Anthropophagy in Germany, 175.
Appetite, abnormalities in insanity, 16.
Art, Nordau’s view of modern styles, 203-205;
various terms defined, 206;
superficial imitation of masters, 214.
Attention, nature, 10.
Beethoven, psychology of his art, 59.
Body, should have due attention in education, 153.
Bogeys, children should not be threatened with, 154.
Brutus, apparition of Cæsar to, 84.
Conceit of youthful degenerates, 135.
Convents, hysteria in, 176.
Courbet, symptoms of degeneracy, 138-141.
Cromwell, vision of a gigantic woman, 85.
Dancing mania, 178.
Degeneration, symptoms according to Morel, 118, 122;
should not be confused with heredity, 119-121;
among writers, 217;
supporters of the idea numerous, 320;
as depicted by Ibsen, 322;
not established by the exactions of modern life, 324-330.
Delusions, nature, 15.
Demonomania in the sixteenth century, 174;
in the beginning of the seventeenth, 180.
Development, rapid, no indication of later powers, 147.
Disease, nature, 73.
Drunkenness, effect on offspring, 121.
Education, should seek uniform development, 148;
influence on character, 149;
imitation of parents’ faults, 152;
physical side not to be neglected, 153;
dangerous fictions, 154;
duty of the mother, 155;
influence in developing or hiding genius, 163;
training for show, 213.
Emotions, seek expression, 43;
effect on the body, 95;
highly developed in poets, 104;
domination in some degenerates, 126;
deficiency or perversion in others, 130;
egoistic in others, 137.
_Ernst_, Schopenhauer on, 100.
Eroticism, ascribed to Wagner by Nordau, 314-316.
Fancy, nature, 34;
its product depends upon its material, 35;
lively in the childhood of some degenerates, 127.
Fashion, more rational than formerly, 192-194.
_Folie à deux_, 188.
Food, refusal to take, by men of genius and the insane, 110.
Generals, nature of their genius, 66.
Genius, meaning, 19-24;
its essential characteristic, 24;
varieties suggested, 29;
involuntary character of its possessor’s work, 31;
impulse to exercise its powers, 43, 45, 49;
in musical performers, 61-63;
scientific, 63, 67;
in the labours of generals and statesmen, 66;
has no definite psychological meaning, 68-70;
alleged nearness to insanity, 71, 75;
accompanied by hallucinations, 79;
excitation of poets during composition, 96;
the man of genius not a stranger to the world, 106;
absorption a frequent characteristic, 108;
often bears criticism ill, 111;
does not hold disagreeable habits in check, 111;
cases of insanity in men of genius, 112;
inheritance, 115;
prominent in youth, 150.
Giants, sometimes disproportioned, 74.
Gigantic growth, 132, 133.
Goethe on poetic genius, 33, 40;
on the poetic impulse, 43, 45;
on the development of Wilhelm Meister, 46;
on the proper nature of poetry, 47;
compared with Schiller, 48-54;
character, 80;
mental condition, 81;
apparition of himself, 93;
story-telling in boyhood, 99;
power of reproducing perceptions, 88;
chronic melancholy, 105;
interest in stories told by his mother, 157.
Graphomania as described by Lombroso, 141-146.
Hallucinations, in the insane and men of genius, 79, 83-85;
distinguished from illusions, 86;
useful, 87;
religious visions, 90;
different opinions as to morbid character, 91, 95;
produced by suggestion, 92;
recognition by percipients, 94.
Heredity, relation to genius, 115;
must not be confused with degeneration, 119-121.
Hypnotism, close relation to hysteria, 189.
Hysteria, secular, defined, 170;
former prevalence, 173-182;
influenced by suggestion, 182;
recent examples, 185;
secular, not so prevalent as Nordau declares, 191-198.
Ibsen, supports the idea of degeneration, 322.
Idealism defined, 206;
conflict with other styles, 207-210;
Böcklin as an example, 211.
Ideas, imperative, 13.
Idiots, cases with high development of one faculty, 132.
Illusions, distinguished from hallucinations, 86.
Imbeciles, story-telling, 98.
Impulse of the genius, 43, 45, 99.
Injuries, check or modify mental development, 132.
