Inferiority and Superiority
Inferiority and Superiority
In the Adlerian psychology of The Courage To Be Disliked, the feeling of inferiority is not a disease to be cured but a stimulant to healthy striving and growth. The book traces the term to Alfred Adler’s German Minderwertigkeitsgefühl — literally a feeling of having less worth — and stresses that it is always subjective: inferiority arises only through comparison with others (the philosopher’s example of feeling short only because someone taller exists). Because we inhabit a subjective world, the interpretation can be altered at will. A healthy feeling of inferiority comes not from comparing oneself to others but from comparison with one’s own ideal self.
The book sharply distinguishes the feeling of inferiority from the inferiority complex — using that feeling as an excuse (“I’m not educated, so I can’t succeed”) — and from the pursuit of superiority, which Adler frames not as climbing over others but as “taking a single step forward on one’s own feet” along a flat plane where everyone walks at their own pace. Competition is the trap: once you cast life as victory and defeat, “you start to see each and every person, everyone in the whole world, as your enemy,” and even constant winners “never have a moment’s peace.” Kyle’s own note maps this pairing onto Amy Chua’s tiger-mother dynamic — the experience of simultaneously feeling chosen (superiority lifted) and rejected (inferiority inflamed) — reading the two as a single mechanism of identity formation rather than opposites.
Context: Inferiority and the “striving for superiority” are foundational constructs in Alfred Adler’s individual psychology; The Courage To Be Disliked (Ichiro Kishimi and Fumitake Koga, 2013) popularized them through a Socratic dialogue between a philosopher and a youth.
Where this appears
- The Courage To Be Disliked — Adler’s view that inferiority is a stimulant to growth, the subjectivity of the feeling, the inferiority/superiority complex distinction, and Kyle’s note mapping it onto Amy Chua’s “chosen and rejected” frame.