Elaine, The classical statement of the influence of intoxication on creativity is in Horace's EPISTLES ("no poems can please long, nor live, which are written by water-drinkers"). By the time this trope reaches Rabelais, it has expanded in authority to include both Homer and Aeschylus. It is continuously voiced through the eighteenth century. In the Romantic period, in England and France, the figure splits (De Quincey and Gautier are the exceptions), and it announces that only artists who have been forsaken by the true, spiritual, inspiration, will turn to the false inspiration of alcohol and drugs (the "bastard Bacchus" of Coleridge and the artificial paradises of Baudelaire). In Germany, the figure is internalized and becomes the inspirational force of a new Dionysianism. Thereafter it becomes an opinion not to be tolerated by official culture, and its advocates (Symbolist poets, avant-garde artistis, be bop musicians, beat poets, and, of course, shamans of various aboriginal religions) become more and more marginalized. Marty Roth University of Minnesota