The Somerset herald. [volume] (Somerset, Pa.) 1870-1936, 1897-01-27
GENIUS OR INSANITY
THE fAps AND PscUtIARITlES OF
WRITERS AND COMPOSERS.

Innunaerabie Ways of supplying Mental
Misunderstanding Manias That Lori-
broso Incorrectly Regards ~ Mental
Alterations
Ii 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 CO.
centricities of mind observed in men Of
genius. claim, with apparent reason,
that genius and insanity are the same
thing, il 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 az anomaly, but an anon
ally that the whole world is satisfied tc
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 imperfecflons OF
these brilliant meteors and the explana-
tion 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 is different 1t is the fruit Of
work and sustained application, and it
can be acquired and developed at any
A. ha far fvc
there are few men of genius among
painters, and yet they almost ell 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 adpi-
ration and reveals painter of genins.
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 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
sfelusion. 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 the 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 ii the midst of the joys
and noise of the crowd.
Such was also the professor of whom
Felix Rcgnault 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
scme, motion quickens tine circulation.
of others, whence the large number oi
persons who can only compose while
exercising. Ampere could not explain
clearly even the things he knew bes;
unlesSthe action of his brain was kelped
by exercise. Victor Hugo. while com
posing, walked about muttering to him
self
In our day many writers prefer
walk Catulle Mendes walks up an
down, and then writes at his desk; Jean
Lombard. the well known writer, who
died "a few years ago, walked great
deal; Mistral. the Provencal poet. CON-
poses while walking.
On the other hand, certain writers
avoid all motion, probably on accent
of their weak constitutions, and in os'.-'
to stimulate the brain circulation pr
themselves in horizontal position. F.
example, Descartes, who used to IL
down motionless, and Cujas. who coUil
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 IL or 10. Leon Cladal writes
in wooden shoes, in the society of his
dog in garrett At intervals he takes
his dog of for walk.
Intellectual stimulants are largely
used, among which coffee is a great IA
vorite. Lortzing drank bowls of it while
composing 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 a word until
he had smoked three or four large pipes
and half 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 absentmindedness.
Perfumes were highly appreciated by
Baudelaire. Theophile Gautier. Lott and
Maizeroy. Byron couldn't write with
out having the odor Of truflles 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.
Carolus Duran and Anne Morot worked
themselves up before painting by play
ing the piano and organ. Darwin pre-
ferred the violin.
The singularities, queer traits and
even manias to which have just called
attention in writer's and artists are, if
one reflects. generally explicable. No
doubt some Of them bItray nervous
condition that is ON the limits Of mental
arrangement, but as rule they are sim
pie peculiarities, whose importance is
exaggerated cn account of the public po-
sition of the writer and would not justi-
fy in any sense the term insanity, which
for this reason Lombroso would like to
attribute ID men of great talent.-Paris
Herald.