This group of French writers in the 1800s proved what cannabis can do— expand literary and creative brainpower.

500px-Victor_Hugo_by_Charles_Hugo,_c1850-55.jpg — *Victor Hugo*

Writer, author of *Les Misérables*, *The Hunchback of Notre-Dame, and* Cannabis User

In the 1840s, Charles Baudelaire, Victor Hugo, Alexandre Dumas, Victor Eugène Delacroix and Honoré de Balzac formed the Club des Hashischins to conduct monthly séances at the Hôtel de Lauzun in Paris and experiment with drugs. Soon after, Baudelaire wrote Les Paradis Artificiels (Artificial Paradises), his 1860 musings on hashish, a drug he referred to as “the playground of the seraphim” and “a little green sweetmeat.” What he describes are the phases of intoxication, and we can still find truth in connecting cannabis and creativity through his writing. (see Excerpt)

Sliding Doors

Charles Baudelaire got baked and wrote poetry and essays. Alexandre Dumas loved marijuana and wrote The Count of Monte Cristo and The Three Musketeers, Victor Eugène Delacroix dabbed and lead the French Romantic school of art. Victor Hugo hit it hard and wrote Les Misérables and The Hunchback of Notre-Dame. They all created masterpieces that many consider required reading to this day. But what if they didn’t smoke? Would their literary output read the same?

Simply put, cannabis provided a creative boost, a shift in perspective, for these writers. They tapped into the mind’s madness, surreal plot twists and unexpected joys in life. They were able to play and free themselves of societal norms to create themes of revenge, friendship (with men AND gargoyles) and love. Yes, it can change the direction of an artist’s work, lower inhibitions, so the artist can freely express without judgment, but it unlocks what is already inside.

So, smoke. Get a lot of ideas. Immerse yourself in your own universe. Write everything down. Sober up. Drink caffeine and get motivated, get in gear and become a disciplined storyteller like the members of Club des Hashischins. (Oh, and maybe edit high.)

***Alexandre Dumas***

Writer, Novelist, Author of *The Three Musketeers,* and Cannabis User

From Les Paradis Artificiels

Generally speaking, there are three phases in hashish intoxication, easy enough to distinguish … Most novices, on their first initiation, complain of the slowness of the effects: they wait for them with a puerile impatience, and, the drug not acting quickly enough for their liking, they bluster long rigmaroles of incredulity, which are amusing enough for the old hands who know how hashish acts. The first attacks, like the symptoms of a storm which has held off for a long while, appear and multiply themselves in the bosom of this very incredulity. At first it is a certain hilarity, absurdly irresistible, which possesses you. These accesses of gaiety, without due cause, of which you are almost ashamed, frequently occur and divide the intervals of stupor, during which you seek in vain to pull yourself together. The simplest words, the most trivial ideas, take on a new and strange physiognomy. You are surprised at yourself for having up to now found them so simple. Incongruous likenesses and correspondences, impossible to foresee, interminable puns, comic sketches, spout eternally from your brain. The demon has encompassed you; it is useless to kick against the pricks of this hilarity, as painful as tickling is! From time to time you laugh to yourself at your stupidity and your madness, and your comrades, if you are with others, laugh also, both at your state and their own; but as they laugh without malice, so you are without resentment.

This gaiety, turn by turn idle or acute, this uneasiness in joy, this insecurity, this indecision, last, as a rule, but a very short time. Soon the meanings of ideas become so vague, the conducting thread which binds your conceptions together becomes so tenuous, that none but your accomplices can understand you. And, again, on this subject and from this point of view, no means of verifying it! Perhaps they only think that they understand you, and the illusion is reciprocal

