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The main Bibliotekabolezn and Creativeedgar Po and Vsevolod Garshin: One disease, one fate.
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Scientific literature for specialists Conference materials Dissertation abstracts Manuals for doctors Psychometric scales Illness and creativity Gallery Journal "Psychiatry" List of thematic journals recommended by the Higher Attestation Commission List of thematic journals in the international DATABASE of the Russian Science Citation Index (RSCI) Useful links
P. Bologov
The subject of this essay is the biographies of two outstanding writers of the last century.
The main leitmotif is an attempt to recreate pathographic research, that is, the study of how the features of psychopathology are reflected in literary texts.
It is not by chance that two authors who are completely dissimilar in style are chosen.
They have only one thing in common: both suffered from the same mental disorder.
Their illness proceeded in different ways, and their creativity was absolutely different.
The fate turned out to be the same.
***
"The messenger of the Beyond, the herald of the depths and the bearer of secrets, the immortal Edgar, who took in his world service the great burden of the need to show us how the Human soul can be lonely among people..."
K. Balmont
American poet and writer Edgar Allan Poe (1809-1849).
He was born in Boston, in a family of traveling actors.
After the death of his mother in 1811, Edgar was separated from his brother and sister - he was taken in by the family of the tobacco merchant John Allan.
He studied at the University of Virginia, but because of his stepfather's avarice and gambling debts, he was forced to leave the university, and later the military academy.
As a poet, he made his debut with the collection "Tamerlane and Other Poems" (1827).
After his short story "The Manuscript Found in a Bottle" (1836) won the competition for the best short story, Poe became the editor of the Southern Literary Bulletin magazine in 1835; he also headed other literary publications.
In 1836, he married his 14 year old cousin Virginia.
In 1838, the "Tale of the Adventures of Arthur Gordon Pym" was published, and in 1840, the collection "Grotesques and Arabesques"was published in two volumes.
After the death of Virginia in 1847, Poe became depressed, tried to commit suicide, became addicted to alcohol and died two years later.
These are briefly the dry facts of the biography of a remarkable writer, whose influence was enormous on the fate of all world literature.
His personal fate was bleak, hopeless, terrible.
He wrote: "I have such a depression of spirit that will ruin me if it continues…Nothing can give me joy…Convince me that I need to live...".
He wrote these words when he was less than thirty years old.
He died at the age of forty.
His entire adult life was filled with misfortune, amazing longing and horror, which formed the basis of his work.
The extreme nervousness and sensitivity of his character manifested itself from childhood.
His parents lived in poverty, they died when the child was two years old.
He was brought up in a foster family, relations with a rich stepfather did not work out.
The precocious and proud boy never turned to him with requests.
On the contrary, Edgar adored his foster mother and considered her his own.
There are several cases when at the age of 5-7 years a child fell into a strange stupor, did not respond to appeals, sometimes ran excitedly around the house.
The nurse calmed him by putting bread soaked in wine into his mouth.
From the standpoint of psychopathology, such states can be considered as manifestations of an organic disorder, or as early catatonia.
At the age of five, the child almost died.
He fell from a tree into a pond.
The boy was pulled out of the water without a pulse and barely brought back to life.
The early impressions are forever etched in the memory: the child was terrified of water.
At the age of six, he was taken to England, all the way he did not leave the cabin and shivered.
E. Po could not learn to swim for a long time, although he persistently aspired to it.
However, he learned this science as an adult, and even achieved records by swimming several miles.
However, this attempt to hypercompensate a child's phobia often led to trouble.
Often swimming ended in vomiting.
One day he came out of the water, covered with blisters.
The unconscious fear continued to exist.
Another fear that haunted E. all his life was the fear of women, or rather the fear of losing them.
Poe's mother died when the child was two years old.
Poe could not remember her, but he loved her image all his life, never parting with her portrait in a medallion.
When he was serving in the army and he was 20 years old, his beloved stepmother died.
He did not have time to come to the funeral, cried all night at her grave, and then, in an excited state, tried to prove that she was buried alive.
So another phobia was born: the fear of being buried alive was later reflected in his stories.
Poe's relationships with women later consisted of emotional experiences of fear, joy and guilt for joy.
