Staunton spectator and vindicator. [volume] (Staunton, Va.) 1896-1916, 1897-01-07
GENIUS OR INSANITY
THE FADs AND IRREGULARITIES OF
WRITERS AND COMPOSERS.

WRITERS AND COMPOSERS.
Innumerable Ways of Supplying Mental
Misunderstanding 1Ianias 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.
centricities Of mind observed in men of
genius, claim, with apparent reason,
that genius and insanity are the same
thing, it is going to excess to consider
writers and artists insane i'll 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 "a single faculty,
usually at the expense of the others.
This is the cause of the imperfections Of
these brilliant meteors and the explana-
ton 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
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 admit
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 ac-
tons, 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. Iiontaigne, 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
led Jean Jacques Rousseau used to
meditate i'll the fields while gathering
flowers i'll 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 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 quickens 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 a few years ago, walked 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 il a horizontal position For
example. Descartes, who used to lie |
down motionless, and Cujas, who could
only work proftably lying on his stom-
ach Oh the carpet
"A whole class Of writers, .Theophile
Gautier Raudelaire, Francois Coppee
and Scaccini, require the presence of
cats to write. Gautier used to have as
many as IL or Is. Leon Cladal writes
in wooden shoes, in the society of his
dog in a garnet. At intervals he takes
his dog Off for walk.
Intellectual stimulants are largely
used, among which coffee is a 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,
whlle 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
and half a dozen very strong cigars.
Daudet smokes enormously, Catulle |
Mendcs 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
put having the odor of truffies 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 licoriee.
Jarolus Duran and~Aime Morot worked |
themselves up before painting by play
ms the piano and organ. Darwin pre-
'erred tho violin
The singularities, queer traits and
even inalias to which have Just called
attention in writers and artists are if
one reflects, generally explicable. No
doubt some of them betray nervous
that is on the limits Of mental |
arrangement, but as rule they are SIM
pie peculiarities, whose Importance is
exaggerated on account of the public DO
'ition of the writer and would not iusti-. |
y in any sense the term insanity, W hich !
'or this reason Lombroso would like to |
attribute to men Of great talent Paris
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