Extraordinary Popular Delusions and the Madness of Crowds is a history of popular folly by Scottish journalist Charles Mackay, first published in 1841. The book chronicles its subjects in three parts: "National Delusions", "Peculiar Follies", and "Philosophical Delusions". Despite its journalistic and rather sensational style, the book has gathered a body of academic support as a work of considerable importance in the history of social psychology and psychopathology.
The subjects of Mackay's debunking include economic bubbles, alchemy, crusades, witch-hunts, prophecies, fortune-telling, magnetisers (influence of imagination in curing disease), shape of hair and beard (influence of politics and religion on), murder through poisoning, haunted houses, popular follies of great cities, popular admiration of great thieves, duels, and relics. Present day writers on economics, such as Andrew Tobias and Michael Lewis, laud the three chapters on economic bubbles. Scientist and astronomer Carl Sagan mentioned the book in his own discussion about pseudoscience, popular delusions, and hoaxes.
Read more about Extraordinary Popular Delusions And The Madness Of Crowds: Influence and Modern Responses, Quotes
Famous quotes containing the words popular, delusions, madness and/or crowds:
“If they have a popular thought they have to go into a darkened room and lie down until it passes.”
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“Some are able and humane men and some are low-grade individuals with the morals of a goat, the artistic integrity of a slot machine, and the manners of a floorwalker with delusions of grandeur.”
—Raymond Chandler (1888–1959)
“He repelled, a short tale to make,
Fell into a sadness, then into a fast,
Thence to a watch, thence into a weakness,
Thence to a lightness, and by this declension,
Into the madness wherein now he raves.”
—William Shakespeare (1564–1616)
“Fine art is the subtlest, the most seductive, the most effective instrument of moral propaganda in the world, excepting only the example of personal conduct; and I waive even this exception in favor of the art of the stage, because it works by exhibiting examples of personal conduct made intelligible and moving to crowds of unobservant unreflecting people to whom real life means nothing.”
—George Bernard Shaw (1856–1950)