Part 4
That the inspirations of genius are really nothing more than spontaneous upsurgings from the depths of the subconscious, is indeed demonstrable from the recorded statements of men of genius themselves. To the modern psychologist one of the most impressive proofs of the actuality of subconscious mental processes, is the occasional solution in dreams of problems that have long baffled the waking consciousness. In this way abstruse mathematical problems have sometimes been worked out after all hope of solving them had been abandoned; and troublesome clerical errors, the perpetual dread of book-keepers, have been cleared away during sleep, as in the following typical instance, reported by a successful business man to the Society for Psychical Research:
“I had been bothered since September with an error in my cash account for that month, and, despite many hours’ examination, it defied all my efforts, and I had almost given it up as a hopeless case. It had been the subject of my waking thoughts for many nights, and had occupied a large portion of my leisure hours. Matters remained thus unsettled until December 11. On this night I had not, to my knowledge, once thought of the subject, but I had not been long in bed, and _asleep_, when my brain was as busy with the books as if I had been at my desk. The cash-book, banker’s pass-book, etc., appeared before me, and without any apparent trouble I almost immediately discovered the cause of the mistake, which had arisen out of a complicated cross-entry.
“I perfectly recollect having taken a slip of paper in my dream and making such a memorandum as would enable me to correct the error at some leisure time; having done this, the whole of the circumstances had passed from my mind. When I awoke in the morning I had not the slightest recollection of my dream, nor did it once occur to me during the day, although I had the very books before me on which I had apparently been engaged in my sleep. When I returned home in the afternoon, as I did early for the purpose of dressing, and proceeded to shave, I took up a piece of paper from my dressing-table to wipe my razor, and you may imagine my surprise at finding thereon the very memorandum I fancied had been made during the night.
“The effect on me was such that I returned to our office and turned to the cash-book, when I found that I had really, _when asleep_, detected the error which I could not detect in my waking hours, and had actually jotted it down at the time.”
The modern psychological explanation of all this would be that in his many hours of searching through the books he had, though without being in the least aware of it, gradually brought together the data necessary to the solution of his problem; and that in this case this happened to be first definitely formulated in his mind while he slept, thus giving rise to the dream that caused him such astonishment. Or he might from the outset have subconsciously been aware of the cause of his error, but without being able to profit from the knowledge until a favouring condition in sleep permitted its emergence above the threshold of his consciousness.
Now, suppose that instead of being a business man he had been a novelist, artist, or musician, and had been preoccupied with some special or general problem peculiar to his art. If in that event he had had a dream in which was presented to his sleeping consciousness a plot or subject or theme, which, being afterward given permanent form on paper or canvas, proved to have the qualities of a “work of genius,” would it not be logical to infer that precisely the same mental processes were operant in the second instance as in the first, the only difference being in the character of the product? This is what, from their own statement, has happened to not a few men of high achievement.
Coleridge’s poem “Kubla Khan” was a dream composition. So was the sonata by which the composer Tartini is best known, and to which he appropriately gave the name of “The Devil’s Sonata,” in recognition of the fact that he owed it to a dream of selling his soul to the devil, and being rewarded by hearing the latter play on a violin the music out of which grew what Tartini himself regarded as his best piece of work. Benjamin Franklin was another man of genius who gained something from his dreams, as was Condillac. But the most striking illustration is afforded by Robert Louis Stevenson, whose marvellous “Doctor Jekyll and Mr. Hyde” was only one of several novels and stories that he conceived in dreams. Stevenson, it is worth adding, in his delightful “Chapter on Dreams,” frankly recognises and acknowledges the debt he owed to his subconsciousness, which, with characteristic felicity and whimsicality, he personified as “Brownies” and “little people.”
“This dreamer, like many other persons,” is the way he puts it, “has encountered some trifling vicissitudes of fortune. When the bank begins to send letters and the butcher to linger at the back gate, he sets to belabouring his brains after a story, for that is his readiest bread-winner; and, behold! at once the little people begin to bestir themselves in the same quest, and labour all night long, and all night long set before him truncheons of tales upon their lighted theatre. No fear of his being frightened now; the flying heart and the frozen scalp are things bygone; applause, growing applause, growing interest, growing exultation in his own cleverness—for he takes all the credit—and at last a jubilant leap to wakefulness, with the cry ‘I have it; that’ll do!’ upon his lips—with such and similar emotions he sits at these nocturnal dramas; with such outbreaks, like Cassius in the play, he scatters the performance in the midst.
