Melancholy

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The notion that the melancholic temperament is a characteristic of the creative mind has its roots in a fragment ascribed to Aristotle, or, rather, to the Aristotelian school. Throughout the centuries, especially in the West, this notion acquired both positive and negative connotations and was explored by relating it to somatic causes, psychic inclinations, and spiritual choices, and as a reaction to certain natural or cultural environments. The variety of such ascriptions (explored in their astonishingly vast range in László Földényi’s Melancholy) is indicative of the notion’s lasting attraction. From Aristotle on (and probably long before), philosophers, artists, psychologists, and theologians have attempted to find in the almost indefinable state of melancholia the source of the creative impulse, and even perhaps that of thought itself. Every study of melancholia (notably Saturn and Melancholy by Raymond Klibansky, Erwin Panofsky, and Fritz Saxl, but also legions more) is, in some sense, a reflection on the intellectual act itself.

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