328. And first, as to the connection between genius and automatism, one may say that just as anger is a brief madness, so the flash of Genius is essentially a brief automatism.

Wordsworth's moments of inspiration, when, as he says, "Some lovely image in the song rose up Full-formed, like Venus rising from the sea," were in effect moments of automatic utterance; albeit of utterance held fast in immediate co-operation with the simultaneous workings of the supraliminal self. Such a sudden poetic creation, like the calculating boy's announcement of the product of two numbers, resembles the sudden rush of planchette or pencil, in haste to scrawl some long-wished-for word. Now extend this momentary automatism a little further. We come then to what is called the faculty of improvisation. How much is meant by this term? Is the extempore oration, "the unpremeditated lay," in truth a subliminal product? or have we to do merely with the rapid exercise of ordinary powers?

In the first place, it is clear that much of what is called improvisation is a matter of memory. The so-called secondary automatism which enables the pianist to play a known piece without conscious attention passes easily into improvisations which the player himself may genuinely accept as original; but which really consist of remembered fragments united by conventional links of connection. Thus also the orator, "thinking on his legs," trusts himself at first to the automatic repetition of a few stock phrases, but gradually finds that long periods flow unforeseen and unremembered from his tongue.

We thus get beyond the range of stereotyped synergies, of habituations of particular groups of nerve-centres to common action. There is some adaptability and invention; some new paths are traversed; adjustments are made for which no mere recurrence to old precedents will suffice.

The problem here resembles that well-known difficulty of explaining what goes on during the restoration or "substitution " of function after an injury to the brain. In that case, the brain-elements which remain uninjured slowly assume functions which they apparently never exercised before, - rearranging paths of cerebral communication in order to get the old efficiency out of the damaged and diminished brain-mate rial. This recovery is not rapid like an extemporisation, but gradual, like a healing or re-growth, and it therefore does not suggest an intelligent control so much as a physiological process, like the re-budding on a certain preordained pattern of the severed claw of a crab. Of course this restoration of brain-functions is inexplicable, as all growth is at present inexplicable. We may call it indeed with some reason the highest process of human growth. So viewed, it forms a kind of middle term between ordinary growth of bone or muscle, always on a predetermined plan, and that sudden creation of new cerebral connections or pathways which is implied in an inspiration of genius.

Such a juxtaposition need not weaken my claim that the inspirations of genius represent a co-operant stream of submerged mentation, fully as developed in its own way as the mentation of which we are conscious above the threshold. The nature and degree of subliminal faculty must of course be judged by its highest manifestations. And this analogy between the hidden operations of genius and of growth would rather support me in regarding organic growth also as controlled by something of intelligence or memory, which under fitting conditions - as in the hypnotic trance - may be induced to co-operate with the waking will.

329. The talent of improvisation, which suggested these analogies, will sometimes act much more persistently than in the case of the orator or the musician. There is reason to believe (both from internal style and from actual statements) that it plays a large part in imaginative literature even of the more commonplace kind. And in one instance at least the improvising diathesis, so to term it, has given birth to a mass of literature which formed for a generation one of the most potent emotional elements in European thought. One needs to know George Sand's life and writings well before one can venture to discriminate in her self-revelations between the ingeniously false and the naively, transparently true. My own belief is that, except in certain cases where she had an urgent motive for falsehood in self-defence, she is almost as veracious an introspective psychologist as Wordsworth himself. Various passages from her life-history, one or two of which represent I believe actual fact, are corroborated, or at least not contradicted, by the statements of other persons familiar with her methods of working.

If taken as accurate, they reveal an unusual vigour and fertility of literary outflow going on in an almost dream-like condition; a condition midway between the actual inventive dreams of R. L. Stevenson and the conscious labour of an ordinary man's composition. Or another parallel would be the day-dreaming habit; which, as is well known, has led in some morbid cases to a bewildering confusion between the actual and the imaginary life.

George Sand's career was not without moral faults; but they were the faults, not of a morbid, but of a prepotent organisation; and they belonged, moreover, almost wholly to her early life. Throughout long years of healthy maturity and age she formed a striking example of the combination of enormous imaginative productiveness with inward tranquillity and meditative calm. What George Sand felt in the act of composition was a continuous and effortless flow of ideas, sometimes with and sometimes without an apparent externalisation of the characters who spoke in her romances. Turning now to another author, as sane and almost as potent as George Sand herself, we find a phenomenon which would have suggested to us actual insanity if observed in a mind less robust and efficient. If the allusions to the apparent independence of Dickens's characters which are scattered through his letters be read with our related facts in view, it will no longer be thought that they are intended as a mystification. Mrs. Gamp, his greatest creation, spoke to him, he tells us (generally in church), as with an inward monitory voice.