The Louisiana Democrat. [volume] (Alexandria, La.) 1845-1918, 1897-03-31
OR INSANITY
THE FADS AND IRREGULARITIES OF
WRITERS AND COMPOSERS.

III <Nl
broso Incorrectly Regards as Mental
Alterations.
It 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 men Of
genius, claim, with apparent reason,
shat 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 ia satisfied to
admire. It is constituted by the exag-
Geratsd development Of a single faculty,
usually at the expense OF the others.
This ia the cause Of the imperfectiona OF
these brilliant meteors and the explana-
tion of their ~degeneracy on other points.
Essentially spontaneous and original
genius is a natural phenomenon that we
cannot explain, although 1t 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
time. At the present day, for instance,
there are few non 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 a painter of genius.
Actions, therefore, in appearance AK
traordinary do not warrant US in infer
ring insanity OIL the part Of those who
accomplish them, especially as these ae-
tions, however abnormal they may seem
at first, are often very rational and JUS
&ihable.
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 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 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 q great racket.
When his scholars wished to manifest
against him. they kept absolute sileuce,
as under such conditions he was inca
pable Of making an addition even.
Just as noise stimulates the brain Of
some, motion quickens the circulation
Of others, whence the large number Of
persons who can only compose while
exercising. Ampers could not explain
clearly even the things bo 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 tx
walk. Catulle Mendes walks up ant
down, and then writes at his desk; Jear
Lombard, the we'll known writer, whit
died O few years ago, walked a grea'
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 pu'
themselves in q horizontal position. Foi
example, Desoartes, who used to III
down ~motionless, and Cujas, who coult
only work proitably lying on his stom
ach OH the carpet.
A whole class of writers, Theophil'
Gautier, Baudelaire, Francois Cope,
and Scaccini, require the presence o.
oats to write. Gautier used to have al
many as IL or Is. Leon Cladai write!
in wooden shoes, In the society of hi:
dog in q garnet. At intervals he take
his dog OF for q walk.
Intellectual stimulants are largely
used, among which coffee Ia a great ia
yorite. Lortzing drank bowls of it while
composing his melodies, and Balzac uset
1t to great excess. De Musset, Poe, Yer
iaine and many others preferred alcohol
while Schubert wrote his beautiful so
natas under the inf1nence Of large guam
titles Of Rhine wine.
Tobacco smoke is also much used.
Flaubert could not write q word unit.
he had smoked three or four large pipes
and half a dozen very strong cigars.
Daudet smokes enormously, Catulle
Mendes smokes cigars while writing
and often has three OF four going at the
same time through observation-disclosures
Perfumes were highly appreciated by
Baudelaire, Theophile Gautier, Lott and
Maizeroy. Byron couldn't write with.
out having the odor Of trufiles about him
and frequently carried his pockets full
Of them. Cooper acted on his u Of
taste by filling his mouth with honey
tablets and small pieces of licorice.
Uarolus Duran and Anne Morot worked
themselves up before painting by play
ing the piano and organ. Darwin pre-
ferrei the violin.
The singularities, queer traits and
even manias to which ! have just called
attention in writer's and artists are. II