The Man of Genius. Lombroso Cesare

Delayed Development.– Delay in the development of genius may be explained, as Beard remarks, by the absence of circumstances favourable to its blossoming, and by the ignorance of teachers and parents who see mental obtusity, or even idiocy, where there is only the distraction or amnesia of genius. Many children who become great men have been regarded at school as bad, wild, or silly; but their intelligence appeared as soon as the occasion offered, or when they found the true path of their genius. It was thus with Thiers, Pestalozzi, Wellington, Du Guesclin, Goldsmith, Burns, Balzac, Fresnel, Dumas père, Humboldt, Sheridan, Boccaccio, Pierre Thomas, Linnæus, Volta, Alfieri. Thus Newton, meditating on the problems of Kepler, often forgot the orders and commissions given him by his mother; and while he was the last in his class he was very clever in making mechanical playthings. Walter Scott, who also showed badly at school, was a wonderful story-teller. Klaproth, the celebrated Orientalist, when following the courses at Berlin University, was considered a backward student. In examination once a professor said to him: “But you know nothing, sir!” “Excuse me,” he replied, “I know Chinese.” It was found that he had learnt this difficult language alone, almost in secret. Gustave Flaubert “was the very opposite of a phenomenal child. It was only with extreme difficulty that he succeeded in learning to read. His mind, however, was already working, for he composed little plays which he could not write, but which he represented alone, playing the different personages, and improvising long dialogues.”43 Domenichino, whom his comrades called the great bullock, when accused of being slow and not learning so fast as the other pupils, replied: “It is because I work in myself.”

      Sometimes children have only made progress when abandoned to their own impulses. Thus Cabanis, although intelligent, was regarded at school as obstinate and idle, and was sent home. His father then decided to risk an experiment. He allowed his son, at fourteen years of age, to study according to his own taste. The experiment succeeded completely.

       Misoneism.– The men who create new worlds are as much enemies of novelty as ordinary persons and children. They display extraordinary energy in rejecting the discoveries of others; whether it is that the saturation, so to say, of their brains prevents any new absorption, or that they have acquired a special sensibility, alert only to their own ideas, and refractory to the ideas of others. Thus Schopenhauer, who was a great rebel in philosophy, has nothing but words of pity and contempt for political revolutionaries; and he bequeathed his fortune to men who had contributed to repress by arms the noble political aspirations of 1848. Frederick II., who inaugurated German politics, and wished to foster a national art and literature, did not suspect the worth of Herder, of Klopstock, of Lessing, of Goethe;44 he disliked changing his coats so much that he had only two or three during his life. The same may be said of Napoleon and his hats. Rossini could never travel by rail; when a friend attempted to accustom him to the train he fell down fainting, remarking afterwards: “If I was not like that I should never have written the Barbiere.” Napoleon rejected steam, and Richelieu sent Salomon de Caus, its first inventor, to the Bicêtre. Bacon laughed at Gilbert and Copernicus; he did not believe in the application of instruments, or even of mathematics, to the exact sciences. Baudelaire and Nodier detested freethinkers.45 Laplace denied the fall of meteorites, for, he said, with an argument much approved by the Academicians, how can stones fall from the sky when there are none there? Biot denied the undulatory theory. Voltaire denied fossils. Darwin did not believe in the stone age nor in hypnotism.46 Robin laughed at the Darwinian theory.

       Vagabondage.– Love of wandering is frequent among men of genius. I will mention only Heine, Alfieri, Byron, Giordano Bruno, Leopardi, Tasso, Goldsmith, Sterne, Gautier, Musset, Lenau. “My father left me his wandering genius as a heritage,” wrote Foscolo. Hölderlin, after his much loved wife had entered a convent, wandered for forty years without settling down anywhere. Every one knows of the constant journeys of Petrarch, of Paisiello, of Lavoisier, of Cellini, of Cervantes, at a time when travelling was beset by difficulties and dangers. Meyerbeer travelled for thirty years, composing his operas in the train. Wagner travelled on foot from Riga to Paris. One knows that sometimes, at the Universities, professors are seized by the desire of change, and to satisfy it forget all their personal interests.

       Unconsciousness and Instinctiveness.– The coincidence of genius and insanity enables us to understand the astonishing unconsciousness, instantaneousness and intermittence of the creations of genius, whence its great resemblance to epilepsy, the importance of which we shall see later, and whence also a distinction between genius and talent. “Talent,” says Jürgen-Meyer,47 “knows itself; it knows how and why it has reached a given theory; it is not so with genius, which is ignorant of the how and the why. Nothing is so involuntary as the conception of genius.” “One of the characters of genius,” writes Hagen, “is irresistible impulsion. As instinct compels the animal to accomplish certain acts, even at the risk of life, so genius, when it is dominated by an idea is incapable of abandoning itself to any other thought. Napoleon and Alexander conquered, not from love of glory, but in obedience to an all-powerful instinct; so scientific genius has no rest; its activity may appear to be the result of a voluntary effort, but it is not so. Genius creates, not because it wishes to, but because it must create.” And Paul Richter writes: “The man of genius is in many respects a real somnambulist. In his lucid dream he sees farther than when awake, and reaches the heights of truth; when the world of imagination is taken away from him he is suddenly precipitated into reality.”48

      Haydn attributed the conception of the Creation to a mysterious grace from on high: “When my work does not advance,” he said, “I retire into the oratory with my rosary and say an Ave; immediately ideas come to me.” When our Milli produces, almost without knowing it, one of her marvellous poems, she is agitated, cries, sings, takes long walks, and almost becomes the victim of an epileptic attack.

      Many men of genius who have studied themselves, and who have spoken of their inspiration, have described it as a sweet and seductive fever, during which their thought has become rapidly and involuntarily fruitful, and has burst forth like the flame of a lighted torch. Such is the thought that Dante has engraved in three wonderful lines: —

      “I’ mi son un che, quando

      Amore spira, noto ed in quel modo

      Che detta dentro vo significando.”49

      Napoleon said that the fate of battles was the result of an instant, of a latent thought; the decisive moment appeared; the spark burst forth, and one was victorious. (Moreau.) Kuh’s most beautiful poems, wrote Bauer, were dictated in a state between insanity and reason; at the moment when his sublime thoughts came to him he was incapable of simple reasoning. Foscolo tells us in his Epistolario, the finest monument of his great soul, that writing depends on a certain amiable fever of the mind, and cannot be had at will: “I write letters, not for my country, nor for fame, but for the secret joy which arises from the exercise of our faculties; they have need of movement, as our legs of walking.” Mozart confessed that musical ideas were aroused in him, even apart from his will, like dreams. Hoffmann often said to his friends, “When I compose I sit down to the piano, shut my eyes, and play what I hear.”50 Lamartine often said, “It is not I who think; my ideas think for me.”51 Alfieri, who compared himself to a barometer on account of the continual changes in his poetic power, produced by change of season, had not the strength in September to resist a new, or rather, renewed, impulse which he had felt for several days; he declared himself vanquished, and wrote six comedies. In Alfieri, Goethe, and Ariosto creation was instantaneous, often even being produced on awaking.52

      This domination of genius by the unconscious has been remarked for many centuries. Socrates said that poets create, not by virtue of inventive science, but, thanks to a very certain natural instinct, just as diviners predict, saying beautiful things, but not having