Insanity, improved treatment, 1;
misunderstood by theologians, 2, 72;
present treatment not perfect, 3;
symptoms are exaggerations of normal conditions, 6;
ascribed to all men of remarkable powers, 75;
how detected, 78;
vivid dreams in, 85;
impulse to absurd labours, 101;
cases in men of genius, 112;
various manias, 124;
unbalanced development, 125;
wrong inferences from statistics, 171;
must not be confused with errors of the time, 199;
how far shown in productions of artists, 218;
of authors, 219;
Strindberg as an example, 220-225;
ascribed to Schopenhauer, 228-231;
ascribed to Wagner, 300-308;
depicted as a disease by Shakespeare, 321.
Inventors, nature of their genius, 67.
Lessing on poetic genius, 39.
Literature, preference of writers for the ugly, 215.
Lombroso, Cesare, his Genius and Insanity criticised, 76;
on hereditary genius, 115;
diagnoses epilepsy and ecstasy in Dante, 225;
melancholia in Schopenhauer, 228-231.
Luther, alleged hallucination, 85.
Lying, a symptom of mental derangement, 97.
Manias, various, 124.
Marriage, Nordau’s views, 245.
Mind, abnormal, deemed diseased, 75;
proportion of faculties, 82.
Moods, connection with ideas, 41.
Mother, duty, 155;
influence of Goethe’s, 157;
of Schiller’s, 158;
other cases, 159-162;
proper share in education, 164.
Mozart, psychology of his musical creation, 55, 56-59.
Musical performers, distinction between those having genius and those
having talent, 61.
Naturalism, defined, 206;
conflict with other styles, 207-210;
preference for the ugly, 215.
Nordau, Max, on the prevalence of hysteria, 172, 191-195;
his criticisms of current art, literature, and philosophy examined,
196-198;
on degeneration in art, 203-205;
on schools of art, 210;
on insanity in Schopenhauer, 231;
criticises Zola, 232-235;
on degeneracy in Tolstoi, 239-245;
on marriage, 245;
judgment of Ibsen, 247;
pronounces Wagner degenerate, 308-319.
Originality, as a characteristic of genius, 24.
Perceptions, how formed, 8;
reproduced by internal stimuli, 13.
Poesy, relations to fancy and to intellect, 38;
dominated by impulse, 43, 45;
shows the general in the particular, 47.
Precocious children, injurious treatment, 165-169.
Psychiatry, definition, 1;
an empirical science, 77.
Realism, defined, 206;
conflict with other styles, 207-210;
preference for the ugly, 215.
Recollection, nature, 9;
phenomena of associative reproduction, 11.
Referential ideas, 222-224.
Religious fanaticism due to degeneration, 128.
Reproduction of perceptions, 87-90.
Romanticism, defined, 206;
conflict with other styles, 207-210.
Schiller on poetic genius, 32, 38, 41;
compared with Goethe, 48-54.
Science, the work of genius in, 63, 67.
Shakespeare, not visible in his characters, 53;
depiction of insanity, 321.
Spiritualism, successor to the belief in witchcraft, 186.
Statesmen, nature of their genius, 66.
Stories, fictitious, injurious to dreamy children, 154.
Suggestion, influence in hysteria, 182-186;
in spiritualism, 186.
Talent, musical, 55, 61-63.
Theologians, errors concerning insanity, 2, 72.
Tolstoi, speculations on life, 235-239;
his degeneracy in Nordau’s eyes, 239-245.
Vulgarity of many degenerate writers, 137.
Wagner, describes the Heroic Symphony, 60;
early years, 249;
first works, 250-252;
the Flying Dutchman, 253-256;
nature of his artistic tendency, 256-260;
success of Rienzi, 260-262;
the writing of Tannhäuser, 261, 263-266;
Lohengrin, 266-269;
his revolt against the culture of his time, 269-271;
sketch of the Nibelung trilogy, 272-288;
sketch of Parsifal, 288-294;
his art as it appeared to him, 295-297;
irksomeness of writing, 297;
the psychical side of his works, 298-300;
declared insane by Theodor Puschmann, 300-308;
declared degenerate by Nordau, 308-319.
Werewolf superstition, 179.
Zola, criticised by Nordau, 232-235.
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