He writes to the woman he was in love with (E. Whitman): "I avoided your presence and even the city in which you lived...".
The motive for avoiding this woman was artificial and invented E.Poe (without any reason) considered her married.
Finally, he marries his 14 year old cousin Virginia, but after 10 years she dies, and the writer soon after loses his mind.
Many romantic hobbies that took place throughout his life were accompanied by a kind of painful fascination and horror.
You can recall the famous stories "Ligeia", "The Fall of the House of Usher", "Berenice", "Black Cat" , as well as the poems "Raven", "Ulylum", "Annabel Lee", which brought the author world fame and are associated with mysticism, death, the loss of a beloved.
"Berenika was my cousin, and we grew up together on my father's estate.
But how little we resembled each other!
I am weak in health, always immersed in gloomy thoughts.
She is agile and graceful, overflowing with vitality...
Oh, this magnificent and such a fantastic beauty!
Oh, the lovely sylph of the Arnheim tabernacles!..
But then then a mysterious and terrible darkness enveloped everything, and it would be better not to tell this story forever.
An illness, a fatal illness, like a hot whirlwind of the desert, permeated her entire nature; right before my eyes, the deepest changes were taking place in her mind, habits and disposition, and their effect was so subtle and terrible that it disturbed the very harmony of her soul..."
They were all like that each time they were somehow different from Virginia and yet
less always repeating it.
Fading, pale, like the dead, women who are usually related to their lovers, being watched by the ghost of incest lurking in the darkness of the family tomb.
It was a page from the life of Poe himself.
Another fear that tormented Poe was the fear of impoverishment, which, unfortunately, also had real grounds.
Not wanting to be a hanger on with rich relatives, Edgar Poe, being a painfully proud man, always tried to live only by literary work, which, with the nascent American capitalism, doomed him to a life of poverty.
Pride and suspicion that's what determined the writer's relationship with both publishers and fellow writers.
His subtle, mystically romantic soul, his sensitive, nervous personal organization, hated to combine creativity with the work of a clerk or a merchant.
Thus, the whole life of the man who made up the genius of American and world literature was spent in extreme need: in begging for royalties, in attempts to stop "pirated" editions of his works, in the fight against plagiarists.
The affective disorders to which Edgar Poe was subject from his youth were bipolar in nature.
They began with a manic autochthonous state at the age of 14.
The mania was characterized by clinical polymorphism: as a rule, the ideatory component prevailed, and high creative productivity was always noted.
The writer could not sleep for many days, others were struck by the atypical talkativeness and cordiality in the usual state.
However, as such, the affect of fun, joy was absent.
There was also no increase in motor skills.
Often such states were accompanied by love, then feelings of enthusiasm and inspiration prevailed.
We can conclude about the atypical nature of manic states, the imbalance of the classical components of the affective triad.
With age, the atypia of mania has intensified, and here both the dynamics of the disease as a whole and the abuse of alcohol and drugs have left an imprint, which will be discussed in particular.
From about 20-24 years of age, in manic states (occurring about 2 times a year, with a duration of up to 4 months), agitation, fussiness begins to prevail, sometimes anxiety occurs.
Also, in these states, episodes of confusion with elements of stupor appear.
There is a clear aggravation of disorders that are already leaving the affective circle, with the addition of non affective disorders.
These include transient delusional and subcatatonic disorders.
The circular affect itself takes on a mixed character.
Depressive states begin to occur from the age of 15, initially by endoreactive mechanisms.
They were accompanied by feelings of sadness, tearfulness, a desire for solitude.
In the depressions of the early period of his life, Edgar Poe also had a high creative activity: he wrote melancholic gloomy poems, translated German and French romantics.
Depression lasted at first no more than a month and occurred less often than mania.
However, it was with depressive disorders that the writer's alcoholic excesses began ( recall that his literary debut took place at the age of 18).
In order to drown out the melancholy, he regularly resorts to small doses of alcohol.
The subtle bodily organization, as well as possible residual organic disorders ( as the consequences of physical trauma in childhood), led to initially poor alcohol tolerance.
Nevertheless, Po immediately began with the use of the strongest drinks - first brandy, and later - absinthe.
Alcohol consumption was dipsomanic in nature, physical suffering was designed to drown out mental pain.
