The Louisiana Democrat. [volume] (Alexandria, La.) 1845-1918, 1896-12-09
GENIUS OR INSANITY
THE FADS AND IRREGULARITIES OF
WRITER'S AND COMPOSERS.

Innumerabie Ways of Supplying Mental
misunderstanding Manias That Lom-
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 anomalies and &C.
centrioities OF mind observed In mon 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 anon
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 imperfeotions OF
these brilliant meteors and the explana-
tion Of their degeneracy on other points
Essentially spontaneous and SUriginai
genius is natural phenomenon that We
cannot explain, although it ia unques-
tionably the result Of natural causes.
Talent is 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-
traordinary do not warrant us In infer
ring insanity on the part Of those who
accomplish them, especially as these &C.
tions, however abnormal they may seem
at first, are often very rational and JUS
tifable.
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 90 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 the hay or close his
ears with cotton.
Others oan 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 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 quiokens 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 CON-
posing, walked about muttering to him
self.
In our day many writer's prefer to
walk. Catulle Mendes walks up and
down, and then writes at his desk; jean
Lombard, the we'll known writer, who
died few years ago, walked grea,
deal; M!stral, the Provenoal 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 horizontal position. 70,
example, Descartes, who used to III
down motionless, and Cujas, who coult
only work proftably lying on his stom
ach on the carpet.
A whole class Of writers, Theophil'
Gautier, Baudelaire, Francois Cope
and Scaccini, require the presence O
cats to write Gautier used to have a
many as IL or Is. Leon Cladsl write
in wooden shoes, in the society Of hi
dog in garnet. At intervals he take
his dog off for walk.
Intellectual stimulants are largel.
used, among which coffee is great ia
vorite. Lortzing drank bowls Of it Will
composing his melodies, and Balzac USE
1t to great excess. De Musset. Poe, Vel
laine and many others preferred alcohol
while Schubert wrote his beautiful sc
natas under the influence Of large quar-
titles Of Rhine wine.
Tobacco smoke Is also much uset
Flaubert could not write word unit
he had smoked three or four large pipe
and half q dozen very strong cigars
Daudet smokes enormously, Catull
Mendes smokes cigars while writin
and often has three or four going at tt
same time through observation-disclosures.
Perfumes were highly appreciated b
Baudelaire, Theophile Gautier. Lott an
Maizeroy. Byron couldn't write will
out having the odor Of truf1es about bill
and frequently carried his pockets fu
of them. Cooper acted ON his sense {
taste by filling his mouth with hone
tablets and small pieces of licoric
Carolus Duran and Anne Morot worke
themselves up before painting by pla.
ing the piano and organ. Darwin pr
ferred the violin.
The singularities, queer traits al
even manias to which have lust Gale