He was born in 1802 in Hungary, the son of a proud and vicious aristocrat, and of a melancholy, sensitive, and ascetic mother. At an early age he manifested tendencies to sadness, to music, and to mysticism. He studied medicine, law, agriculture, and especially music. In 1831 Kerner remarked in him strange fits of sadness and melancholy, and noted that at other times he would spend whole nights in the garden playing his favourite violin. “I feel myself,” he wrote to his sister, “gravitating towards misfortune; the demon of insanity riots in my heart; I am mad. To you, sister, I say it, for you will love me all the same.” This demon induced him to go, almost aimlessly to America. He returned to find himself fêted and received with gladness by all; but hypochondria, in his own words, had planted its teeth deep in his heart, and everything was useless.[178] And, in fact, this unhappy heart had an attack of pericarditis, from which it recovered only imperfectly. From that time sleep, once the only medicine for his troubles, ceased to visit him; every night he is surrounded by terrible visions. “One would say,” he wrote, in a truly insane fashion, “that the devil is hunting in my belly. I hear there a perpetual barking of dogs and a funereal echo of hell. Without joking, it is enough to make one despair.”
That misanthropy which we have already noted in Haller and Swift and Cardan and Rousseau took possession of Lenau in 1840 with all the accompaniments of mania. He is afraid and ashamed of men, disgusted with them. Germany was preparing bouquets and triumphal arches in his honour, but he fled, and without any cause went to and fro from one country to another; he was causelessly angry and impatient, and felt himself incapable of work; non est firmum sinciput, it seemed, as he himself said; at the same time his appetite became as insane as his brain. He returned with a strange taste to the mysticism of his childhood, wished to study the Gnostics, and read over again the stories of sorcerers which he had found so attractive in his youth, while he drank coffee enormously and smoked excessively. It was incredible, he observed, how in moving his body, in lighting or changing a cigar, new ideas arose within him. He wrote during entire nights, wandered, journeyed, meditated a marriage, projected great works, and executed none.
It was the last flickering of a great spirit; in 1844 Lenau complained more and more of headache, of constant perspiration, of extreme weakness. His left hand and the muscles of the eyes and cheeks were paralysed, and he began to write with orthographic errors and quibbles, as Wie gut es mir gut for mir geht; or “I am not delirious, but lyrical.” Suddenly, on the 12th of October, he had a violent attack of suicidal mania. He was restrained, and furiously struck and broke everything, burning his manuscripts. Gradually he became composed and intelligent again, and even analyzed his attack minutely in that terrible, chaotic poem the Traumgewalien. It was a ray of sunlight in the dark night; it was, as Schilling well said, genius for the last time dominating insanity. In fact, his condition was constantly getting worse; another suicidal attack was followed by that fatal comfort, that pleasant excitement which marks the commencement of general paralysis. “I enjoy life,” he said; “I am glad that the terrible visions of old have been succeeded by pleasant and delightful visions.” He imagined that he was in Walhalla with Goethe, and that he had become King of Hungary and was victorious in battle; he made puns on his family name, Niembsch. In 1845 he lost his sense of smell, which had previously been very delicate, and ceased to care for violets, his favourite flowers. He no longer recognised his old friends. Notwithstanding this sad condition, he was still able to write a lyric marked by extravagant mysticism, but not without the old beauty. One day when conducted to Plato’s bust, he said: “There is the man who invented stupid love.” Another time, hearing some one say, “Here lives the great Lenau,” the unfortunate man replied: “Now Lenau has become very, very small,” and he wept for a long time. “Lenau is unhappy” were his last words. He died on the 21st of August, 1850. The autopsy only revealed a little serum in the ventricles and traces of progressive pericarditis.
In this same asylum at Döbling died some years later another great man, Széchényi,[179] the creator of Danubian navigation, the founder of the Magyar Academy, the promoter of the revolution of 1848. At the very apogee of the revolution, when Széchényi was a minister, he was heard one day begging Kossuth, one of his colleagues in the Ministry, not to let him be hanged. It was looked upon as a joke, but it was not so. He foresaw the misfortunes which would fall on his country, and wrongly judged himself responsible. The monomania of persecution took possession of him, and threatened to lead him to suicide. He gradually became calm, but exhibited a morbid loquacity, strange in a diplomatist and conspirator, and all day long he would stop the lunatics and idiots, and, what was worse, the enemies of his country whom he met in prison, and narrate to them the long confession of his imaginary sins. In 1850 an old passion for chess awoke in him, and took an insane character. It became necessary to pay a poor student to play with him for ten or twelve hours at a time. The unfortunate student went mad, but Széchényi slowly became sane. At the same time he began to lose an aversion for contact with human beings which had taken possession of him, and which made it impossible for him even to see his relations. There only remained of his morbid habits a certain repugnance to the bright country light, and a great objection to leave his room. On certain days of the month he consented to receive his much-loved children; with a gesture he led them tenderly to his table, and read what he had written; but it required much diplomacy to bring him out into the park. His intelligence remained clear; it was even more robust than ever. He kept himself acquainted with the whole German and Magyar literary movement, and he watched for the smallest sign of better fortune to come to his country. When he saw an Austrian intrigue hindering the completion of the eastern railway to which he had devoted himself so vigorously he wrote a letter to Zichy, in which he shows all his old power, as may be seen from the following passages: “What has existed once often reappears in the world under another form and different conditions. A broken bottle cannot be put together, yet those poor fragments of glass are not lost; they may be thrown into the furnace and become a vessel for Tokay, the king of wines, to sparkle in, while the broken bottle may have held but a very inferior wine.... The greatest praise that can be given to a Hungarian is to tell him that he has stood firm. You know, my friend, our old proverb: ‘Stand firm, even in the mire.’ Let us apply that motto; distrust the reproaches even of our brothers to serve the common cause. To remain at one’s post, in spite of the mud that fanatical or frivolous patriots throw in the faces of their brothers and companions in arms, to remain obstinately there, even when insult strikes one in the face—that should be the mot d’ordre of the present time.”