During the pre manifest stage of the disease in depressive states, the dynamics of the syndrome is noted: by the age of 22-24, the anxiety component becomes more pronounced, short term paranoid episodes, single false recognitions, ideas of attitude and special significance arise against the background of alcohol intoxication.
Depressions now lasted an average of 2-3 months, the circular affect was already competing with delusional readiness.
The first expanded psychotic state of E.Po suffered at the age of 30.
Against the background of "black melancholy" and binge drinking, frightening auditory and visual hallucinations appeared.
There was a delirium of persecution and influence.
Poe believed that his fellow writers conspired to destroy him, they allegedly publish his works under their own names, hire special "magnetizers" in order to deprive him of creative power and drive him crazy.
The attack lasted about 2 months.
At the end of it, the writer fell into apathy.
How were E.'s painful experiences reflected?
Is Po in his work?
The central figure in Poe's works was originally a neurotic and hypochondriac, a mystic pursued by incestuous fantasies, a victim of narcotic intoxication and superstitious fears.
These were the many faced hypostases of Poe himself and the women he loved, the doppelgangers whose invented world he filled with suffering, thereby trying to ease the burden of sorrows and disappointments that burdened his own life.
The palaces, gardens and chambers inhabited by these ghosts shine with luxurious decoration, it is like a bizarre caricature of the beggarly squalor of his real homes and the dreary atmosphere of those places where fate threw him.
Transcendentalism and spiritualism were already beginning to penetrate into literature and in Poe's work they acquired a special, bizarrely creepy shade.
Since the public first plunged into the dark horror of Gothic novels, its passion for literary horrors has not weakened.
However, "Frankenstein" and other similar stories, although they sometimes gave one the creeps, in the end were nothing more than a tribute to literary fashion.
Their heroes looked more like wax dolls, rather than people made of flesh and blood, and their death frightened the less, the more unreal their existence seemed.
On the contrary, the atmosphere of the novels that Poe now began to write, which was forced to the limit, was striking in its authenticity.
The physical and mental torments he drew were a reflection of real suffering, horrors and pain.
From these pages there was a suffocating sepulchral stench.
The murders committed on them were cruel and disgusting, the dead were indomitable in their desire to invade the world of the living.
All this struck with its novelty and artistic power.
At the age of 34, a second psychotic attack follows.
The paranoid plot of delirium sounds again, "envious" and "magnetizers" arise again.
E. Poe even calls G. Longfellow to a duel, accusing him of plagiarism.
The attack lasts for about 4 months, this time the writer does not have enough criticism for the delusional experiences of the acute period.
His creative activity begins to weaken.
After 1845, he no longer writes poems, almost does not translate, devoting more time to newspaper and magazine activities.
The images and plots of" Grotesques and Arabesques", reflecting the obsessive mental states of Poe himself, disturbed his consciousness, because he could not help but understand that many of these stories bore a clear imprint of some kind of mental abnormalities - especially in those of them that depict the terrifying torments of tormented human flesh and bloody murders or depict strange relationships between heroes and heroines.
And he entered into a struggle with the dark and unknown forces besieging him.
What bothered him most was that everything he had written so far seemed to be dictated from outside, against his own will.
Now he decided that he would build his works according to the strict laws of logic, carefully selecting and analyzing.
So the last of the literary characters invented by Po was born.
This time, alarmed by the consequences of a mental disorder, Poe seeks salvation from the impending danger, reincarnating into a hero who is drawn in his imagination as a logician endowed with supernatural mental power, a brilliant analyst who easily unravels any riddles and puzzles, a successful treasure hunter and a shrewd detective, revealing At the same time he perfected his method of logical reasoning, giving it the form of a literary device that he used in the stories "Murder on the Rue Morgue", "The Mystery of Marie Roger" and "The fall into the Maelstrom."
In them, the last and most original of the heroes created by him appears - "the infallible logician".
The transferred psychoses are reflected in the character of E.Software and its relations with others.
Suspicion and distrust extend to the closest friends.
Isolation and intolerance to criticism are growing.
Affective disorders become more erased, in hypomania there is a "hunt for a change of places", a craving for constant aimless travel; depression is accompanied by a touch of dysphoria and brutality.
In 1847, the wife of E.Poe is dying of consumption.
