acknowl¬ ideas with concrete forms, a capaci¬
process, I will cite some specific ex¬ edged that, in the context of the ty which Arnheim34 suggests is the
amples. poem, the words "price" and hallmark of aesthetic creation, can
In the course of discussing the "praise" denoted oppositions, refer¬ be considered to be a capacity to
circumstances surrounding the gen¬ ring to paying a price, a punish¬ maintain opposite cognitive orienta¬
esis of a particular poem, a poet ment, and being praised, a reward. tions simultaneously. The notion of
subject told me that he got an idea In numerous instances through¬ "regression in the service of the
for a particular poem while walking out these interviews, single phrases, ego" connotes a cognitive orienta¬
on a beach. He came upon some rocks images, and metaphors which were tion in which past and future are
and thought that they were heavy embodiments of simultaneous oppo¬ manipulated simultaneously and, in¬
and were weapons but that, at the sition were the starting points for deed, my subjects consistently show
same time, they felt like human poems. Because of the necessity of me as we explore the experiential
skin. The poetic ideas that followed preserving the anonymity of my roots of their work that their liter¬
this inspiration and the final poem subjects I cannot quote actual ary themes come out of their past
itself were a comment on the rela¬ poems or significant lines and the and are concomitant projections
tionship between sex and violence in examples I have given necessarily into the future.
the world. Indeed, the idea that sex lack some richness. Richer examples Experimental Evidence.—In ad¬
and violence had many things in taken from final versions of poems dition to the clinical evidence for
common was an early realization in by poets I have not worked with are the existence of Janusian thinking

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 in creation, preliminary results of that opposite associations could oc¬ opposites, contrasts, and contradic¬
some experiments I have carried out cur simultaneously in creative work. tions in sequence. The Hegelian di¬
tend to confirm the hypothesis. In Other experimental procedures alectic starts with an assertion of a
one experiment (Rothenberg, un¬ have been carried out to clarify and thesis followed by a counterthesis
published data), carried out in sim¬ test hypotheses about opposite and which is then followed by resolution
ilar fashion to the study by Carroll contrast word associations versus of the opposition through synthesis.
et al35 on opposite responding to the word associations which are merely Although actual dialectical thinking
Kent-Rosanoff (K-R) word-associa¬ different (Rothenberg, unpublished may not follow such a clear stepwise
tion test, a high tendency to rapid data). Again, rapid opposite and sequence in the mind of the person
opposite responding was found in a contrast associations rather than conceiving the dialectic prior to his
creatively oriented group of male merely different ones were charac¬ expounding it or setting it down on
college students. The standard K-R teristic of aesthetic and creative paper, it basically involves a weigh¬
word-association test procedure (in¬ groups. Special association tasks as ing of contradictory alternatives, a
cluding measurement of response well as the K-R word-association process which inevitably requires
time) was administered to a popu¬ test have also been administered to sequential steps rather than simul¬
lation of 114 male college students. prominent and novice creative writ¬ taneity. To be sure, when one tries
On the basis of a detailed question¬ ers, the subjects of the interview to unravel the truth of a Janusian
naire designed to assess creative studies described above. Prelimi¬ thought according to logical crite¬
orientation and performance in the nary assessment of the results of ria, one may then engage in a dia¬
arts and in science, the subjects these latter studies indicates a high lectical process, but the Janusian
were divided into two groups: high propensity to rapid oppositional as¬ thought itself is not the result of
creative orientation and low creative sociation in these highly creative this particular process. For exam¬
orientation. Proportion of opposite subjects as well. Further studies as¬ ple, after O'Neill conceived of the
responses to the K-R stimulus words sessing the role of Janusian think¬ iceman symbol with its simultane¬
(eg, "white" as a response to stim¬ ing as a function of directed ous opposition between sex, death,
ulus word "black", "health" as a thought as well as a function of and Christ's coming, he may have
response to stimulus word "sick¬ associative processes are in prog¬ reflected on the implications of the
ness") and the mean difference of ress. equation of opposites and the syn¬
time response between these oppo¬ thesis, ie, death's coming is a deliv¬
site responses and all other responses Janusian Thinking, Dialectical erance from a suffering life;
were computed for both groups. Thinking, Conflict, Christ's coming is a deliverance
Analysis of results indicates that and Ambivalence from suffering and death, etc.
the high group gave a significantly Conflict is intrinsic to the opposi¬
greater proportion of opposite and Before going into the specific re¬ tion in a Janusian thought. One of
contrast responses in a significantly lationship between Janusian think¬ the particular values of Janusian
shorter period of time (latency of ing and creation, it is necessary to thinking in art is that it produces
response)than the low group. The clarify the critical distinctions be¬ both cognitive and affective conflict
results of the experiment by Carroll tween Janusian thinking and other in an observer, creating suspense
et al had previously indicated that processes which may or may not be and surprise and acting as a stimu¬
certain groups of subjects respond¬ related—dialectical thinking, con¬ lant to thought. Furthermore, as I
ed to the K-R test preferentially flict, and ambivalence. Superficially, have suggested in the earlier discus¬
with opposite and contrast words, Janusian thinking might seem to sion of negation, the particular con¬
but that experiment had not bear a resemblance to dialectical tent of a Janusian thought is very
identified such subjects as potential¬ thinking, an important and produc¬ likely highly related to conscious
ly creative (no identification of sali¬ tive mode of thought having definite and unconscious emotional conflicts
ent subject characteristics was metaphysical roots, especially as in the creator himself. Janusian
made ; also, response times were not defined by Hegel.36 Janusian think¬ thoughts are not simply manifesta¬
recorded). Although associating in ing is, however, clearly distinct tions of emotional conflicts alone,
opposites to the K-R test is not from dialectical thinking with re¬ however, nor do they function solely
equivalent to directed or creative spect to the temporal attributes of to instill conflicts in others. Janu¬
thinking, the results suggest a pro¬ simultaneity and sequence. Both sian thoughts resolve aesthetic as
clivity toward verbal opposition in Janusian thinking and dialectical well as scientific problems. They
persons with a high creative orien¬ thinking involve opposition but Jan¬ provide integrations and harmonies
tation. Furthermore, the rapidity of usian thinking requires simultane¬ in art and theoretical and practical
opposite responding in the high cre¬ ity of opposition, whereas dialectical solutions in science. The simultane¬
ative orientation group suggests thinking involves consideration of ous presence of contradictory and

