GENIUS 355 



We have noted the artificiality of intellectualism as compared with 

 naturalism. There is something even more absorbingly intellectual 

 in the artistic mode of life than in the scholarly, for in the latter one 

 is occupied with a -process more or less limited in scope, whereas the 

 artist is always striving to represent a complete ideal. The effect of 

 this on the artist's active life depends largely on his natural propensities. 

 Esthetic contemplation has evolved genetically out of sensationalism, 

 and it is doubtless the sensual factor in his nature which leads to 

 most, if not all, his pathological tendencies. 



Moral and utilitarian ideas can scarce be other than healthy when 

 viewed either from an esthetic or a practical view-point. Sensualism, 

 however, is decadence. The effort of the individual to give free ex- 

 pression to his senses is always met with failure. Having risen above 

 our mere sense natures into the realm of intellect, it is now impossible 

 to revert to them. The clear, happy, unaffected, hedonistic lives of the 

 Greeks are no more possible in these days of modern artifice. There- 

 fore, he who turns to the senses for a true expression of his nature 

 finds his effort clogged with all manner of false and related concepts 

 which his experience with society has thrust upon him. There is no 

 way to live ' naturally ' in our day. 



What, then, is the fate of him who attempts it ? Taking all things 

 in life to be natural expressions and being interested more in the states 

 of body and mind than in any particular results to body or mind, this 

 person is led to seek peculiar complexes of sensation, peculiar situa- 

 tions, bizarre effects, all which it may be a pretty esthetic problem to 

 justify and sublimate. But the taste thus cultivated always craves 

 something new and the attitude ceases soon to be one of esthetic intent 

 and becomes instead one of low sensual desire. Contemplation is sup- 

 planted by desire, which now becomes the dominant note. Habits of 

 passion develop and grow until both body and mind are ravaged by 

 their deleterious effects. This is the real significance of decadence and 

 it demonstrates, too, how works of art produced under such influences 

 must fail in their universal import. 



There is no denying that the genius in art is peculiarly exposed to 

 these affections. The very inertia of his type of mind produces a 

 species of hyperesthesia which, unless properly subordinated by a strong 

 and forceful physical and mental nature, often leads to his downfall. 

 We have so many instances where drugs, alcohol and other harmful 

 habits have destroyed both body and mind of a bright genius, the 

 factor is certainly one which can not be overlooked. Yet a positive 

 element in his character may suffice to save him from this fate. So 

 long as the individual asserts himself sufficiently to justify all his acts 

 in the light of all his knowledge, bringing everything into connection 



