BY MAX NORDAU AUTHOR OF ‘CONVENTIONAL LIES OF OUR CIVILIZATION,’ ‘PARADOXES,’ ETC. Translated from the Second Edition of the German Work Popular Edition LONDON WILLIAM HEINEMANN 1898 [ All rights reserved ] First Edition ——— February, 1895. New Impressions, March 4, 1895; March 22, 1895; April, 1895; May, 1895; June, 1895; August, 1895; November, 1895; (Popular Edition), September, 1898. Dedicated TO CÆSAR LOMBROSO, PROFESSOR OF PSYCHIATRY AND FORENSIC MEDICINE AT THE ROYAL UNIVERSITY OF TURIN,

Some among these degenerates in literature, music, and painting have in recent years come into extraordinary prominence, and are revered by numerous admirers as creators of a new art, and heralds of the coming centuries. This phenomenon is not to be disregarded. Books and works of art exercise a powerful suggestion on the masses. It is from these productions that an age derives its ideals of morality and beauty. If they are absurd and anti-social, they exert a disturbing and corrupting influence

It is not for the first time in the course of history that the horror of world-annihilation has laid hold of men’s minds. A similar sentiment took possession of the Christian peoples at the approach of the year 1000. But there is an essential difference between chiliastic panic and fin-de-siècle excitement. The despair at the turn of the first millennium of Christian chronology proceeded from a feeling of fulness of life and joy of life. Men were aware of throbbing pulses, they were conscious of

Let us follow these folk in masquerade and with heads in character to their dwellings. Here are at once stage properties and lumber-rooms, rag-shops and museums. The study of the master of the house is a Gothic hall of chivalry, with cuirasses, shields and crusading banners on the walls; or the shop of an Oriental bazaar with Kurd carpets, Bedouin chests, Circassian narghilehs and Indian lacquered caskets. By the mirror on the mantelpiece are fierce or funny Japanese masks. Between the windows a

There might be a sure means of proving that the application of the term ‘degenerates’ to the originators of all the fin-de-siècle movements in art and literature is not arbitrary, that it is no baseless conceit, but a fact; and that would be a careful physical examination of the persons concerned, and an inquiry into their pedigree. In almost all cases, relatives would be met with who were undoubtedly degenerate, and one or more stigmata discovered which would indisputably establish the diagnosi

Now, to this cause—fatigue—which, according to Féré, changes healthy men into hysterical, the whole of civilized humanity has been exposed for half a century. All its conditions of life have, in this period of time, experienced a revolution unexampled in the history of the world. Humanity can point to no century in which the inventions which penetrate so deeply, so tyrannically, into the life of every individual are crowded so thick as in ours. The discovery of America, the Reformation, stirred

Pathological observation of the insane is content to describe this mental condition, and to determine its occurrence in the hysterical and degenerate. That, however, is not the end of the matter. We also want to know in what manner the degenerate or exhausted brain falls into mysticism. In order to understand the subject, we must refer to some simple facts in the growth of the mind. [67] Conscious intellection is activity of the gray surface of the brain, a tissue consisting of countless nerve-c

What are the governing thoughts and aims of the Pre-Raphaelite movement? An Anglo-German critic of repute, F. Hüffer, [86] thinks that he answers this question when he says: ‘I myself should call this movement the renaissance of mediæval feeling.’ Apart from the fact that these words signify nothing, since every man may interpret ‘mediæval feeling’ as he pleases, the reference to the Middle Ages only emphasizes the most external accompanying circumstance of Pre-Raphaelitism, leaving its essence

The original guests of the François I. made their appearance at one o’clock in the day at their café, and remained there till dinner-time. Immediately after that meal they returned, and did not leave their headquarters till long after midnight. Of course none of the Symbolists had any known occupation. These ‘degenerates’ are no more capable of regularly fulfilling any duty than they are of methodical learning. If this organic deficiency appears in a man of the lower classes, he becomes a vagabo

M. de Vogüé wishes for an explanation of this ‘singular union’ between great clearness in apprehension of details, and complete incapacity of understanding their relations to each other. The explanation is now familiar to my readers. The mystical intellect, the intellect without attention, of the émotif conveys to his consciousness isolated impressions, which can be very distinct if they relate to his emotions; but it is not in the condition to connect these isolated impressions intelligibly, ju

