The Happy Moments Trap
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The Happy Moments Trap

The Illusion of Retreats
Adam Aduszkiewicz
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Whenever we feel tired of life and afraid of the world around us, we look for a retreat. Dreams of distant, magical places, of wonderful moments in which you can forget ‘everything’ and ‘find yourself’ lead to dangerous areas of the mind.

In psychology, a special state of mind is known where the patient shuts themselves in a mental bubble; here, although they are suffering, they feel safer than in the world outside. “I have come to refer to [these states],” writes John Steiner in his book on this subject, “as psychic retreats, refuges, shelters, sanctuaries or havens.” A retreat arises as a reaction to fear. “It is possible to observe patients in a ‘delusional mood’, in which extreme anxiety is accompanied by depersonalization and feelings of ill-defined dread, who may actually appear relieved as the defuse dread gives way to fixed systematized delusion.” As if only in imaginary worlds is it possible to find security and liberation from fear and pain. “The retreat then serves as an area of the mind where reality does not have to be faced, where phantasy and omnipotence can exist unchecked and where anything is permitted.” This is the feature that often makes the retreat so appealing to the patient and usually involves the use of perverse and psychotic mechanisms. Retreat is not just an issue for patients in psychiatric hospitals or those undergoing psychotherapy. Whenever we feel tired of life and afraid of the world around us, we look for a retreat. Dreams of distant, magical places, of wonderful moments in which you can forget ‘everything’ and ‘find yourself’ lead dangerously close to the borders of a retreat. The border that separates delusion from reality is deceptively subtle.

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The Temptation of the Desert
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Illustration by Daniel Mróz
Experiences

The Temptation of the Desert

The Monastic Lives of the Desert Fathers
Adam Aduszkiewicz

More than 1500 years ago, a few European philosophers and a large number of Egyptian peasants were driven out into the desert. They abandoned their families, cast off their clothes and surrendered themselves to fasting. They were tormented by demons that still afflict us today.

Visitors to the National Museum of Ancient Art in Lisbon can admire Hieronymus Bosch’s Triptych of the Temptation of St. Antony. And there’s a lot to admire. Antony, his hands folded piously, lying on his back and floating into the air on the belly of a winged toad; a procession of devils hurrying into a cave opening between the buttocks of someone standing on all fours; two women celebrating Mass; and among the creatures crowding around to take communion, a mandolinist with the face of a pig and an owl on his head. Antony surveys a table supported by naked demons. Like a parody of the Eucharist, the table holds bread and a cup with a pig’s leg protruding from it. Somewhere in the background, a village is burning. Looking at this painting, we ask ourselves: where is the temptation here? Why is Antony not being lured by the well-known charms of this world, but instead by hideous monsters and scenes of blasphemy and rape? What did the artist see in the saint’s history that made him decide to portray him surrounded by abomination and violence?

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