The Complete Works of Edgar Allan Poe - Edgar Allan Poe [1190]
“Great wit to madness nearly is allied.”
I say “just idea;” for by “great wit,” in this case, the poet intends precisely the pseudo-genius to which I refer. The true genius, on the other hand, is necessarily, if not universal in its manifestations, at least capable of universality; and if, attempting all things, it succeeds in one rather better than in another, this is merely on account of a certain bias by which Taste leads it with more earnestness in the one direction than in the other. With equal zeal, it would succeed equally in all.
To sum up our results in respect to this very simple, but much vexata questio: —
What the world calls “genius” is the state of mental disease arising from the undue predominance of some one of the faculties. The works of such genius are never sound in themselves, and, in especial, always betray the general mental insanity.
The proportion of the mental faculties, in a case where the general mental power is not inordinate, gives that result which we distinguish as talent: — and the talent is greater or less, first, as the general mental power is greater or less; and, secondly, as the proportion of the faculties is more or less absolute.
The proportion of the faculties, in a case where the mental power is inordinately great, gives that result which is the true genius (but which, on account of the proportion and seeming simplicity of its works, is seldom acknowledged to be so;) and the genius is greater or less, first, as the general mental power is more or less inordinately great; and, secondly, as the proportion of the faculties is more or less absolute.
An objection will be made: — that the greatest excess of mental power, however proportionate, does not seem to satisfy our idea of genius, unless we have, in addition, sensibility, passion, energy. The reply is, that the “absolute proportion” spoken of, when applied to inordinate mental power, gives, as a result, the appreciation of Beauty and horror of Deformity which we call sensibility, together with that intense vitality, which is implied when we speak of “Energy” or “Passion.”
XXIV.
“And Beauty draws us by a single hair.” — Capillary attraction, of course.
XXV.
It is by no means clear, as regards the present revolutionary spirit of Europe, that it is a spirit which “moveth altogether if it move at all.” In Great Britain it may be kept quiet for half a century yet, by placing at the head of affairs an experienced medical man. He should keep his forefinger constantly on the pulse of the patient, and exhibit panem in gentle doses, with as much circenses as the stomach can be made to retain.
XXVI.
The taste manifested by our Transcendental poets, is to be treated “reverentially,” beyond doubt, as one of Mr. Emerson’s friends suggests — for the fact is, it is Taste on her death-bed — Taste kicking in articulo mortis.
XXVII.
I should not say, of Taglioni, exactly that she dances, but that she laughs with her arms and legs, and that if she takes vengeance on her present oppressors, she will be amply justified by the lex Talionis.
XXVIII.
The world is infested, just now, by a new sect of philosophers, who have not yet suspected themselves of forming a sect, and who, consequently, have adopted no name. They are the Believers in everything Old [[Odd ]].Their High Priest in the East, is Charles Fourier — in the West, Horace Greely [[Greeley]]; and high priests they are to some purpose. The only common bond among the sect, is Credulity: — let us call it Insanity at once, and be done with it. Ask any one of them why he believes this or that, and, if he be conscientious, (ignorant people usually are,) he will make you very much such a reply as Talleyrand made when asked why he believed in the Bible. “I believe in it first,” said he, “because I am Bishop of Autun; and, secondly, because I know nothing about it at all.” What these philosophers call “argument,” is a way they have “de nier ce qui est et