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
Freedom
6 min read

I’m Still Here is a celebration of Brazilian resilience

The Brazilian Oscar winner is an act of remembrance.

Matt is a songwriter and musician, currently completing an MA in theology at Trinity College, Bristol.

A woman, wearing 70s clothing, stands, looking apprehensive.
Fernanda Torres as Eunice Paiva.

The other week in Brazil, crowds were heard jubilantly celebrating: “Brazil! Brazil!” The characteristically enthusiastic nature of their celebration might make you think there had been a football victory. But the victory was in fact the Oscar win for I’m Still Here, the Walter Salles directed movie – a first time win for Brazil in Best International Picture. And Brazil should be proud. As the credits rolled in an independent cinema, I sat in stunned silence. I’m Still Here is a moving and expertly crafted portrayal of family life under tyranny. The film gives a tragic account of the insidious and destructive nature of authoritarian untruth - yet also a celebration of the defiant resistance of unsung heroes in the face of evil. 

Set in 1970’s Rio de Janeiro during a military dictatorship that lasted for 21 years, the film centres around the true story of the Paiva family. The father, Rubens Paiva (Selton Mello), a former dissident congressman, is abducted by the military for interrogation and disappears; the mother, Eunice Paiva (Fernanda Torres), who herself is imprisoned and tortured for 12 days, is left to keep the family together and continue the search for her husband.  

At this point, I should admit that this review is not unbiased, as I have been to Brazil six times, and have an enthusiastic interest in its history and culture. And despite the sombre tone at the heart of the movie, I’m Still Here felt like a celebration of Brazil. The film opens with an ominous helicopter flying over a Rio beach, which leads us to the Paiva family enjoying the sun with their friends. The fun, vibrancy, and warmth that permeates the family gathering reminded me of much of what I love about Brazilian culture. Even in the midst of a repressive regime, at least for this family, the party goes on.  

Unfortunately, the party doesn’t last for long. 

Thirty minutes into the film, the relative harmony of the Paiva family’s world is sharply interrupted, when the military police arrive at their home and announce that Rubens is wanted for interrogation. As the intruders close the curtains and doors, the light, warmth and music that permeated the start of the movie are muffled and suffocated. This scene plays like a microcosm for Brazilian society under authoritarian regime.  

Historians Lilia M. Schwarcz and Heloisa Starling, in their book Brazil: A Biography document how on 14 December 1968, the Jornal do Brasil, a leading daily newspaper, published a special edition to surprise their readers, including a false weather report: ‘Suffocating temperature. Air unbreathable.’ The previous day, the military dictatorship had announced a law which suspended habeas corpus and freedom of expression, permitted the annulment of citizen’s rights, and determined that political trials would be conducted by military courts, with no right of appeal. This allowed the dictatorship to repress political dissent, and led to the mass disappearances of individuals suspected of anti-government activity.  

We see this suffocation slowly take hold of Eunice Paiva. Here Fernanda Torres’ subtle yet arresting performance as the Paiva mother cannot be understated. As she tries to maintain a sense of normalcy in her family, protecting them from the truth, while also quietly and defiantly seeking her husband’s release, we hang on to her every word and nuance of expression.  

Every confrontation she makes to the police is met with deflection, lies, and cover-up. We watch as the insidiously persuasive untruth of authoritarianism seems to triumph over integrity. We get this sense from the world around the Paiva family too – the radio only relays state-sanctioned news, and censors music deemed subversive. I’m reminded of George Orwell’s depiction of the Party in 1984, which enforces ‘doublethink’ on the populace: ‘to be conscious of complete truthfulness while telling carefully constructed lies … consciously to induce unconsciousness.’  

Eunice can be seen as a counterpart to Orwell’s protagonist, Winston, who claimed ‘There was truth and there was untruth, and if you clung to the truth even against the whole world, you were not mad.’ This refusal to let go of truth carries Eunice Paiva, and us along with her.  

While a song won’t take down a dictatorship overnight, it can get into your head, and stick there long enough to inspire some forms of resistance. 

The presence of music in the movie likewise represents a significant thread of resistance to the regime’s propaganda and shrouded crimes. This is heard not just in the vibrant soundtrack of resistance music from the period, but also in the dark and hostile prison where Eunice Paiva is held. Amid screams from other inmates, Eunice hears a man sing out from another cell:  

Samba:

Black,

strong, fearless,

Was harshly persecuted

On the corner, in the bar, in the yard.

He is quickly silenced by a guard, but the refrain memorialises the cry of the oppressed. While a song won’t take down a dictatorship overnight, it can get into your head, and stick there long enough to inspire some forms of resistance, to combat the ‘official’ narrative of events with a subversive counter-narrative.  

Yet in I’m Still Here, the clearest act of resistance comes from the quiet but resolved determination of Eunice Paiva in her refusal to forget her husband, to let the untruth of dictatorship have the final say. I’m reminded of Hannah Arendt’s diagnosis of the ‘banality of evil’ in Nazi Germany. Under dictatorship, with the state’s obfuscatory erasure of its misdeeds, evil becomes normalised, losing its shock, its horror. In this way, atrocities can continue to be committed with impunity.  

But Eunice Paiva’s story reminds us, in Schwarz and Starling’s words: ‘nothing can be completely extinguished, and no one disappears completely without someone remembering their name.' As Chico Buarque, a Brazilian musician foresaw: 

The banal of today 

Will be in journals someday.  

One aspect of Eunice’s story the film does not portray is her faith. According to her children, she would attend Catholic Mass every week, partaking of bread and wine to remember Christ’s death.  I’m curious what influence this continued reminder of the crucifixion of Jesus had on her.  

There are other examples of resistance in Brazil that were explicitly motivated by the image of the cross. Schwarz and Starling recount the opposition of a group of Catholic bishops who used the Church’s communication channels to disclose internationally what was happening in Brazil. One Catholic father, who was personal assistant to the Archbishop of Olinda and Recife, working on international human rights, was kidnapped, tortured and killed. 

In 1970 the Saint-Germain-des-Prés Church in Paris displayed a handcuffed Christ on the altar with a tube in his mouth and a magneto (small generator for applying electric shocks) on the top of the Cross. Above the Cross the words from the Brazilian flag ‘Ordem e Progresso’ were inscribed.  

While we can see the strong parallels between Jesus’ death at the hands of Roman imperial oppressors and the unjust torture of thousands under military dictatorship, the message of the Cross goes even deeper than this. 

The Cross has been throughout centuries a revelation of all of humanity’s deepest wickedness, and not only that, a confrontation of our tendency to evade accountability, to create untruths to hide atrocities, to make evil banal. Yet as Christians of different denominations commemorate the crucifixion at Holy Communion, Eucharist, Mass, we are reminded of a God who suffers for the sins of the world. Perhaps this meal nourished Eunice Paiva in her fight against tyranny. Perhaps this memorial of a suffering saviour served as an inspiration to retain the memory of all those who suffer, to expose the evils that so often go unseen.  

In any case, I’m Still Here, while giving an honest critique of Brazil’s history, ends up being a memorial - even a celebration - of the resilient, Brazilian spirit, exemplified in the lives of families like the Paivas. 

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