The writer spends the next two years, until his death, with a clouded mind.
He will not write anything more, completely surrendering to despair and self destruction.
Endless wanderings begin, he is seen in port inns and opium dens in the companies of vagabonds and beggars.
And the romantic and refined American writer and poet himself, ("a gentle mystic" - by the definition of M. Twain), turns into a beggar tramp.
Suicide attempts were made several times.
The sufferings of the restless sick writer end in October 1849.
He is found on a station bench in a state of stupor.
He lived for several days, occasionally regaining consciousness and praying to the Lord for death, which followed on October 7.
According to modern classifications of diseases, which cover only the syndromic level of disorders, it is possible to imagine the disease E.Software in the form of a multi axis diagnosis: "narcissistic personality disorder" - "organic CNS disorder" - "behavioral disorder due to substance abuse" - "bipolar affective disorder" - "schizoaffective disorder".
However, if we adhere to the Russian diagnostic tradition, which is based on the unity of nosological units ( at the same time, the syndromes of other psychopathological registers are absorbed at the expense of the underlying disease), then we can presumably verify the diagnosis of E. Poe as Schizoaffective psychosis.
She told me in a noisy dance
Crazy water:
"If you are sick, but smart-
Jump, my dear, here!"
Sasha Black
***
Garshin, Vsevolod Mikhailovich - one of the most outstanding writers of the literary generation of the seventies.
He was born on February 2, 1855, in an old noble family.
His inheritance was burdened on the paternal side - his grandfather was distinguished by an unbalanced, despotic character.
The father, according to eyewitnesses, had obvious mental disorders.
So, at one time he was obsessed with the construction of an air railway, in his house there were ropes everywhere, along which small trolleys were passing.
The writer's father was unsociable, uncommunicative, abrupt and eccentric.
The mother had a flighty character, was prone to distinct mood swings, which were due to internal reasons.
The elder brother of Vsevolod Garshin committed suicide at the age of 20.
The writer's childhood, therefore, was not rich in pleasant impressions; in his receptive soul, on the basis of heredity, a hopelessly gloomy view of life began to develop very early, which predetermined his fate.
An unusually early mental development also contributed a lot to this.
At the age of seven, he read" Notre Dame de Paris " by Victor Hugo and, rereading it 20 years later, he found nothing new in it for himself.
In 1864, Garshin entered the St. Petersburg gymnasium, and after completing the course there, in 1874, he entered the Mining Institute.
By adolescence, the formation of affective disorders is noted, which almost immediately take on a continuous (continuous) character.
Depressions developed for no apparent reason in the spring period.
The dreary affect prevailed, with the experience of one's own change, ideas of guilt and inevitable suicidal thoughts.
Then, closer to autumn, also without external reasons, the mood first leveled off, and then acquired a rainbow hue.
There was a desire for activity, communication, new impressions.
People who saw Garshin in both poles of his affect perceived him as two completely different people.
However, both in duration and depth, depressive disorders initially prevailed.
At the age of seventeen, Garshin suffers the first serious attack of the disease, which already reaches a psychotic level.
The writer himself later recalled his experiences of this period: "One day a terrible thunderstorm broke out.
It seemed to me that the storm would demolish the entire house in which I lived at that time.
And so, to prevent this, I opened a window - my room was on the top floor - took a stick and put one end of it to the roof, and the other to my chest, so that my body would form a lightning rod and thus save the whole building with all its inhabitants from destruction."
Many years later, Garshin will write a beautiful and terrible story "The Red Flower", where he will show the process of increasing madness and disintegration of consciousness from the inside.
The patient of the madhouse imagines that the flower growing in the hospital garden is the center of all the world's Evil.
The struggle with the flower requires an incredible concentration of spiritual and physical forces, overcoming a lot of real and imaginary obstacles.
But the patient considers himself the savior of mankind, who is entrusted with a great, subordinate and understandable mission.
He sacrifices himself in the name of Good.
Thus, we can consider this certainly autobiographical story as a manifest attack of Garshin's disease.
In this case, we are talking about schizoaffective psychosis, which begins with affective disorders (in this case, manic), and then the condition becomes more complicated with the addition of megalomanic and antagonistic delusional disorders of the paraphrenic level.
