Psychosomatic Cancer

[alloker]

The items in the long list of carcinogenic agents cause the cells that are called cancerous, but in reality, not those cells but the organism that hosts them is cancerous, is ill. This happens when the host organism does not kill and get rid of those cells which are incompatible with normal cells, and this appears to happen because of two different reasons.

When the carcinogenic agent or agents cause more cancer cells than the host organism can kill and get rid of, the result is the medical illness called cancer. But it appears that in most cases of exposure to carcinogenic agents, the host organism is capable of dealing with the resulting incompatible cells, and illness is prevented.

There appears to be a second process through which cancer develops. In some cases, and probably in most cases, the host organism willingly but unconsciously stops fighting the incompatible cells and thereby allows the development of cancer.
These are psychosomatic cases of cancer.

The examination of the life experiences and the personalities of cancer patients reveals that they all have been COMPLACENT persons before they became cancerous. Thus, in most cases, cancer is an automatic response to complacency, which seeks to terminate that personality trait. This means that, in most cases, cancer can be terminated by psychotherapy directed to terminate complacency. The examination of the cases in which cure has been realized supports this possibility. Complacency plays a much more important role in human life than it is usually realized. 

Each one of Shakespeare’s four great tragedies is about a major problem of humanity. King Lear is about complacency. We learn this from Hitchcock who produced the cinema versions of Shakespeare’s tragedies. The Birds is the cinema version of King Lear, and Hitchcock said that The Birds was about complacency. There is no similarity between the events of the two plays, but the audience reaction to the fictive events is the same in both cases, namely, reaction  to the complacency of the fictive characters in each play. And the only reality in the theater hall is the spectator’s reality. And Shakespeare is still the greatest psychologist concerning the understanding of automatic human responses. He consciously shaped the automatic audience reaction to his plays, beyond the understanding of modern psychologists.