Explainer
Culture
Mental Health
11 min read

A history of anxiety

Anxiety is not a modern problem. From ancient social discomforts to contemporary societal shifts, Henna Cundill explore how we think, and worry, about it.
A blurred multiple exposure shows a woman turning her head from side to side.
Taylor Deas-Melesh on Unsplash.

We live in anxious times, apparently – it’s hard to go a day without hearing someone use the word anxiety. But even as the BBC reports a surge in internet searches for anxiety-related topics, The Times is running editorials which ask whether too many people are being signed off work with ‘anxiety’ because it is now presumed to be pathology rather than a normal part of life.  

But what is this thing we call ‘anxiety’ – is it pathological, unavoidable, both, or neither? And are the broad, somewhat existential kinds of anxiety, such as “climate-anxiety”, really the same kind of phenomenon as the “clinical anxiety” that causes some individuals such acute suffering. 

One way to explain anxiety is through a biological model of what it means to be human. As human beings we are always driven towards staying alive and maintaining homeostasis. For that we need food, shelter, and social bonds (including procreative bonds) with other human beings. So, our nervous systems and hormones work together, using low levels of anxiety on and off throughout the day to steer us towards behaviours that will satisfy those needs. For example, we might feel agitated and restless when we are hungry – this is a mild sense of anxiety that succeeds in prompting us to seek out food.  

Then there is a slightly higher level of anxiety that occurs when something is perceived as threatening our ability to stay alive. For most of us, the first thing we know about that kind of anxiety is a sense of dread, followed by discomfort in the nervous system – jelly legs, a pounding heart. The body is getting ready, priming us for a fight, flight, freeze or fawn response. Again, this kind of anxiety is functional – it keeps us alive and steers us away from dangerous and vulnerable situations.  

Because humans are social animals, anxiety works within the social world too, either gently steering us in and out of relationships, or prompting us to moderate our behaviours in a social setting so as to avoid exclusion, or to initiate group responses to danger. Anxiety also plays a role in maintaining the structures and hierarchies of the communities that we form – children behave in class because when they slightly fear the teacher or are anxious to please.  

Of course, all of these positive and functional roles for anxiety have their negative flipsides, and excessive anxiety, left untreated, can make us very ill. The many treatments for anxiety as an illness are ancient in origin, stemming from the days long before there were biological models to explain what was going on with our bodies, or drugs and therapies to keep the worst at bay.  

Somehow in Aristophanes’ wine-induced monologue, Plato succeeds in naming something deep and intrinsic to the human condition – a certain anxious feeling that pervades life. 

It was the philosophers who first tried to explain this strange discomfort that seemed to pervade the experience of being alive and being human. In around 360 BCE Plato penned his Symposium, in which the character of Aristophanes espouses a theory that humans were once ‘androgyn’ – that is, man and woman connected in embrace. When the gods were angered, they split humans into two, henceforth destined to roam the earth as separate parts, man and woman, each in a perpetual state of agitation to find ‘the other half’ of themselves. This agitation was named as eros – the desiring aspect of love, a restless search for completeness and fulfilment.  

It should never be forgotten that Symposium is a bunch of drunk men trying to out-perform each other at oratory. Even so, sometimes drunk men can speak uncanny truths. Somehow in Aristophanes’ wine-induced monologue, Plato succeeds in naming something deep and intrinsic to the human condition – a certain anxious feeling that pervades life. Eros is only one aspect of this; more broadly as humans we feel ourselves as separate to other things and people, as if we are the subject and they are the objects, and everyone and everything is in some sense distant and disconnected from us. Plato placed this feeling all in the body – turning physical longings for connection and satiation into proof that we are, in fact, alive.   

However, skip forward a few centuries to Descartes, and his famous dictum: I think therefore I am. Descartes was dubious that the sensations of the body could tell us anything truthful about being alive. After all, the senses can deceive – we can experience eros in dreams just as well as in reality. Therefore, Descartes concluded, the only thing that can assure us of the fact that we are alive and in existence is the fact that we can sit and think to ourselves, “Actually, I might not be alive and in existence right now.” We can’t think that unless we are…um…thinking that – which means that we do in fact exist to think it. In essence, Descartes concluded that anxiety about whether or not we exist is proof of existence itself.  

With freedom comes ability to act either for good or for evil, hence the anxiety – it was a certain dread that our works might not serve the God who created us. 

It was Immanuel Kant who most famously took issue with this, because for the mind to be able to scrutinize its own existence in this way, it would have to be both subject and object at the same time. Kant proposed that the mind cannot divide and start thinking about itself, and therefore there needed to be a third-party involved, something external to the mind that was essential to knowing about our own existence. This third-party Kant took to be the soul, or something like it, the presence of which could be sensed neither through thoughts nor through bodily sensations but through affects. Affects were pre-conceptual forms of knowledge, feelings of being alive that seemed to emanate from nowhere. And chief among these affects was… anxiety.  

