We have noted the artificiality of intellectualism as compared with naturalism. There is something even more absorbingly intellectual in the artistic mode of life than in the scholarly, for in the latter one is occupied with a process more or less limited in scope, whereas the artist is always striving to represent a complete ideal. The effect of this on the artist's active life depends largely on his natural propensities. Esthetic contemplation has evolved genetically out of sensationalism, and it is doubtless the sensual factor in his nature which leads to most, if not all, his pathological tendencies.
Moral and utilitarian ideas can scarce be other than healthy when viewed either from an esthetic or a practical view-point. Sensualism, however, is decadence. The effort of the individual to give free expression to his senses is always met with failure. Having risen above our mere sense natures into the realm of intellect, it is now impossible to revert to them. The clear, happy, unaffected, hedonistic lives of the Greeks are no more possible in these days of modern artifice. Therefore, he who turns to the senses for a true expression of his nature finds his effort clogged with all manner of false and related concepts which his experience with society has thrust upon him. There is no way to live 'naturally' in our day.
What, then, is the fate of him who attempts it? Taking all things in life to be natural expressions and being interested more in the states of body and mind than in any particular results to body or mind, this person is led to seek peculiar complexes of sensation, peculiar situations, bizarre effects, all which it may be a pretty esthetic problem to justify and sublimate. But the taste thus cultivated always craves something new and the attitude ceases soon to be one of esthetic intent and becomes instead one of low sensual desire. Contemplation is supplanted by desire, which now becomes the dominant note. Habits of passion develop and grow until both body and mind are ravaged by their deleterious effects. This is the real significance of decadence and it demonstrates, too, how works of art produced under such influences must fail in their universal import.
There is no denying that the genius in art is peculiarly exposed to these affections. The very inertia of his type of mind produces a species of hyperesthesia which, unless properly subordinated by a strong and forceful physical and mental nature, often leads to his downfall. We have so many instances where drugs, alcohol and other harmful habits have destroyed both body and mind of a bright genius, the factor is certainly one which can not be overlooked. Yet a positive element in his character may suffice to save him from this fate. So long as the individual asserts himself sufficiently to justify all his acts in the light of all his knowledge, bringing everything into connection
