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In the wake of its rejection by scientists, the theory [of miasma] inspired at least one great work of art: the opera Debussy made from Maeterlinck's play Pelleas et Melisande, a sort of Tristan und Isolde relocated in the world of miasma. It is right that Pelleas et Melisande, in which everyone avows feelings of weakness and being lost, and some are already ailing; with its old, decaying castle that lets in no light; where the ground is full of subterranean terrors and dank or watery depths into which one can fall - all the correlatives of miasma, minus the stench - seems, to us, supremely a portrait of psychological sickness, of neurosis. For precisely as the category of generic sickliness was phased out of nineteenth-century medical thinking by the new understanding of the extreme specificity of what causes illness, it migrated to the expanding domain of psychology. The physically sickly person became the neurasthenic or neurotic person. And the idea of an organically contaminated, objectively pathogenic environment reappeared in the notion of a psychologically contaminated ambiance that produced a disposition to mental illness.
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