The Mt. Sterling advocate. (Mt. Sterling, Ky.) 1890-current, 1896-11-24
GENIUS Or INSANITY
THE FAOS AND IRREGULARITIES OF
WRITERS AND COMPOSERS.

broso Incorrectly Regards as Mental
Alterations.
1t is not an easy matter to try to draw
the frontier line of insanity. Although
certain psychologists, basing their opin.
ion, ON the physical anon allies and &C.
cehtricities Of mind observed in men of
genius, claim, with apparent reason,
that genius and insanity are the same
thing, 1T is going to excess to consider
writers and artists insane in whom
queer traits and little manias appear.
In this respect Lombroso and his disci-
pies have gone too far, their tendency
being to make no distinction between
genius and talent
Genius is an anomaly, but an anom-
ally that the whole world is satisfied to
admire. 1t is constituted by the exag-
| gerated development Of single faculty,
usually at the expense of the others.
This is the cause Of the imperfections of
| these brilliant meteors and the explana-
| tlon OF their degeneracy ON other points
Essentially spontaneous and original
genius is natural phenomenon that we
| cannot explain, although it is unques-
tionably the result of natural causes.
Talent, different. 1t is the fruit of
work and Sustained application, and it
can be acquired and developed at any
time. At the present day, for instance,
there are few men of genius among
painters, and yet they almost all have
talent. The consequence is that the
greater number of the paintings in our
exhibitions are pleasing to us, although
no exceptional work fills us with admi-
ration and reveals painter of genius
Actions, therefore, in appearance ex-
tfaordinary do not warrant us in infer
ring insanity on the part Of those who
accomplish them, especially as these ac-
tions, however abnormal they may seem
at first, are often very rational and JUS
tifiable.
Thus, in order to be able to mediate
at their ease many writers insist on not
being disturbed by anything and seek
seclusion. Montaigne, in his moments
of inspiration, used to run out of his
house and go and shut himself up in an
old tower, into which no one else enter
ed Jean Jacques Rousseau used to
mediate in the fields while gathering
flowers in the sunshine. In order to
shut out the noise of the world he liked
to bury himself in tho hay or close his
ears with cotton.
Others can only compose with success
in the midst of tumults. The celebrated
italian composer Cimarosa was of this
number, and only found the fine motives
of his operas in the midst of the joys
and noise of the crowd.
Such was also the professor Of whom
Felix Regnault says that he could only
lecture in the midst of great racket.
When his scholars wished to manifest
against him, they kept absolute silence,
as under such conditions he was inca
pable of making an addition even.
Just as noise stimulates the brain of
some, motion quicllens the circulation
of others, whence the large number of
persons who can only compose while
exercising. Ampere could not explain
clearly even the things he knew best
unless the action of his brain was helped
by exercise. Victor Hugo, while COM
posing, walked about muttering to him
self
In our day many writers prefer to
walk. Catulle Mendes walks up and
down, and then writes at his desk; Jean
Lombard, the well known writer, who
died few years ago, walked a great
deal; Mistral, the Provencal poet, COM
poses while walking
On the other hand, certain writers
avoid all motion, probably ON account
of their weak constitutions, and in order
to stimulate the brain circulation put
themselves in a horizontal position. For
DesCartes, who used to lie
down motionless, and Cujas, who could
only work proftably lying on his stom-
ach on the carpet. ......
A whole class of writers, Theophile |
Gautier, Baudelaire, Francois Coppee
and Scaccini, require the presence of |
cats to write. Gautier used to have as
many as 10 or 3. Leon Cladal writes
in wooden shoes, in the society of his |
dog in garrett. AT intervals he takes |
his dog off for walk. -
Intellectual stimulants are largely |
used, among which coffee is great ia
vorite. Lortzing drank bowls of it while
his melodies, and Balzac used
it to great excess. De Musset, Poe, Yer
laine and many others preferred alcohol,
while Schubert wrote his beautiful So
natas under the influence of large guam
titles of Rhine wine.
Tobacco smoke is also much used
Flaubert could not write word until
he had smoked three or four large pipes
end half a dozen very strong cigars.
Daudet smokes enormously, Catulle
Mendes smokes cigars while writing
and often has three or four going at the
same time through observation-disclosures
Perfumes were highly appreciated by
Theophile Gautier, Lott and
Maizeroy. Byron couldn't write with
out having the odor of truffles about him
and frequently carried his pockets full
Of them. Cooper acted ON his sense Of
taste by filling his mouth with honey
tablets and small pieces of licorice.
Jarolus Duran and Anne Morot worked
4.