第62章 ANALYTIC OF AESTHETIC JUDGEMENT(29)

Whatever may be the merits of this definition, and whether it is merely arbitrary, or whether it is adequate or not to the concept usually associated with the word genius (a point which the following sections have to clear up), it may still be shown at the outset that, according to this acceptation of the word, fine arts must necessarily be regarded as arts of genius.

For every art presupposes rules which are laid down as the foundation which first enables a product, if it is to be called one of art, to be represented as possible.The concept of fine art, however, does not permit of the judgement upon the beauty of its product being derived from any rule that has a concept for its determining ground, and that depends, consequently, on a concept of the way in which the product is possible.Consequently fine art cannot of its own self excogitate the rule according to which it is to effectuate its product.But since, for all that, a product can never be called art unless there is a preceding rule, it follows that nature in the individual (and by virtue of the harmony of his faculties) must give the rule to art, i.e., fine art is only possible as a product of genius.

From this it may be seen that genius (1) is a talent for producing that for which no definite rule can be given, and not an aptitude in the way of cleverness for what can be learned according to some rule; and that consequently originality must be its primary property.(2) Since there may also be original nonsense, its products must at the same time be models, i.e., be exemplary; and, consequently, though not themselves derived from imitation, they must serve that purpose for others, i.e., as a standard or rule of estimating.(3) It cannot indicate scientifically how it brings about its product, but rather gives the rule as nature.Hence, where an author owes a product to his genius, he does not himself know how the ideas for it have entered into his head, nor has he it in his power to invent the like at pleasure, or methodically, and communicate the same to others in such precepts as would put them in a position to produce similar products.(Hence, presumably, our word Genie is derived from genius, as the peculiar guardian and guiding spirit given to a man at his birth, by the inspiration of which those original ideas were obtained.) (4) Nature prescribes the rule through genius not to science but to art, and this also only in so far as it is to be fine art.

SS 47.Elucidation and confirmation of the above explanation of genius.

Every one is agreed on the point of the complete opposition between genius and the spirit of imitation.Now since learning is nothing but imitation, the greatest ability, or aptness as a pupil (capacity), is still, as such, not equivalent to genius.Even though a man weaves his own thoughts or fancies, instead of merely taking in what others have thought, and even though he go so far as to bring fresh gains to art and science, this does not afford a valid reason for calling such a man of brains, and often great brains, a genius, in contradistinction to one who goes by the name of shallow-pate, because he can never do more than merely learn and follow a lead.For what is accomplished in this way is something that could have been learned.

Hence it all lies in the natural path of investigation and reflection according to rules, and so is not specifically distinguishable from what may be acquired as the result of industry backed up by imitation.So all that Newton bas set forth in his immortal work on the Principles of Natural Philosophy may well be learned, however great a mind it took to find it all out, but we cannot learn to write in a true poetic vein, no matter how complete all the precepts of the poetic art may be, or however excellent its models.The reason is that all the steps that Newton had to take from the first elements of geometry to his greatest and most profound discoveries were such as he could make intuitively evident and plain to follow, not only for himself but for every one else.On the other hand, no Homer or Wieland can show how his ideas, so rich at once in fancy and in thought, enter and assemble themselves in his brain, for the good reason that he does not himself know, and so cannot teach others.In matters of science, therefore, the greatest inventor differs only in degree from the most laborious imitator and apprentice, whereas he differs specifically from one endowed by nature for fine art.No disparagement, however, of those great men, to whom the human race is so deeply indebted, is involved in this comparison of them with those who on the score of their talent for fine art are the elect of nature.The talent for science is formed for the continued advances of greater perfection in knowledge, with all its dependent practical advantages, as also for imparting the same to others.Hence scientists can boast a ground of considerable superiority over those who merit the honour of being called geniuses, since genius reaches a point at which art must make a halt, as there is a limit imposed upon it which it cannot transcend.

This limit has in all probability been long since attained.In addition, such skill cannot be communicated, but requires to be bestowed directly from the hand of nature upon each individual, and so with him it dies, awaiting the day when nature once again endows another in the same way-one who needs no more than an example to set the talent of which he is conscious at work on similar lines.