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 conflictual elements in the creator's Janusian Thinking in Creation these contradictory ideas, would be
consciousness allows for new inte¬ experienced as new in the eye of a
grations and resolutions and the I began this exposition of Janu¬ beholder because no one had ever
Janusian thought must be suscepti¬ sian thinking by raising the prob¬ before considered the possibility
ble to such resolutions to be more lem of the definition of creations that the sun could both rise and not
than a logical absurdity. Mrs. Mala- and of creativity and the notion of rise tomorrow. So, too, any time
prop's memorable statement in The novelty in that definition. I also that an opposite or contradiction is
Rivals,37 "we will not anticipate the suggested that a complete explana¬ posited as of equal value or truth as
past—so mind, young people—our tion of the act of creation may be a previously held notion, belief, or
retrospection will be all to the fu¬ intrinsically and logically impossi¬ fact, it would be experienced as new
ture," is humorous but not an artis¬ ble. I will not withdraw that and, by the laws of chance, occa¬
tic creation in itself because the suggestion at this point but will try sionally of value. In art, such equat¬
context does not indicate any inte¬ to spell out the significance of Janu¬ ing of opposites could account for a
gration or resolution of the contra¬ sian thinking in creation. As one of good deal of the sense of surprise
dictory elements in her statement. the thought processes employed by and novelty which is intrinsic to
The term, ambivalence, has been creators during the act of creation, artistic creations. If scientific crea¬
used in a variety of ways since Janusian thinking does not contra¬ tions are simply important and valu¬
Bleuler's original coinage of the dict the view that the nature of able discoveries which are surpris¬
word to describe schizophrenic pro¬ creations may be intrinsically un¬ ing and appear novel in the eye of a
cesses. I cannot here go into the rela¬ predictable and that creation is an beholder, the integration of opposi¬
tionship between Janusian thinking undetermined event. tion and contradiction can explain a
and schizophrenic thought but will In a strictly deterministic view of good deal of scientific creation as
simply discuss ambivalence as the universe, there is nothing truly well.
Freud used the term, in relation to new under the sun or suns. Not only I think it is incorrect to espouse
contradictory feelings. Ambivalence have all thoughts and productions this extreme determinist view al¬
is distinct from Janusian thinking (particularly human thoughts and though it would clearly give Janu¬
in that the contradictory feelings of productions) been anticipated in the sian thinking a very critical role in
ambivalence are not simultaneously thoughts and productions of the creation. Nevertheless, I think it is
present in consciousness. Although past, but all apparently new events untenable to assert that creation ex¬
we often can conceptualize our own are simply recombinations of fac¬ ists only in the eye of the beholder
ambivalence and indicate that we tors previously in existence. Accord¬ and that nothing is truly new.
have mixed feelings about someone ing to this view, newness or novelty There are many events which have
or something, we do not consciously is basically a phenomenon experi¬ been truly radical departures from
experience contradictory feelings si¬ enced in the eye of the beholder and anything preceding and are in no
multaneously. We do not, for exam¬ the creation of the world is simply sense contradictions of the past,
ple, experience feelings of love and an unknown event, not an unknow¬ even integrated contradictions.
hate simultaneously, but we may able one. Leaving aside, for the mo¬ (The notion of truth of any kind
feel them in an alternating se¬ ment, the possible fallacious meta¬ existing only in the eye of the be¬
quence. When we observe that some¬ physical implications of such a holder also raises the whole Ideal¬
one appears ambivalent about some¬ position, let me say that Janusian ism-Realism philosophical contro¬
thing or someone, we are making an thinking goes a long way toward versy. The position of Idealism has
inference from his behavior—he is explaining the appearance of crea¬ been rejected by modern philosophy
conscious only of feeling positive or tions in this extreme determinist many times over and the determin¬
negative at a given moment. I do context. In its purest form, Janu¬ ist argument cited is rendered fur¬
think that ambivalence, like emo¬ sian thinking consists of conceiving ther untenable by its implying such
tional conflict, probably has strong a notion, belief, or "fact" which is a position.) The creation of the uni¬
links to Janusian thinking and may generally taken to be absolutely true verse and of life are models for such

even be a prior condition for the and formulating its opposite or con¬ radical creation and human crea¬
tradiction simultaneously. An exam¬ tions have often followed such mod¬
ability to have Janusian thoughts. els in kind if not in degree. I will
Creative people are often highly am¬ ple of such a pure Janusian thought
which has so far not led to a crea¬ not pursue this argument further
bivalent in many aspects of their tion (as far as I know) is, "The sun here because I think it is self-evi¬
lives. Ambivalence may be related to will rise tomorrow" simultaneously dent that neither strict determinism
Janusian thinking but it is far accompanied by "The sun will not nor Janusian thinking by itself is
from a sufficient condition for its rise tomorrow." The product of up to explaining such events as
appearance. such a thought, an integration of Shakespeare's Hamlet, Beethoven's

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 Ninth Symphony, or Einstein's how then does opposition actually References
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