“Often enough the waking is a disappointment. He has been too deep asleep, as I explain the thing; drowsiness has gained his little people; they have gone stumbling and maundering through their parts; and the play, to the wakened mind, is seen to be a tissue of absurdities. And yet, how often have these sleepless Brownies done him honest service, and given him, as he sat idly taking his pleasure in the boxes, better tales than he could fashion for himself.
“The more I think of it,” Stevenson goes on, “the more I am moved to press upon the world my question, ‘Who are the little people?’ They are near connections of the dreamer’s, beyond doubt; they share in his training; they have plainly learned, like him, to build the scheme of a considerable story, and to arrange emotion in progressive order. Only, I think they have more talent; and one thing is beyond doubt—they can tell him a story piece by piece, like a serial, and keep him the while in ignorance of where they aim.
“That part of my work which is done while I am sleeping is the Brownies’ part, beyond contention; but that which is done when I am up and about is by no means necessarily mine, since all goes to show that the Brownies have a hand in it even then.”
Than these exquisite paragraphs, it would be hard to find—and I have quoted them for that reason—anything more graphically descriptive of the mechanism which I am convinced is always operant in the production of works of genius. Asleep or awake, it is from the resources of the subconscious region of their minds that men of genius gain the “inspirations” that delight, benefit, or amaze posterity.
Mostly, of course, the subconscious upsurgings come to them when they are awake, sometimes in momentary gleams of insight, sometimes continuing through comparatively long periods, when they write, compose, or develop valuable discoveries without conscious effort. In fact, there even is one type of genius—although by no means the most useful—in which, within a certain limited field, the subconscious is perpetually in evidence, and perpetually responsive to the demands of the upper consciousness. I refer to the so-called “lightning calculators,” those prodigies whose mathematical feats, performed without the aid of pencil and paper, have been a source of unending surprise to the world, and have at times been so remarkable as to be well-nigh incredible.
Thus, Zerah Colburn, an American lightning calculator, when only six years old, unable to read, and ignorant of the name and value of any numeral set down on paper, is known to have stated correctly the number of seconds in a period as long as two thousand years, and to have returned the correct answer (9,139,200) to the question, “Supposing I have a corn-field, in which are 7 acres, having 17 rows to each acre, 64 hills to each row, 8 ears on a hill, and 150 kernels on the ear, how many kernels in the corn-field?”
A little later, having been taken by his father to England, it is recorded that, in the presence of a number of witnesses:
“He undertook and succeeded in raising the number 8 to the sixteenth power, 281,474,976,780,656. He was then tried as to other numbers, consisting of one figure, all of which he raised as high as the tenth power, with so much facility that the person appointed to take down the results was obliged to enjoin him not to be too rapid. With respect to numbers of two figures, he would raise some of them to the sixth, seventh, and eighth power, but not always with equal facility; for the larger the products became the more difficult he found it to proceed. He was asked the square root of 106,929, and before the number could be written down he immediately answered 327. He was then requested to name the cube root of 268,336,125, and with equal facility and promptness he replied 645.”
Henri Mondeux, Vito Mangiamele, Jacques Inaudi, Zacharias Dase, Jedediah Buxton, Truman Safford, André Ampère, Karl Gauss, George Bidder and his son of the same name, were other world famous calculators. From some of them direct evidence as to the subconscious character of their calculations has been forthcoming. One of the most remarkable in this group, the elder Bidder, in a paper contributed to a scientific journal, declared, “Whenever I feel called upon to make use of the stores of my mind, they seem to rise with the rapidity of lightning.” In a later issue of the same journal it is asserted regarding him:
“He had an almost miraculous power of seeing, as it were, intuitively, what factors would divide any large number, not a prime. Thus, if he were given the number 17,861, he would instantly remark that it was 327 × 53. He could not, he said, explain how he did this; it seemed a natural instinct with him.”
Another expert calculator, an English civil engineer named Blyth, says in a letter:
“I am conscious of an intuitive recognition of the relations of figures. For instance, in reading statements of figures in newspapers, which are often egregiously wrong, it seems to come to me intuitively that something is wrong, and when that occurs I am usually right.”
In the case of at least one lightning calculator there is proof positive of the concurrent operation of two trains of thought, the one conscious, the other subconscious. This is Jedediah Buxton, who “would talk freely while doing his questions, that being no molestation or hindrance to him.”
Moreover, prodigious memory power is nearly always characteristic of the lightning calculator. This of itself is evidence of unusual access to the subconscious, since it is in the subconscious that memories are stored. Most impressive of all, however, is the rapid, almost instantaneous emergence of the answers to the problems propounded by those testing the calculator’s powers. It is as though the mere putting of the problem, and the mere desire to solve it, were enough to set in motion a “thinking machine” that automatically brought about the desired result. It is significant that in most cases, as in Bidder’s, the calculators themselves are unable to give any satisfactory account of the methods they employ, and sometimes frankly admit that they “do not know how the answers come.”
