‘No great mind has ever existed without a touch of madness.’ – Aristotle

Preface

This is not an autopsy in the traditional sense. No scalpels or specimen jars will be involved. Instead, it is an autopsy of the mind – a retrospective exploration of the inner world of the great classical composer, Ludwig van Beethoven.

Beethoven was considered a genius for revolutionising Western classical music with his emotionally powerful, structurally innovative, and highly complex compositions. He broke from convention, pioneered new musical forms, and continued to create masterpieces even after becoming completely deaf.

Drawing upon insights from genetics, neuroscience, psychiatry, and anthropology, alongside the testimonies of Beethoven’s peers, we will piece together an understanding of how genius, creativity and mental affliction may be intertwined. Was Beethoven’s genius a product of madness, a triumph over it, or something different altogether?

The Subject

Name: Ludwig van Beethoven

Occupation: Composer

Age at Death: 56

Reason for Autopsy: To investigate the elusive connection between creativity, mental disorder, and the mysterious concept of genius

I. The Witnesses: Testimonies from the Living

To those that knew him, Beethoven was a paradox. One friend called him “half crazy”, noting violent outbursts, erratic moods and obsessive tendencies (1). Others saw him as “merry, mischievous, full of witticisms and jokes” (2). His talent and creative genius, however, were never in doubt. The poet Goethe, who met him in 1812, wrote: “Beethoven’s talent amazed me. However, he is an utterly untamed personality” (3). Based on Beethoven’s letters and accounts from friends, modern psychiatrists suspect that he may have lived with bipolar disorder (4). Yet, there is no way to be sure. Like the mind itself, Beethoven resists full understanding – a genius shaped by forces we may never fully comprehend.

II. The Geneticist

How can DNA offer insight into Beethoven’s genius? Often described as the blueprint of life, DNA offers fascinating insights into human potential – highlighting our predispositions, vulnerabilities, and even talents. However, it only tells part of the story. In 2023, an international team of scientists sequenced the DNA of five authenticated locks of Beethoven’s hair (5). Not long after, another group of researchers used this data to calculate a polygenic score estimating his genetic predisposition for beat synchronisation, a trait believed to be linked to musicality (6). Polygenic scores add up the small effects of many different genes to estimate someone’s likelihood of expressing a complex trait – like musical ability. Because these traits are influenced by many different genes working together, polygenic scores can be a helpful tool in exploring their biological basis. Curiously, Beethoven’s polygenic score for beat synchronisation was surprisingly low, implying that he wasn’t predisposed to have a strong sense of rhythm.

Does this mean that Beethoven defied his own biology? Not necessarily. Polygenic scores have significant limitations. They don’t account for environmental influences – like the years of rigorous musical training that Beethoven underwent – or complex gene-gene and gene-environment interactions. Additionally, these scores are based on modern genetic datasets, so applying them to someone from the 18th century can reduce the reliability of the interpretation.

That said, the story becomes even more fascinating when we consider research linking polygenic risk scores for psychiatric conditions – such as bipolar disorder and schizophrenia – to creativity. One large study found that people with a higher genetic risk for these conditions were overrepresented in artistic and creative jobs, although the association was small (7). This doesn’t mean that mental illness causes creativity, or that all creative people have a mental disorder, but it hints at a complex biological overlap.

III. The Psychiatrist

How does one make a psychiatric diagnosis from the grave? It is an impossible task, and an imprecise science, but we can draw inferences from historical accounts of a person’s behaviour.

Beethoven seemed to exhibit behaviours consistent with bipolar disorder, a mental health condition characterised by extreme mood swings that include emotional highs (mania or hypomania) and lows (depression). Letters written by Beethoven himself, along with observations from friends, may provide some insight. He was notably “prone to outbursts of anger, baseless suspicions, quarrels and reconciliations, fruitless infatuations, physical ills, changes of residences…and the hiring and firing of servants" (1). One friend remarked that ‘he composes, or was unable to compose, according to the moods of happiness, vexation or sorrow’, suggesting that his creative output fluctuated with his shifting emotional state (1).