 The idea that we need a third-party, or a transcendental viewpoint from which to perceive our own existence gained significant traction following Kant, particularly in the work of German Idealists such as Hegel and Schelling. They spoke of the “Absolute” or “Absolute Spirit” – a somewhat pantheistic conception of God, who had created the universe and was continuing to drive the universe’s unfolding. The restless anxiety that humans feel was, Schelling proposed, a consciousness of freedom – humans knowing their own creative power within that unfolding universe. With freedom comes ability to act either for good or for evil, hence the anxiety – it was a certain dread that our works might not serve the God who created us. Although he was no fan of German Idealism, philosopher and theologian Søren Kierkegaard later developed this same idea, characterising anxiety even more strongly as a kind of moral conscience – a realisation of our human freedom in relation to sin. For Kierkegaard, the anxiety of our freedom could be dispelled by making the “leap” into sin, or (better) into godly and upright choices.   

Schopenhauer was a contemporary of all these thinkers, but interestingly he took Kant’s thinking in a slightly different direction, avoiding the idea of God at the origins of the universe. Like Plato’s Aristophanes, Schopenhauer identifies the struggle, the ubiquitous anxiety of the human condition, as being the result of dividedness, although he grounds it in a metaphysical separation of the individual from a non-conscious, cosmic whole, which he termed ‘Will’. For Schopenhauer the Will was not divine in the sense of a God-figure, but was a ubiquitous kind of energy pervading the universe, driving humans always to seek pleasure and to avoid pain. Thus, Schopenhauer’s anxiety was rather more of the body than the mind, and the remedies he proposed were to subdue the body though ascetic practices and occupy the mind with art.   

In the late nineteenth and early twentieth century, this philosophical (and theological) discussion of anxiety began to converge with the more ‘clinical’ approach to anxiety as a disorder causing frequent panic attacks, melancholy, and other stark physical symptoms. This convergence occurred particularly with the birth of modern psychology. Prior to this, anxiety as an illness, along with most mental illnesses, had been largely considered to be a religious problem, often the result of demon possession. Although by the eighteenth century most talk of demon possession in the West had been dropped from the narrative, anxiety was still very much considered an illness which occurred in the body and was independent of the mind. Dominant theories at this time included imbalanced humours, blood, and bile or (in women) a wandering uterus, (from which we get the English word hysteria, hystéra being the Latin word for uterus.) 

One outlier in terms of bodily accounts of anxiety was Thomas Willis, who in the 1600s was the first to propose ‘neurology’ (he coined the term) as a physiological cause of anxiety. Willis made early inroads into studying abnormal function of the brain function and the nervous system as related to anxiety. However, with the rise of the psychoanalytic movement, his early progress in the neurological study of anxiety was largely forgotten until modern times. 

When the structures and moral frameworks of a society start to shift and realign, people become more anxious about life, death and everything in between. 

In charting their respective philosophical and medical histories of anxiety, both Bettina Bergo and Cheryl Winning Ghinassi identify that the two trajectories, (that of ubiquitous human ‘angst’ discussed by philosophers and that of ‘anxiety’ as a bodily disorder) first become unified in the psychoanalytic movement that was popularised by Sigmund Freud. It should be noted that Freud was a student of philosophy before developing his theories about psychology. His extensive writing on anxiety contains much discussion of energies within the body, life force, eros and divisions within the self – themes which recurred frequently in the works of the philosophers discussed above. 

Psychotherapy as a treatment did not develop until the early twentieth century, but there had been a long history of providing retreats or asylums for individuals suffering from anxiety, which by the eighteenth century had developed into an industry based around spas and mineral baths – although only for the fortunate minority who could afford it. By 1900, the “Weir Mitchell’s rest cure” was popular across Europe, combining bed rest, isolation, a milk diet, and massage. However, it was soon noted that rest cure proved most effective when there was a good relationship between therapist and patient, involving significant time spent in conversation – an early form of talking therapy. 

Concurrently, some practitioners had also begun experimenting with hypnotism as a way to relieve symptoms of anxiety. (These practitioners included Franz Anton Mesmer, to whom the word ‘mesmerising’ owes its origin.) A young Sigmund Freud witnessed his more senior colleague, Josef Breuer, treating a young woman with ‘hysteria’ using hypnosis techniques. During the hypnosis sessions, the young woman revealed repressed memories of traumatic events from her earlier life. 