Now, this sudden irruption of ideas, this dazzling solution of problems, is characteristic not only of calculating prodigies, but also of all men of genius. They may not have—in truth, they have comparatively seldom—such a spectacular resort to the subconscious; but they assuredly have it in an astonishing measure, and to better purpose. Precisely as we find the answers to mathematical puzzles rising spontaneously in the minds of ready reckoners, so, time and again, do we find great thoughts, amounting it may be to epoch-making conceptions, forcing themselves upon men of genius, frequently at moments when they are consciously thinking of some other matter, or are not consciously exercising their minds at all. And again we have only to go to the published testimony of men of genius themselves to obtain a strong body of evidence bearing out this statement.
Many a poet of the first order, puzzling over the state of his mind during his creative moments, has declared that his works were composed as in a dream, the main ideas, sometimes even the phrases used, shaping themselves of their own accord in his consciousness. “Often it happened to me,” says Goethe, “that I would repeat a song to myself and then be unable to recollect it; that sometimes I would run to my desk, and, without taking time to lay my paper straight, would, without stirring from my place, write out the poem from beginning to end, slopingly. For the same reason I always preferred to write with a pencil, on account of its marking so readily. On several occasions, indeed, the scratching and spluttering of my pen awoke me from my somnambulistic poetising and distracted me so that it suffocated a little product in its birth.” (Hirsch’s “Genius and Degeneration,” p. 33.)
Elsewhere Goethe specifically states that his “Werther” was written “somewhat unconsciously, like a sleepwalker.” And, according to Vischer, the poet Schiller, Goethe’s almost equally great contemporary, complained that whenever he was consciously at work creating and constructing, his imagination was hampered and did not perform “with the same freedom as it had done when nobody was looking over its shoulder.”
“It is not I who think,” confesses Lamartine, “but my ideas which think for me.” Dante had much the same feeling, as recorded in his famous lines, “I am so constituted that when love inspires me, I attend; and according as it speaks in me, I express myself.” Voltaire, who wrote to Diderot that “in the works of genius instinct is everything,” on seeing one of his own tragedies performed, exclaimed, “Was it really I who wrote that?”
“My conceptions,” says Rémy de Gourmont, “rise into the field of consciousness like a flash of lightning or the flight of a bird.”
“One does not work, one listens; it is as though another were speaking into one’s ear,” writes De Musset. Exactly similar is the statement of the composer, Hoffman:
“When I compose, I sit down to the piano, shut my eyes, and play what I hear.”
From other great musicians comes equally emphatic testimony to the part played by the subconscious in the creation of their works. Mozart frankly avowed that his compositions came “involuntarily, like dreams.” Among eminent composers of to-day Saint-Saens has only to listen, like Socrates, to his Dæmon; and Vincent d’Indy, writing to Dr. Paul Chabaneix (to whose “Le Subconsciente chez les Artistes, les Savants, et les Ecrivains” I am indebted for most of these French instances) relates that he “often has, on waking, a fugitive glimpse of a musical effect which—like the memory of a dream—needs a strong immediate concentration of mind to keep it from vanishing.”
The situation is the same, in whatever field genius finds expression. Napoleon, by many considered the greatest military genius in the history of mankind, believed from his own experience that the fate of battles usually turned not so much on conscious planning and manœuvring as on tactics dictated by “latent thoughts” arising suddenly in the mind. “The decisive moment approached; the spark burst forth, and one was victorious.” In like manner there frequently has come to scientists and inventors, with the unexpectedness of lightning out of a clear sky, the discovery of natural laws or mechanical principles of which they previously had no conscious knowledge whatever.
Everybody has heard the story of Newton, the falling apple, and the discovery of the law of gravitation; and of Galileo’s invention of the pendulum, born of the thoughts springing up in his mind while idly watching the oscillations of the great bronze lamp swinging from the roof of Pisa Cathedral. Not so well known, but particularly impressive because of its revelation of the manner in which the desultory development of a train of thought in the mind of a man of genius may lead to a subconscious upsurging of the highest value, is Alfred Russel Wallace’s own account of his epoch-making discovery of the scientific doctrine of the origin of species—a discovery achieved by him, in the far-off Malay Archipelago, with no knowledge that the same doctrine had even then been worked out, though not as yet made public, by Charles Darwin.