Individuals with bipolar disorder experience manic or hypomanic episodes marked by elevated mood, increased energy, rapid thought processes, reduced inhibition, and heightened confidence (8). These episodes may enhance creative thinking by promoting divergent thinking – the ability to generate novel ideas or unusual associations (9). Research shows that the medial prefrontal cortex, a brain region active during divergent thinking, is typically engaged during manic states (10). While it would be inappropriate to assign a clinical diagnosis based solely on anecdotal evidence, it is possible to speculate that Beethoven’s prolific composing periods might have corresponded to manic or hypomanic episodes.

But how can we distinguish a clinical mood disorder from mere bursts of creative inspiration or genius? The U-shaped curve hypothesis offers one explanation, proposing that the relationship between ‘madness’ and genius is not linear (11). Mild to moderate expressions of bipolar disorder may actually enhance creativity by promoting divergent thinking, whereas severe illness can be debilitating and reduce creative output. This raises the possibility that Beethoven experienced a less severe form of bipolar disorder – one that fueled rather than hindered his musical brilliance.

Building on this, psychological research also suggests that people in creative occupations tend to score higher on measures of ‘openness to experience’ (12). This personality trait describes the extent to which a person is curious, imaginative, and receptive to new ideas or unconventional beliefs. Studies have suggested that openness to experience is elevated among individuals with bipolar disorder compared to controls with no mood disorder (13,14). It is possible that Beethoven’s creative genius was influenced, at least in part, by the interplay between his personality and traits associated with bipolar. However, it is important to acknowledge the very real challenges of living with mental illness and to avoid romanticising the condition as a source of artistic inspiration.

 IV. The Anthropologist

Cultural narratives - like the ‘mad genius’ and ‘tortured artist’ tropes - have long romanticised and distorted the relationship between mental illness and creative brilliance. However, contemporary understandings of mental health increasingly challenge the idea that extraordinary creativity requires psychological suffering.

Beethoven’s life was marked by adversity. His father, believed by some to be abusive, enforced a strict practice regime for his music lessons and struggled with alcoholism – an affliction that would later cast a shadow over Beethoven’s own life. During Beethoven’s mid-twenties, he began to lose his hearing, becoming completely deaf by around 44. Yet, he continued to compose innovative symphonies, relying only on the music in his mind.

Did Beethoven’s suffering fuel his brilliance? While some studies suggest a link between bipolar disorder and heightened creativity, it would be a mistake to suggest that mental illness is a prerequisite for genius. Many highly creative individuals have no history of mental illness at all. So why, then, does the ‘mad genius’ stereotype continue to endure?

During Beethoven’s era – the Romantic period – suffering was often glorified as a source of artistic inspiration. Mental illness was poorly understood, and the emotional extremes exhibited by artists with mood disorders were frequently mistaken for signs of genius. Emotional intensity and instability were often seen as sources of inspiration for genius works of art. It wasn’t until the 20th century that bipolar was formally recognised as a mental illness.

It is hard to say, based solely only on historical records, whether Beethoven experienced a mental health condition, or was simply an emotionally intense and unconventional individual. What we define as ‘normal’ or ‘abnormal’ behaviour is complex and deeply influenced by the social and cultural norms of the time.

V. The Final Verdict

So, what can we conclude from this evidence? Was Beethoven a genius because of his madness? Or in spite of it?

Perhaps these are the wrong questions. Such binaries oversimply a reality that is far more nuanced. They invite us to reconsider our definitions of ‘normality’, ‘illness’ and ‘genius’.

It is important to acknowledge the very real and devastating challenges associated with mental illness. Yet, it’s also true that some traits associated with conditions like bipolar disorder – such as divergent thinking – may intersect with creativity in complex ways. Rather than viewing these conditions purely as deficits, we might ask: could some features of mental disorder be better understood as extreme expressions of the broader, messier spectrum of human cognition and emotion?

In the end, Beethoven remains an enigma – not because he was ‘mad’, but because he was unknowable and defied neat categorisation. Perhaps that is what genius truly is: not a clinical condition, or a byproduct of suffering, but a mystery that transcends explanation. 

References

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