Freud brought together these observations about talking therapy and hypnotherapy in this early psychoanalytic theory. He posited that the personality was comprised of three parts, id, ego and super-ego, which were in a state of constant conflict. The id represented biological impulses, whilst the super-ego represented one’s inner moral compass. The job of the ego was to mediate the conflict between the two. Focusing mainly on eros (as sexual desires), Freud theorised that where ego could not successfully mediate, for example for example if one was repressing one’s true sexual wishes and allowing the super-ego to dominate, this could cause a build-up of energy in the body, i.e., anxiety. Thus, he promoted sessions between therapists and patients that focused on uncovering repressed fantasies, memories, and dreams. As the twentieth century progressed, Freud’s psychoanalytic theory became increasingly popular, eventually eclipsing the treatment of anxiety as anything other than a purely psychological condition. 

These days, Freud’s theories are often maligned as being rather too focussed on sex and sexuality. But, around the same time that Freud was developing his psychoanalytic theories, behaviourist Edward Tolman was discovering that cognition and rationality could affect stimulus response. Logically, therefore, he concluded that cognition could be trained to re-appraise threatening stimuli and react differently. This was developed into what is now known as Cognitive Behavioural Therapy (CBT), which is now the consensus approach to treating anxiety as a clinical disorder.  

However, there are also chemical treatments for anxiety; they too have a long history. There is evidence of opium being in use by humans as early as 4000 BCE, and specifically for the treatment of anxiety since at least the 1500s CE. In the 1950’s it was observed that mephenesin, a drug in use as a muscle relaxant, could also relieve symptoms of anxiety. This led to a resurgence of interest in Thomas Willis’ idea that neurology and neurotransmitters played a role in anxiety disorders. What followed was the development of Selective Serotonin Reuptake Inhibitors (SSRI’s), which are the most commonly used anti-anxiety medication today. The disadvantage of SSRI’s and other medicated approaches to anxiety is that symptoms usually return as soon as the medication is stopped, thus the use of drugs is often combined with other types of therapy such as CBT. 

A record number of people in the UK are now being treated for anxiety in these ways, probably more than official statistics can count, given that many self-refer to private providers of CBT and other talking therapies. Is this because we live in more anxious times? It actually may be so. As we observed at the start of this discussion, anxiety plays a role in human social ordering, and theologian Paul Tillich was one of several European thinkers who, in the aftermath of the second world war, observed than when the structures and moral frameworks of a society start to shift and realign, people become more anxious about life, death and everything in between. This, he proposed, is because anxiety can put “frightening masks” over people and things, that make them appear more threatening than they really are. If anxiety is telling us to pay attention to the social order and hierarchy around us, but at the same time the structure of that order and hierarchy is unstable and untrustworthy, then anxiety roams untethered to a clear course of action, causing all manner of mischief in both the body and the mind.  

Is social order and hierarchy unstable in twenty-first century Britain? Trust in politicians is certainly at an all-time low. We only have to open a newspaper to read that the COP conference was probably blah, blah, blah and yet another high-profile public figure is being investigated for sexual misconduct or fraud. Whether there is a direct link between this, and the rise of people being diagnosed with anxiety disorders is a tricky call to make – we can’t assume that correlation always equals causation. Furthermore, rigidly stable and strongly hierarchical social orders tend to end up as dictatorships, and we surely don’t want to go there. But it may be worth considering what we can do on a micro-level, looking at our own families, friends and immediate social networks. There may be people who are really struggling, their bodies full of uncomfortable sensations, their minds imposing frightening masks onto ordinary people and things. Perhaps Aristophanes was onto something – not that sex is the answer (remember, he was full of wine, and this was ancient Greece) – but that human connection, embrace, be it physical or emotional, may be what that anxiety is ultimately striving towards. 

Review
Culture
Film & TV
Monsters
5 min read

Here’s what Death of a Unicorn gets very wrong

‘The unicorn was a Christ-allegory’ and other lies.

Iona is a PhD candidate at the University of Aberdeen, studying how we can understand truth. 

A tapestry depicts a unicorn resting within a fenced enclosure.
The Unicorn Rests in a Garden (from the Unicorn Tapestries).
Public domain, The Met Museum.

I don’t do horror or gore. And yet, I just saw the gory creature feature comedy horror Death of a Unicorn. I have not seen such a clichéd movie in a very long time (probably since Don’t Look Up…). Death of a Unicorn gives us a strained father-daughter relationship, the artsy young girl with silver rings on every finger and dyed hair, cartoonishly evil rich people, their creepy but stupid blonde son, the put-upon butler… and… the unicorn. However, the biggest cliché of them all is perhaps the desperate attempt to subvert expectations and tell a new story about a familiar trope… and failing.  

