Genius

Genius and Attention. — And now we can see why it is that what is called sustained attention is the easier, the richer in acquisitions and the fresher and more original the mind. In such minds, subjects bud and sprout and grow. At every moment, they please by a new consequence and rivet the attention afresh. But an intellect unfurnished with materials, stagnant, unoriginal, will hardly be likely to consider any subject long. A glance exhausts its possibilities of interest. Geniuses are commonly believed to excel other men in their power of sustained attention. In most of them, it is to be feared, the so-called ‘power’ is of the passive sort. Their ideas coruscate, every subject branches infinitely before their fertile minds, and so for hours they may be rapt. But it is their genius making them attentive, not their attention making geniuses of them.

With regard to all other possible truths, however, a number of our most influential contemporaries think that an attitude of faith is not only illogical but shameful. Faith in a religious dogma for which there is no outward proof, but which we are tempted to postulate for our emotional interests, just as we postulate the uniformity of nature for our intellectual interests, is branded by Professor Huxley as “the lowest depth of immorality.” Citations of this kind from leaders of the modern Aufklärung might be multiplied almost indefinitely. Take Professor Clifford’s article on the ‘Ethics of Belief.’ He calls it ‘guilt’ and ‘sin’ to believe even the truth without ‘scientific evidence.’ But what is the use of being a genius, unless with the same scientific evidence as other men, one can reach more truth than they? Why does Clifford fearlessly proclaim his belief in the conscious-automaton theory, although the ‘proofs’ before him are the same which make Mr.

Look at the last runnings of the romantic school, as we see them in that strange contemporary Parisian literature, with which we of the less clever countries are so often driven to rinse out our minds after they have become clogged with the dulness and heaviness of our native pursuits. The romantic school began with the worship of subjective sensibility and the revolt against legality of which Rousseau was the first great prophet: and through various fluxes and refluxes, right wings and left wings, it stands to-day with two men of genius, M. Renan and M. Zola, as its principal exponents, — one speaking with its masculine, and the other with what might be called its feminine, voice. I prefer not to think now of less noble members of the school, and the Renan I have in mind is of course the Renan of latest dates. As I have used the term gnostic, both he and Zola are gnostics of the most pronounced sort.

Having so favorable an organization, all we need is to impregnate it with geniuses, to get superior men and women working more and more abundantly in it and for it and at it, and in a generation or two America may well lead the education of the world. I must say that I look forward with no little confidence to the day when that shall be an accomplished fact. No one has profited more by the fermentation of which I speak, in pedagogical circles, than we psychologists. The desire of the schoolteachers for a completer professional training, and their aspiration toward the ‘professional’ spirit in their work, have led them more and more to turn to us for light on fundamental principles. And in these few hours which we are to spend together you look to me, I am sure, for information concerning the mind’s operations, which may enable you to labor more easily and effectively in the several schoolrooms over which you preside. Far be it from me to disclaim for psychology all title to such hopes.

Every school has its tone, moral and intellectual. And this tone is a mere tradition kept up by imitation, due in the first instance to the example set by teachers and by previous pupils of an aggressive and dominating type, copied by the others, and passed on from year to year, so that the new pupils take the cue almost immediately. Such a tone changes very slowly, if at all; and then always under the modifying influence of new personalities aggressive enough in character to set new patterns and not merely to copy the old. The classic example of this sort of tone is the often quoted case of Rugby under Dr. Arnold’s administration. He impressed his own character as a model on the imagination of the oldest boys, who in turn were expected and required to impress theirs upon the younger set. The contagiousness of Arnold’s genius was such that a Rugby man was said to be recognizable all through life by a peculiar turn of character which he acquired at school. It is obvious that psychology as such can give in this field no precepts of detail. As in so many other fields of teaching, success depends mainly on the native genius of the teacher, the sympathy, tact, and perception which enable him to seize the right moment and to set the right example.

