Not only has the number of insane increased, but their importance in society has multiplied fourfold; for which reason we can not fail to give them attention. The morally insane in politics and the megalomaniac insane in the bank who inspired Ibsen are to be found walking around in every country. The blood-criminal, transmuted into the forger and the bankrupt, penetrates into our houses, and we suffer from him every day; while the insane man at first was not regarded, or was adored under the form of a saint or hated as a wizard, possessed of the devil always, or seemed a phenomenon strange to society, a species of extraplanetary meteor. If we add that the degeneration provoked by the abuses of civilization has begotten a multitude of forms akin to madness which afford a field for combinations now tragic, now strangely comic—like the phobia by which one is afraid to cross a room, or avoids a certain group of words, or refuses to know how many doors and windows there are on the street, or can not be at ease without saying sexual pacifying formulas; a class who with their perverted tastes form a real new world apart; and they all may inspire new dramatic settings forth.
As a third cause we add that in our age psychology has penetrated into all departments. There are psychologies of the senses, of the sentiments, of the will, the psychology of the crowd, of the insane, of criminals, and finally the psychology of the cell, or at least of the infusoria (Binet). Therefore, as statistics is applied to history, to politics, to religion, in the same way psychology has at last entered into romance and the drama, and has taken the lion's share. And, far from being repelled by the public, the authors who use it or abuse it, like Euripides and to a certain point Shakespeare, win the admiration of the public; and we are proud to see Zola taking from L'Uomo delinquente the Jacques of his Bête humaine to make an immortal figure of him, and Dostoiewski depicting innate criminals in his House of the Dead, and the criminaloid in his Crime and Punishment; and we do not despise Bourget when, making more a caricature of psychology than a psychology, he assumes to apply it to the toilets of women and the Parisian cocottes under the form of a psychology of love.
It may at first sight seem a contradiction that we have shown that there were also found in antiquity at great intervals dramatic poets and romancers like Shakespeare, Dante, and Euripides who, led by the observing and creative instinct, did not confine themselves to events, but studied characters too, and, keenly perceiving the dramatic potencies in the character of insanity, treasured it up in their works. Thus Euripides depicts Helena, vain even into her old age, saving a part of the hair she was offering at the tomb of her sister so as not to lose what remained of her former beauty; and Orestes has not the
