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Consciousness itself is born out of the awareness of these limits. Human consciousness is the dis-tinguishing feature of our existence; without limitations we would never have developed it. Consciousness is the awareness that emerges out of the dialectica! tension between possibilities and limitations. Infants begin to be aware of limits when they experience the ball as different from themselves; mother is a limiting factor for them in that she does not feed them every time they cry for food. Through a multitude of such limiting experiences they learn to develop the capacity to differentiate themselves from others and from objects and to delay gratification. If there had been no limits, there

would be no consciousness.

Our discussion so far may seem, at first glance, to be discouraging, but not when we probe more deeply. It is not by accident that the

Hebrew myth that marks the beginning of human consciousness, Adam and Eve in the Carden of Eden, is portrayed in the context of a rebellion. Consciousness is born in the struggle against a limit, called there a prohibition. Going beyond the limit set by Yahweh is then punished by

the acquiring of other limits which operate inwardly in the human being —anxiety, the feeling of alienation and guilt. But valuable qualities also come out of this experience of rebellion—the sense of personal

responsibility and ultimately the possibility, born out of loneliness, of human love. Confronting limits for the human personality actually turns out to be expansive. Limiting and expanding thus go together.

Alfred Adler proposed that civilization arose out of our physical limitations, or what Adler called inferiority. Tooth for tooth and claw for claw, men and women were inferior to the wild animáis. In the struggle against these limitations for their survival, human beings evolved their intelligence.

Heraclitus said, "Conflict is both king of all and father of all."1 He was referring to the theme I am here stating: conflict presupposes limits, and the struggle with limits is actually the source of creative

productions. The limits are as necessary as those provided by the banks of a river, without which the water would be dispersed on the earth and there would be no river—that is, the river is constituted by the tension between the flowing water and the banks. Art in the same way requires limits as a necessary factor in its birth.

Creativity arises out of the tension between spontaneity and limitations, the latter (like the river banks) forcing the spontaneity into the various forms which are essential to the work of art or poem. Again listen to Heraclitus: unwise people "do not undeistand how that which differs with itself is in agreement: harmony consists of opposing tension, like that of the bow and the lyre."2 In a discussion of how he composed his music, Duke Ellington explained that since his trumpet player could reach certain notes beauti-fully .but not other notes, and the same with his trombonist, he had to write his music within those limits. "It's good to have limits," he remarked.

True, in our age there is occurring a new valu-ation of spontaneity and a strong reaction against rigidity. This goes along with a rediscovery of the valúes of the childlike capacity to play. In modern art, as we all know, there has evolved a new interest in children's painting as well as in peasant and primitive art, and these kinds of spontaneity often are used as models for adult art work. This is especially true in

psychotherapy. The great majority of patients experience themselves as stifled and inhibited by the excessive and rigid limits insisted on by their parents. One of their reasons for coming for therapy in the first place is this conviction that all of this needs to be thrown overboard. Even if it is simplistic, this urge toward spontaneity obviously should be valued by the therapist. People must recover the "lost" aspects of their

personalities, lost under a pile of inhibitions, if they are to become inte- grated in any effective sense.

But we must not forget that these stages in therapy, like children's art, are interim stages. Children's art is characterized by an unfinished quality. Despite the apparent similarity with non-objective art, it still lacks the tension necessary for authentic mature art. It is a promise but not yet an achievement. Sooner or later the growing

person's art must relate itself to the dialectic tension that comes out of confronting limits and is present in all forms of mature art.

Michelangelo's writhing slaves; Van Gogh's fiercely twisting cypress trees; Cezanne's lovely yellow-green landscapes of southern France, reminding us of the freshness of eternal spring—these works

have that spontaneity, but they also have the mature quality that comes from the absorption of tension. This makes them much more than

"interesting"; it makes them great. The controlled and transcended tension present in the work of art is the result of the artists' successful struggle with and against limits.