But such individuals are “geniuses” in the religious line; and like many other geniuses who have brought forth fruits effective enough for commemoration in the pages of biography, such religious geniuses have often shown symptoms of nervous instability. Even more perhaps than other kinds of genius, religious leaders have been subject to abnormal psychical visitations. Invariably they have been creatures of exalted emotional sensibility. Often they have led a discordant inner life, and had melancholy during a part of their career. They have known no measure, been liable to obsessions and fixed ideas; and frequently they have fallen into trances, heard voices, seen visions, and presented all sorts of peculiarities which are ordinarily classed as pathological. Often, moreover, these pathological features in their career have helped to give them their religious authority and influence.

He is liable to fixed ideas and obsessions. His conceptions tend to pass immediately into belief and action; and when he gets a new idea, he has no rest till he proclaims it, or in some way “works it off.” “What shall I think of it?” a common person says to himself about a vexed question; but in a “cranky” mind “What must I do about it?” is the form the question tends to take. In the autobiography of that high-souled woman, Mrs. Annie Besant, I read the following passage: “Plenty of people wish well to any good cause, but very few care to exert themselves to help it, and still fewer will risk anything in its support. ‘Some one ought to do it, but why should I?’ is the ever reëchoed phrase of weak-kneed amiability. ‘Some one ought to do it, so why not I?’ is the cry of some earnest servant of man, eagerly forward springing to face some perilous duty. Between these two sentences lie whole centuries of moral evolution.” True enough! and between these two sentences lie also the different destinies of the ordinary sluggard and the psychopathic man. Thus, when a superior intellect and a psychopathic temperament coalesce — as in the endless permutations and combinations of human faculty, they are bound to coalesce often enough — in the same individual, we have the best possible condition for the kind of effective genius that gets into the biographical dictionaries. Such men do not remain mere critics and understanders with their intellect. Their ideas possess them, they inflict them, for better or worse, upon their companions or their age. It is they who get counted when Messrs Lombroso, Nisbet, and others invoke statistics to defend their paradox.

The God, if there, has been doing just what atoms could do — appearing in the character of atoms, so to speak — and earning such gratitude as is due to atoms, and no more. If his presence lends no different turn or issue to the performance, it surely can lend it no increase of dignity. Nor would indignity come to it were he absent, and did the atoms remain the only actors on the stage. When a play is once over, and the curtain down, you really make it no better by claiming an illustrious genius for its author, just as you make it no worse by calling him a common hack. Thus if no future detail of experience or conduct is to be deduced from our hypothesis, the debate between materialism and theism becomes quite idle and insignificant. Matter and God in that event mean exactly the same thing — the power, namely, neither more nor less, that could make just this completed world — and the wise man is he who in such a case would turn his back on such a supererogatory discussion.

‘Imperishable monuments’ and ‘immortal deeds,’ death itself, and love stronger than death, will be as though they had never been. Nor will anything that is, be better or be worse for all that the labour, genius, devotion, and suffering of man have striven through countless generations to effect.” [Footnote: The Foundations of Belief, .] That is the sting of it, that in the vast driftings of the cosmic weather, tho many a jeweled shore appears, and many an enchanted cloud-bank floats away, long lingering ere it be dissolved — even as our world now lingers, for our joy-yet when these transient products are gone, nothing, absolutely NOTHING remains, of represent those particular qualities, those elements of preciousness which they may have enshrined. Dead and gone are they, gone utterly from the very sphere and room of being. Without an echo; without a memory; without an influence on aught that may come after, to make it care for similar ideals.

He only evokes and invites; but he first annuls the intellectualist veto, so that we now join step with reality with a philosophical conscience never quite set free before. As a french disciple of his well expresses it: ‘Bergson claims of us first of all a certain inner catastrophe, and not every one is capable of such a logical revolution. But those who have once found themselves flexible enough for the execution of such a psychological change of front, discover somehow that they can never return again to their ancient attitude of mind. They are now Bergsonians … and possess the principal thoughts of the master all at once. They have understood in the fashion in which one loves, they have caught the whole melody and can thereafter admire at their leisure the originality, the fecundity, and the imaginative genius with which its author develops, transposes, and varies in a thousand ways by the orchestration of his style and dialectic, the original theme.’