At the height of psychosis, the phenomena of catatonia and confusion of consciousness (onirism) will join.
Actually, delusional disorders develop within the delirium of the imagination, with intuitive insight and comprehension of "higher knowledge, Universal law", which is accompanied by an experience of ecstasy, bliss and harmony: "...I felt reborn.
The senses have become sharper, the brain is working like never before.
What was previously achieved by a long way of deductions and guesses, now I know intuitively.
I have really achieved what is developed by philosophy.
I am experiencing the great ideas by myself that space and time are fictions.
I live in all ages.
I live without space, everywhere or nowhere, as you want...".
It is characteristic that having suffered such an acute and severe attack of the disease, the personal organization of the writer was not disturbed, and the criticism of psychotic experiences was quite complete.
These post psychotic features also speak in favor of the diagnosis of "Schizoaffective psychosis", in which, as a rule, there is no distinct progrediency characteristic of psychoses with schizophrenia.
On April 12, 1877, Garshin and a friend were preparing for an exam in chemistry when they brought a manifesto about the war in the Balkans.
At the same moment the notes were thrown, Garshin ran to the institute to submit a request for dismissal, and a few weeks later he was already in Kishinev as a volunteer of the Bolkhov regiment.
In the battle of August 11 near Ayaslar, as the official report said, " a private from the volunteer V. Garshin, an example of personal bravery, led his comrades forward into the attack, during which he was wounded in the leg."
The wound was not dangerous, but Garshin did not take part in further military operations.
Promoted to an officer, he soon retired, spent six months as a free student of the philological faculty of St. Petersburg University, and then completely devoted himself to literary activity, which, shortly before, he began with brilliant success.
In the extremely subjective work of Garshin, the deep spiritual discord that formed the basis of his personality was reflected with extraordinary vividness.
The megalomanic nature of his experiences: the desire to make humanity happy ( in mania) and the universal sense of guilt and repentance (in depression) run through all his work like a red thread.
According to the basic structure of his soul, Garshin was an unusually humane nature; his first artistic creation - "Four Days" - reflected exactly this side of his spiritual being.
If he went to war himself, it was only because it seemed shameful to him not to take part in the liberation of his brothers who were languishing under the Turkish yoke.
But for him, the first acquaintance with the actual situation of the war was enough to understand the full horror of the extermination of man by man.
The" Four Days "is joined by the "Coward" - the same deeply felt protest against the war.
The protest had nothing to do with the template of humanity that was the cry of the soul, and not a trend in favor of the camp, which was joined by Garshin, you can see the largest "military" things Garshina - "From the notes of private Ivanov" (excellent scene of the show).
All that has been written Garshin, it was as if with extracts from his own diary; he didnot want to sacrifice in favor of anything any feeling freely arose in his soul.
Sincere humanity was also reflected in Garshin's story "The Incident", where, without any sentimentality, he managed to find a human soul at the extreme stage of moral decline.
Next to the all pervading sense of humanity in Garshin's work, as well as in himself, there was also a deep need for an active fight against evil.
Against this background, one of his most famous stories was created: "Artists".
An elegant artist of words and a fine connoisseur of art himself, Garshin in the person of the artist Ryabinin showed that a morally sensitive person cannot calmly indulge in the aesthetic delight of creativity when there is so much suffering around.
But a hopeless melancholic in the whole warehouse of his spiritual and physical being, Garshin did not believe either in the triumph of good, or that victory over evil can bring spiritual balance, and even more so happiness.
Even in the almost humorous fairy tale "What did not happen", the arguments of a cheerful company of insects gathered on the lawn to talk about the goals and aspirations of life end with the coachman coming and crushing all the participants of the conversation with his boot.
Ryabinin from the "Artists", who gave up art, "did not flourish" and went to the people's teachers, and not because of the so called "independent circumstances", but because the interests of the individual, after all, are also sacred.
In the charmingly poetic fairy tale "Attalea princeps", the palm tree, having reached the goal of aspirations and having broken out to "freedom", asks with mournful surprise: "and only that?"
Perhaps the only bright and optimistic thing in his work, which remains the most famous, is the children's fairy tale "The Frog Traveler".
Oddly enough, in the Indian legend, the plot of which Garshin borrowed for his fairy tale, the ending turns out to be more tragic.