The first asseveration is at least doubtful. In the cathedral of Cologne architecture produces an impression without the representation of a drama; the accompaniment of music would add nothing whatever to the beauty and depth of Faust and Hamlet; Goethe’s lyric poetry and the Divina Commedia need no landscape-painting as a frame and background; Michael Angelo’s Moses would hardly produce a deeper impression surrounded by dancers and singers; and the Pastoral Symphony does not require the accompa

France is about to become the promised land of believers in ghosts. Voltaire’s countrymen have already got the start of the pious Anglo-Saxons in dealings with the supernatural. I am not now thinking of the lower ranks of the people, among whom the book of dreams ( La Clé des Songes ) has never ceased to constitute the family library, together with the Calendar, and, perhaps, the ‘Paroissien’ (missal); nor of the fine ladies who at all times have ensured excellent incomes to clairvoyantes and fo

But if it be untenable to make a particular malady out of every symptom in which the fundamental disorder ( i.e. , degeneration) shows itself, it should not, on the other hand, be ignored that among certain of the degenerate a group of morbid phenomena distinctly predominates, without involving the absence of the other groups. Thus, it is permissible to distinguish among them certain principal species, notably, beside the mystics, of whom we have studied the most remarkable representatives in co

‘La fille de Minos et de Pasiphae.’ The most instructive application of this theory is found in a piece of poetry by Catulle Mendès, entitled Récapitulation , which begins as follows: ‘Rose, Emmeline, Margueridette, Odette, Alix, Aline. ‘Paule, Hippolyte, Lucy, Lucile, Cécile, Daphné, Mélite. ‘Artémidore, Myrrha, Myrrhine, Périne, Naïs, Eudore.’ Eleven stanzas of the same sort follow, which I will dispense with reproducing, and then this final strophe: ‘Zulma, Zélie, Régine, Reine, Irène!... Et

A later disciple, M. Joris Karl Huysmans, is more instructive than all those imitators of Baudelaire who have only developed the one or the other side of him. He has undertaken the toilsome task of putting together, from all the isolated traits which are found dispersed in Baudelaire’s poems and prose writings, a human figure, and of presenting to us Baudelairism incarnate and living, thinking and acting. The book in which he shows us his model ‘Decadent’ is entitled A Rebours (‘Against the Grai

Similarly, it must be acknowledged that Ibsen has created some characters possessing a truth to life and a completeness such as are not to be met with in any poet since Shakespeare. Gina (in The Wild Duck ) is one of the most profound creations of world-literature—almost as great as Sancho Panza, who inspired it. Ibsen has had the daring to create a female Sancho, and in his temerity has come very near to Cervantes, whom no one has equalled. If Gina is not quite so overpowering as Sancho, it is

Blow away the lather from these phrases. What do they really say? The fleeting instant of the present is the point of contact of the past and the future. Can one call this self-evident fact a thought? Also sprach Zarathustra , 4 Theil, p. 124 ff. : ‘The world is deep, and deeper than the day thinks it. Forbear! forbear! I am too pure for thee. Disturb me not! Has my world not become exactly perfect? My flesh is too pure for thy hands. Forbear, thou dull doltish and obtuse day! Is not the midnigh

In the opinion of his disciples, M. Zola is the inventor of realism in literature. This is a pretension which only young fellows, who are ignorant beyond all conception, could raise, and for whom the history of the world only begins at the moment when they have deigned to recognise it. First of all, the word ‘realism’ itself has no æsthetic significance. In philosophy it denotes an opinion for which the general phenomenon of the world is the expression of a material reality. Applied to art and l

Plagiarists so low down in the scale as the German realists are not in the least entitled to a detailed individual examination. To do this would be to make one’s self both ridiculous in the eyes of competent judges and of a piece with strolling players, to whom it is a matter of small importance whether they are praised or blamed, provided they are mentioned. Other motives also warn me to be prudent in the choice of examples I propose to lay before the reader. I am firmly convinced that in a few

It is possible that the disease may not have yet attained its culminating point. If it should become more violent, gain yet more in breadth and depth, then certain phenomena which are perceived as exceptions or in an embryo condition would henceforth increase to a formidable extent and develop consistently; others, which at present are only observed among the inmates of lunatic asylums, would pass into the daily habitual condition of whole classes of the population. Life would then present somew

Those persons, on whose minds it is above all necessary to impress the fact that the current tendencies are a result of mental degeneration and hysteria, are the slightly affected and the healthy, who allow themselves to be deluded by cunningly-devised catch-words, or who, through heedless curiosity, flock where they see a crowd. Certain critics have thought to intimidate me into speechlessness by saying: ‘If the indications cited are a proof of degeneration and mental disease, then is art and p