Given the title of the film, one would be forgiven for assuming that unicorns play a significant role in it. One would be mistaken. The conceit of killer-unicorn is a fun one. I wish the film had played with it more. Instead, the unicorns themselves barely feature and are not particularly interesting or subversive. The perception of the unicorn that is put forward by the characters likewise is trite and tired.  

The film features another classic scene: the ‘plucky young woman digs out her laptop and falls down a google rabbit hole to research paranormal/fantastical phenomenon’. In her research Ridley comes across a set of medieval tapestries depicting a unicorn hunt. These tapestries do exist in real life and are indeed now housed at The Met. The Met’s fictional website in the film informs Ridley that the fifth tapestry in the series ‘The Unicorn Surrenders to a Maiden’ only survives in fragments (true) and that scholars believe the missing part of the tapestry most likely showed the unicorn going on a murderous rampage (very much not true). From this, Ridley deduces that, since unicorns do indeed appear to be real, the warnings of old ought to be heeded. In the film, Ridley is proved right, the unicorns do turn out to be murderous monsters out for the blood of those who would abuse the remains of their dead foal.  

While the real Met website does indeed show us the torn tapestry, it features no such conjecture about the gory violence the unicorn might have inflicted prior to being subdued by the maiden.  

In one of her desperate attempts to reason with the megalomaniacal pharmaceutical tycoons, Ridley slips in a sentence about the unicorn serving as an allegory for Christ. This is a claim that is repeated all across the internet in various fora, fan sites, even some old scholarship. But that is exactly what this theory is: outdated scholarship… mixed with a healthy (unhealthy?) dose of paternalistic attitudes towards the past and half-misremembered folklore about Christian symbolism. It is true that medieval art is rich in symbolism. It is also true that medieval European cultures were deeply steeped in Christian religious traditions. However, as Barbara Drake Boehm writes in her recent book on the tapestries ‘the Cloisters Hunt for the Unicorn tapestries have … fallen victim to a tendency to perceive Christianity in every stitch’. The fact that one of the hunters has a scabbard that invokes the ‘Queen of Heaven’ (the Virgin Mary), or that another carries rosary beads, are most likely simply indicative of the fact these were common items ‘within the majority-Christian society in which the tapestries were created’. (A Blessing of Unicorns, The Metropolitan Museum of Art, 2020).

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. 

One doesn’t need a degree in art history to figure out that such an allegorical relation would make no sense either. If the unicorn was representative of Christ and the hunt of his Passion, why does the unicorn fight back? If the untouched maiden in whose lap the unicorn reposes is the Virgin Mary, mother of Christ, why does she help the hunters trap and kill the unicorn? The tapestry that supposedly shows the unicorn resurrected and at peace in its captivity does not even appear to belong to the same narrative as the other tapestries. And why would a resurrected Christ-figure be shown in supposed captivity?  

This contrived and at the same time lazy interpretation speaks of a deeply patronising and arrogant attitude to the past. ‘Ah, well, back then they were all religious fanatics that believed in silly things like Jesus and unicorns.’ The implication being that in our modern, enlightened state we couldn’t possibly be accused of believing in silly simplistic mythical accounts of the world… Yeah. Not only is this of course false, it also distract from the very real things we could learn from the past.  

The film in the end wants to have it both ways. It wants to ridicule medieval people (based on lazy stereotypes) as well as perpetuating some of the most backward attitudes woven into the tapestries. So, what is the real true meaning of the tapestries and of unicorns? I don’t know. I can’t offer ‘real true’ interpretations (because they don’t exist). What I can offer is a careful and close engagement.  

What strikes me about the myth of the unicorn is what the unicorn does stand for. Over the centuries the unicorn has been used as a symbol for purity, innocence, humility, and sometimes fertility. In medieval poetry the (male) bard would often cast himself as the unicorn, beguiled by his beautiful lady, desiring nothing more than to rest his head in her lap. Little of this particular metaphor has survived into the modern pop-culture. What seems to have survived is the strong connection with young virgins. This particular trope features heavily in the film too though the film makers attempt to gloss over the sexual implications of ‘virgin’ by speaking only of ‘maidens’ (which still means the same thing but doesn’t have the same sexual baggage for modern ears).  

Now, that is indeed an interesting aspect worth unpacking. Why is it that unicorns are so attracted to young women who have not had sex? Why the obsession with virginity and the implied association that – for a woman! – having sex sullies something pure? What does it mean that both the hunters in the tapestries and the rich people in the film use a woman’s body and sexuality to trap the unicorn and commit their violence? Where’s the film that deals with those questions? Until they make that one maybe I’ll stick with My Little Pony, I’m told that has significantly less disembowelment.  

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