Honoré_de_Balzac_(1799-1850).jpg — ***Honoré*** de ***Balzac***

Writer, Author of *The Human Comedy,* and cannabis user

After this first phase of childish gaiety there is, as it were, a momentary relaxation; but new events soon announce themselves by a sensation of cool at the extremities—which may even become, in the case of certain persons, a bitter cold—and a great weakness in all the limbs. You have then “butter fingers”; and in your head, in all your being, you feel an embarrassing stupor and stupefaction. Your eyes start from your head; it is as if they were drawn in every direction by implacable ecstasy. Your face is deluged with paleness; the lips draw themselves in, sucked into the mouth with that movement of breathlessness which characterizes the ambition of a man who is the prey of his own great schemes, oppressed by enormous thoughts, or taking a long breath preparatory to a spring. The throat closes itself, so to say; the palate is dried up by a thirst which it would be infinitely sweet to satisfy, if the delights of laziness were not still more agreeable, and in opposition to the least disturbance of the body. Deep but hoarse sighs escape from your breast, as if the old bottle, your body, could not bear the passionate activity of the new wine, your new soul. From one time to another a spasm transfixes you and makes you quiver, like those muscular discharges which at the end of a day’s work or on a stormy night precede definitive slumber

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It is, in fact, at this period of the intoxication that is manifested a new delicacy, a superior sharpness in each of the senses: smell, sight, hearing, touch join equally in this onward march; the eyes behold the Infinite; the ear perceives almost inaudible sounds in the midst of the most tremendous tumult. It is then that the hallucinations begin; external objects take on wholly and successively most strange appearances; they are deformed and transformed. Then—the ambiguities, the misunderstandings, and the transpositions of ideas! Sounds cloak themselves with colour; colours blossom into music. That, you will say, is nothing but natural. Every poetic brain in its healthy, normal state, readily conceives these analogies. But I have already warned the reader that there is nothing of the positively supernatural in hashish intoxication; only those analogies possess an unaccustomed liveliness; they penetrate and they envelop; they overwhelm the mind with their masterfulness. Musical notes become numbers; and if your mind is gifted with some mathematical aptitude, the harmony to which you listen, while keeping its voluptuous and sensual character, transforms itself into a vast rhythmical operation, where numbers beget numbers, and whose phases and generation follow with an inexplicable ease and an agility which equals that of the person playing … Suppose, again, you are seated smoking; your attention will rest a little too long upon the bluish clouds which breathe forth from your pipe; the idea of a slow, continuous, eternal evaporation will possess itself of your spirit, and you will soon apply this idea to your own thoughts, to your own apparatus of thought. By a singular ambiguity, by a species of transposition or intellectual barter, you feel yourself evaporating, and you will attribute to your pipe, in which you feel yourself crouched and pressed down like the tobacco, the strange faculty of smoking you!

***Charles Baudelaire***

Poet, Author of *The Flowers of Evil,* and Cannabis User.

For a lucid interval, seized with a great effort, has allowed you to look at the clock. But another current of ideas bears you away; it will roll you away for yet another minute in its living whirlwind, and this other minute will be an eternity.

Hashish often brings about a voracious hunger, nearly always an excessive thirst … Such a state would not be supportable if it lasted too long, and if it did not soon give place to another phase of intoxication, which in the case above cited interprets itself by splendid visions, tenderly terrifying, and at the same time full of consolations. This new state is what the Easterns call Kaif. It is no longer the whirlwind or the tempest; it is a calm and motionless bliss, a glorious resignèdness. Since long you have not been your own master, but you trouble yourself no longer about that. Pain and the sense of time have disappeared; or if sometimes they dare to show their heads, it is only as transfigured by the master feeling, and they are then, as compared with their ordinary form, what poetic melancholy is to prosaic grief.

You are scarcely on your feet when a forgotten fragment of intoxication follows you and pulls you back; it is the badge of your recent slavery. Your enfeebled legs only conduct you with caution, and you fear at every moment to break yourself, as if you were made of porcelain. A wondrous languor—there are those who pretend that it does not lack charm—possesses itself of your spirit, and spreads itself across your faculties as a fog spreads itself in a meadow. There, then, you are, for some hours yet, incapable of work, of action, and of energy. It is the punishment of an impious prodigality in which you have squandered your nervous force. You have dispersed your personality to the four winds of heaven—and now, what trouble to gather it up again and concentrate it! —translated from French by Aleister Crowley, 1895