Analysis of the «creative fever»

The so-called “creative fever” is a phenomenon identical to mental dissociation. In order to penetrate the meaning of “creative fever”, we need to transcend the personal vision and open oneself to the scientific postulate.

The so-called “creative fever” is a phenomenon identical to mental dissociation. The difference with the pathology is in the result, that is a positive and gratifying creative conclusion, for oneself and the others.
Inspiration on the whole is a phenomenon that rules man’s will (the scientist, the artist, the religious person, the leader, etc.) The phenomenon is independent and when it has a “goal” on which to discharge its force, it doesn’t revolt against its own instrument (man); he can keep control of the action and indeed make it more effective through his intelligence.
Therefore, if we want to highlight the pathological aspect (illness) of the event, I think it’s fair to remember its subtle aspect as well.

In order to penetrate the meaning of “creative fever”, we need to transcend the personal vision and open oneself to the scientific postulate.
The “Creative fever” is a psychic phenomenon. The mind is the only “noble instrument” of man, not his hands, therefore it is the only means deserving complete respect. It is the only one where it is worthwhile a continuous study, in order to grasp its deep aspects and the endless links it has with the different “states, planes or levels of conscience”. In other words, the mind can be the bridge with the macrocosm inside us.

If the union between mind and conscience are the fulcrum both of the “being” and of the “human essence”, its “results” must be recognized only as subsequent and not primary phenomena. They are collateral aspects of the central entity called personality, be it common, scientific, artistic, religious personality, or any other kind “we have turned it into” through our thoughts.

The name “creative fever” is a metaphor that expresses a real phenomenon. It is an ancient and extraordinary one, that only extraordinary people can express. This “extraordinariness” makes it a mythicized aspect and not very visible, therefore not understood. It can be clarified through a thorough intellectual examination with a global confirmation, on the contrary of a debatable personal sensation.

The “creative fever” is the description of a mental status characterized by an energetic surplus.
It is an inner drive that forces to action whoever is possessed by it and it becomes a proper “categorical imperative”.
The energy produced by the “creative fever” (creative drive) is not comparable to the bland inspiration of fantasy or imagination.

Its “influence” distinguishes creativity from common inventiveness. These two words are often, unfortunately, mixed up by linguistic inaccuracy.
Inventiveness and imagination are the virtues of the thinker who manipulates ideas. The creative drive (fever), on the contrary, is the gift of the genius that conceives the absolutely original.
In a scientific environment we distinguish between the scientist who produces the idea and those who help perfecting it. In a religious sphere we distinguish the spiritual Guide that consecrates a path from the believer, even of high rank, who recites its principles. In an artistic field we distinguish the artist who creates new things from the craftsman, who manipulates the exterior aspects to reproduce a common model.

The man affected by the creative drive becomes its means. This means that in the creative moment the genius is the “instrument” of (his own) creative geniality.
The quality creative experience is connected to the subtle inspiration. The latter, depending on the mental force (the will) of man can be “exalting” or “depressing”.

In the first case, in a man are exalted (enlightened) the lower aspects of personality as well. On the contrary, in the second case the pain of the energetic over-pressure can become unbearable. So much to unbalance the emotional conscience that goes therefore towards self-destruction (annihilation).

We deduct that exaltation and depression depend on the “psychic resistance” of man «who must mediate between himself and the descending drive of the Idea that wants to express through him…»

Normally an advanced mind that is under strain is able to modify itself and assimilate the drive, making it its own (!) and being enriched by it.
To modify one’s own reactions means to go from the pain (depression) of the “creative crisis” to the enrichment, assimilating the energetic surplus (exaltation). The formula of illumination, which occurs through a usual procedure and not miracles, will be highlighted.
The descending drive of the Idea originates crisis-pain (the cause); through will-consciousness the means can turn it into assimilation-enrichment-exaltation that is resolved in the sublimation of oneself.

We must explain, now, the meaning of dissociation, which many people, goodness knows why, interpret in a negative sense. And yet going “up” means to deny (dissociate from) the bottom. Integrating with materialistic models (heavy or base metals) is considered a profane procedure, whilst to get rid of them (dis-integrating) is the wish of every apprentice-initiate.
This should explain the matter.
The “creative genius” dissociates from the common conscience to “make room” for the new idea that crops up. The new Idea is the closest mental image (reflex) to the archetype of that model. It is accessible to the man who is dissociated from the common conceptuality linked to physical sensations. This means that only by forgetting oneself, that is one’s prejudices (antecedent ideas) one can pick up or put up the reflection of an archetypical Idea.
When dealing with subtle subjects we must be very careful. For example we can’t play with the meaning of words. The value of the idea depends on the correctness of the word.
Now, at last but not least, an invitation. It is important not to mix up a “user” of pre-existing models, uses and ideas with the true “creative genius”; it is just as important not to mix him up with the obsessed man who proposes his own “little deliriums” in every field with the certainty of the revealed truth.
Let’s stop, otherwise we would open the “Pandora’s box” of humankind. The analysis would lead us on the chapter of credulousness and ignorance. We would go into the bad habits of Solons who, although knowing of not knowing, think they can understand and judge, hiding behind words they don’t understand.

Athos A. Altomonte