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Updated: June 28, 2025
Recently, Nordau, rejecting the theory of his master Lombroso, has maintained that it is just as reasonable to say that "genius is a neurosis" as that "athleticism is a cardiopathy" because many athletes are affected with heart disease. For him, "the essential elements of genius are judgment and will." On the third step are geniuses of judgment without energetic will thinkers and philosophers.
There will be little doubt he will answer "Health." After that probably he may say "Beauty." In addition the reader of Mr. Galton's Hereditary Genius will probably say, "ability," "capacity," "genius," and "energy." The reader of Doctor Nordau will add "sanity." And the reader of Mr. Archdall Reid will round up the list with "immunity" from dipsomania and all contagious diseases.
The less gifted portion of the educated public was greatly delighted some years ago by a work by Dr. Nordau called Degeneration, in which a great number of abnormal people were studied in a pseudo- scientific manner and shown to be abnormal beyond any possibility of dispute. Mostly the samples selected were men of exceptional artistic and literary power.
It is much to be regretted that none of Wagner's opponents have ever stated their case fairly and soberly. There is much to be said, but assuredly it has not been said by men of the stamp of Nordau, who cites disgusting accounts from French medical journals in order to show his abhorrence of what he considers Wagner's immorality!
It did not seem so to the boy this summer day, not at least the world he knew. Of course the boy had no experience. He had never heard of Juvenal nor of Max Nordau. He had no philosophy of life. He did not even know that when he became very old the world would seem to him good or bad according to the degree in which he had become a good or a bad man.
Now there can be but one end to such an expenditure of nervous energy, and that end came, not suddenly, but with the treacherous, creeping approach of paralysis. "Literary" criticism of the Nordau type is usually a foolish thing; yet in Maupassant's case one does not need to be a skilled psychiatrist to follow and note the gradual palsy of the writer's higher centres. Such stories as Qui Sait?
As society changes, so changes the so-called criminal. In any event, I know this that Max Nordau did not make out his case. There is no criminal class. Or for that matter we are all criminals. "I have in me the capacity for every crime," said Emerson. The man or woman who goes wrong is a victim of unkind environment. So it is with the Ex. Question.
In one way, of course, these facts might be explicable on the supposition that Plattner has undertaken an elaborate mystification, on the strength of his heart's displacement. Photographs may be faked, and left-handedness imitated. But the character of the man does not lend itself to any such theory. He is quiet, practical, unobtrusive, and thoroughly sane, from the Nordau standpoint.
The history of critical literature would reveal many such. Think of such an accomplished practitioner as the late M. Brunetière, writing as he did of Flaubert and Baudelaire. And that monument to critical ineptitude, Degeneration, by Max Nordau. A more modern instance is the judgment of Julius Hart in the publication, Tag , concerning our dramatist.
But so keen for symmetry, for all the term formal beauty implies, is Chopin, that seldom does his morbidity madden, his voluptuousness poison. His music has its morass, but also its upland where the gale blows strong and true. Perhaps all art is, as the incorrigible Nordau declares, a slight deviation from the normal, though Ribot scoffs at the existence of any standard of normality.
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