“At the time in question,” Wallace relates, in his “My Life,” “I was suffering from a sharp attack of intermittent fever, and every day during the cold and succeeding hot fits had to lie down for several hours, during which time I had nothing to do but to think over any subjects then particularly interesting me. One day something brought to my mind Malthus’s ‘Principle of Population,’ which I had read about twelve years before. I thought of his clear exposition of the ‘positive checks to increase’—disease, accidents, war, and famine—which keep down the population of savage races to so much lower an average than that of more civilised peoples. It then occurred to me that these causes, or their equivalents, are continually acting in the case of animals also; and as animals usually breed much more rapidly than does mankind, the destruction every year from these causes must be enormous in order to keep down the numbers of each species, since they evidently do not increase regularly from year to year, as otherwise the world would long ago have been densely crowded with those that breed most quickly.
“Vaguely thinking over the enormous and constant destruction which this implied, it occurred to me to ask the question, Why do some die and some live? And the answer was clearly, that on the whole the best fitted live. From the effects of disease the most healthy escaped; from enemies, the strongest, the swiftest, or the most cunning; from famine, the best hunters or those with the best digestion; and so on. Then it suddenly flashed on me that this self-acting process would necessarily _improve the race_, because in every generation the inferior would inevitably be killed off and the superior would remain—that is, _the fittest would survive_.
“At once I seemed to see the whole effect of this, that when changes of land and sea, or of climate, or of food-supply, or of enemies occurred—and we know that such changes have always been taking place—and considering the amount of individual variation that my experience as a collector had shown me to exist, then it followed that all the changes necessary for the adaptation of the species to the changing conditions would be brought about; and as great changes in the environment are always slow, there would be ample time for the change to be effected by the survival of the best fitted in every generation. In this way every part of an animal’s organisation could be modified exactly as required, and in the very process of this modification the unmodified would die out, and thus the _definite_ characters and the clear _isolation_ of each new species would be explained. The more I thought about it, the more I became convinced that I had at last found the long-sought-for law of nature that solved the problem of the origin of species.”
This passage, with its significant phrases, “Then it suddenly flashed on me,” and “At once I seemed to see the whole effect of this,” makes very clear the subconscious element in the achieving of the momentous discovery. It also emphasises another fact indispensable to a complete understanding not alone of Wallace’s achievement but of the achievements of all men of genius: the fact that creative upsurgings from the subconscious would be valueless—would, indeed, be impossible of occurrence—in any but a mind rendered by conscious study, observation, and reflection, capable of appreciating their significance.
The subconscious, let me recall, is a kind of workshop where the “ego” rummages among the memory-images of its past experiences to develop trains of thought and reach definite conclusions with a minimum of effort. Obviously the results of its rummaging will depend on the material it finds to work with; in proportion as this is rich and abundant, the subconscious upsurgings will be “worth while.” Obviously, too, both the richness of the material and the character and value of the subconscious upsurgings will ultimately depend on the character of the individual’s interests, and the extent to which these impel him to conscious study, observation, and reflection.
Wherefore it is that all men of genius have been great workers. Even when, as has been observed in certain cases, they indulge in more or less protracted periods of idleness, they later make amends by an unusual industry; and, for that matter, their idleness often is more seeming than real, their minds being busied all the while with some baffling problem. Ardent, whole-souled absorption in the thing he has set himself to do—that, unquestionably, is a distinguishing characteristic of the man of genius. It is almost as if by instinct he labours hard to provide his subconsciousness with the data it must have in order to afford him, by way of recompense, those flashes of insight, those moments of “inspiration,” that mean acknowledged leadership among his fellow-men.
I have already quoted Robert Louis Stevenson’s description of what his subconscious did for him. Let me now give his account of how he toiled to provide his subconscious with its working material. Never was there a man who strove more diligently and deliberately to attain success as an author; and this even while he was a student in college, where most of those who knew him thought that his chief occupation was “killing time.” As he tells us:
“All through my boyhood and youth I was known and pointed out for the pattern of an idler; and yet I was always busy on my own private end, which was to learn to write. I kept always two books in my pocket, one to read, one to write in. As I walked, my mind was busy fitting what I saw with appropriate words. When I sat by the roadside, I would either read, or a pencil and a penny version book would be in my hand, to write down the features of the scene or commemorate some halting stanzas.
“Thus I lived with words. And what I thus wrote was for no ulterior use; it was written consciously for practice. It was not so much that I wished to be an author—though I wished that, too—as that I had vowed that I would learn to write. That was a proficiency that tempted me; and I practised to acquire it, as men learn to whittle, in a wager with myself.... I worked in other ways, also; often accompanied my walks with dramatic dialogues, in which I played many parts; and often exercised myself in writing down conversations from memory.