In 1858, when the Austrian Ministry exerted pressure on the Hungarian Academy to abolish the articles of its statutes which constituted the culture of the Magyar language, its fundamental task, Széchényi wrote another letter, which describes his mental condition: “Can I be silent when I see that noble seed crushed? Can I forget the services which that powerful benefactor has rendered us? I ask—I, whose misfortune lies, not in a vague confusion of ideas, but, on the contrary, in the fatal gift of seeing too clearly, too distinctly, to make any illusion possible. Ought I not to raise a cry of alarm, seeing our dynasty possessed by I know not what evil influence, fighting against the most energetic of its peoples, against that for whom the future reserves the highest destiny, and not only contemning it but stifling it, depriving it of its proper character, shaking to its roots the secular tree of the empire. Founder of this Academy, it is my duty to-day to speak. So long as my head is on my shoulders, so long as my brain is not entirely obscured, so long as the light of my eyes remains unveiled by eternal night, I shall retain my right to decide concerning the rules. Our Emperor will sooner or later understand that the assimilation of the races of the empire is merely the Utopia of his ministers; the day will come when all will detach themselves. Hungary alone, which has no racial affinity with the other European nations, will seek to accomplish its own destiny beneath the ægis of the royal dynasty.”
That was in 1858. In 1859, even before the outbreak of war, he prophesied defeat, and showed its results: “There are crises,” he said, “which lead to cure when the sick person is not incurable.” He published at London a book in which, in a strange and humorous, but at the same time terrible way, he traced the history of Hungary’s sufferings under Bach’s iron rule, sketched the future of his country, and counselled a policy of concord, parallel but not servile to that of Austria. “In truth,” he wrote himself, “this book is miserable; but do you know how the Margaret Island was formed? According to an old legend, the Danube once occupied its site; some carrion once, no one knows how, settled on to a sand-bank and became attached there. Whatever the river swept down, froth, leaves, branches, trees, all were piled up there, and at last a magnificent island arose. My work is something like that carrion. Who knows what may arise out of it at last?”
A few months later Hübner succeeded Bach, and the Liberal system was inaugurated. Széchényi was wild with joy; from his humble room he encouraged the minister, sent him plans of reform, inspired or wrote papers on the renewal of Austria, not forgetting Hungary. The dream was soon dissipated; Hübner was succeeded by Thierry, a bad disciple of Bach, armed with the old and superannuated systems of Austria; all reform was abandoned. The unfortunate Széchényi resisted sorrowfully; he called Rechberg, begged him to inform the Emperor of his mistake while there was still time, and submitted programmes for an Austrian constitution and a Hungarian constitution, internal affairs to be treated separately, and external affairs conjointly. Rechberg, far less foreseeing than this inspired madman, said, shaking his head: “One can easily see that this project comes from a lunatic asylum.” Worse still, Thierry, suspecting a vulgar conspirator in the great Magyar, sent a troop of police to visit the asylum, threatened to imprison him, and deprived him of his papers.
The unhappy man, whose madness was merely an irresistible need to serve his country at all costs, had only one remorse; he feared he had not sufficiently served his country, and henceforth all hopes were closed. He sought in vain to stifle his poignant grief by playing desperately at chess. At last he shot himself with a revolver. That was on the 8th of April, 1860. In 1867, Francis Joseph was crowned King of Hungary, thus realizing the dreams of the Döbling lunatic; and Rechberg, who had laughed at them, was called upon to put them in practice.
E. T. A. Hoffmann, that strange poet, artist, and musician, whose drawings ended in caricature, his tales in extravagance, and his music in a mere medley of sound, but who was, nevertheless, the real creator of fantastic poetry, was a drunkard. Many years before his death he wrote in his journal: “How is it that, awake or asleep, my thoughts are always running, in spite of myself, on this miserable theme of madness? Disorderly ideas seem to rise out of my mind like blood from opened veins.” He was so sensitive to atmospheric variations that he constructed a meteorological scale out of his subjective emotions. For many years he was subject to a real monomania of persecution, with hallucinations in which the fantasies of his stories were converted into realities.
The famous Sicilian physiologist Foderà often declared that he could furnish bread for 200,000 men with a single oven of very simple construction, and that, with forty soldiers he could overcome any army, even 1,000,000 strong. When about fifty years of age he fell violently in love with a young girl who lived opposite him. One fine day, being in the street, he gazed up rapturously at the charming maiden, who, to free herself from her wearisome adorer, emptied a vessel of dirty water on his head. Foderà, however, regarded this act as a manifestation of love, and returned home full of joy. In the courtyard he saw a fowl, which, as he declared, had an extraordinary resemblance to the beloved maiden; he immediately bought it, covered it with kisses, allowed the precious creature to do anything, to soil his books, and his clothes, and even to perch on his bed.[180]