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First of all, an artist in his most intimatethe creative sector is intellectualized feelings and receiveand their pleasure. It is through the feelings of peace pervades him; he issensitive to the world and all walks of beauty. As Leon said Blois,"the overriding ability of the artist's Imagination, by its very naturepassionately anarchic" ****. And did the poet is both a madmanseized by an irrational impulse, and craftsman, in the most sophisticated mannerpranali your musical mind? But how then can you expect fromartist stable equilibrium and that constant attention to the rulesmind, which apparently needs a morally perfect life? Secondly, since we are talking about writers, they need comprehensionthe depths of evil as the depths of goodness in a human being, and thereabstract and theoretical ways of knowing, what arethe disposal of the authors of the treatises on moral theology, but there is onlythe path of experience, and in particular the existence. Would they not be therebyalso have to be real writers - to take his assistantthe devil, at least part-time, and to pass, thus, experienced the science of evilwhich is the prerogative of sin? Thirdly, and here we come to the problem even more diabolical,the novelist or the playwright knows his characters through the kind of knowledgewhich is called knowledge of the tendency, or the affinity- with thosethe passions, inclinations, or instincts which he shares with hischaracters, even if he hates them that heartfelt hatredthanks to which your enemy know yourself. In other words,the characters of the novelist is this possible aspect of him, the deployment of itstheir own capabilities, which is why he is able to anticipate the actions of theirheroes. Now, is there a way to join this knowledge -especially engaging with them in such close contact, which is expectedcreativity - without having to log in complicity and collusion with theseimaginary creatures, and without having to experience the echoes of theirvices and infernal?
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