Garshin's artistic powers, his ability to paint vividly and expressively, are very significant itelny.
He has written a little - about a dozen short stories, but they give him a place among the masters of Russian prose.
His best pages are at the same time full of poignant poetry and such deep realism that, for example, in psychiatry, "The Red Flower" is considered a clinical picture that corresponds to reality to the smallest detail.
What Garshin wrote is collected in three small "books".
The writer's life and creative path merged together and were in strict harmony (if this word is applicable to a serious illness).
Although Garshin himself considered writing his cross, sapping his mental strength and driving him crazy: "Whether what was written was good or bad, this is an extraneous question; but that I really wrote only with my unfortunate nerves and that every letter cost me a drop of blood, this, really, will not be an exaggeration."
Such a subjective view of one's misfortune, of course, cannot be taken literally, as well as the words of those who considered the cruelties and atrocities taking place in the world to be the culprit of the writer's state of mind.
An unfavorable social environment could only worsen the course of the disease, which was congenital, and proceeded according to its own endogenous mechanisms.
Garshin's health became more and more clouded, and at the beginning of 1880 serious signs of mental disorder appeared again.
At first, it was expressed in such manifestations that it was difficult to determine where the high structure of the soul, the "Nakedness of the nerves" ends, and where madness begins.
So, immediately after the appointment of Count Loris Melikov as the head of the supreme administrative commission, Garshin went to him late in the evening and not without difficulty obtained a meeting with him.
During the conversation, which lasted more than an hour, Garshin behaved "With a feverish frenzy", made very dangerous confessions and gave bold advice to pardon and forgive everyone.
Loris Melikov treated him extremely kindly, but despite this, he did not sign a single acquittal.
In response, Garshin threatened to scratch him with his nails, under which the vials with poison are hidden.
Such statements only partially allow us to understand what was happening in the writer's confused mind.
With projects of forgiveness, Garshin went to Moscow to the chief police officer Kozlov, then went to Tula and walked to Yasnaya Polyana to Leo Tolstoy with whom he spent the whole night in enthusiastic dreams about how to arrange the happiness of all mankind.
But then his mental disorder took such forms that his family had to place him in a Kharkiv psychiatric clinic.
After staying in it for some time, Garshin again came out of psychosis, maintaining a critical attitude to the painful experiences of the acute period.
After the second psychotic attack, the nature of affective disorders changes: manic states completely disappear, the anxiety component increases in depressions, but they occur less often and are no longer confined to a certain time of the year.
The fear of a new madness becomes dominant in the experiences, because the writer not only remembered in the smallest details the content of his psychosis, but also was afraid of the unbearable torments of being in a "sorrowful house".
The main methods of stopping excitement at that time were the setting of leeches and Spanish flies, as well as casting cold water on the crown.
In order to have a certain non literary income, Garshin entered the office of a paper factory, and then received a place in the general congress of Russian railways.
At the same time, he got married and felt, by his own admission, "more confident in life," although at times he continued to have periods of deep, gratuitous melancholy.
At the beginning of 1887, threatening symptoms appeared; the disease developed quickly: insomnia, delirium, feverish muttering of incomprehensible words suggest the presence of a depressive raptus with catatonic excitement.
On March 19, 1888, Garshin threw himself from the landing of the 4th floor into the opening of the stairs and died on March 24.
Before his death, he constantly repeated: "That's what I need."
A. P. Chekhov in the story "Seizure", inspired by the personality of Garshin, said "There are writing, stage, artistic talents, but he has a special talent - human.
He has a subtle, magnificent sense of pain in general."
N. N. Bazhenov admired Garshin's clinical descriptions in his "Psychiatric Conversations".
These two spiritual hypostases of the writer: compassion and observation, as well as the ability to merciless introspection, attract many generations of readers to the fate and work of Vsevolod Garshin, and for specialists in the field of mental illness they have, in addition to aesthetic and educational significance.
C. Lombroso was deeply mistaken when he thought that genius and insanity are interrelated, that, having fallen ill with a mental disorder, a person gets a ticket to Parnassus.
This essay is intended to refute this point of view and show that brilliant and talented people always create not because of illness, but in spite of it.
Genius is never equal to insanity, it always wins.
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