UNIVERSAL-PERSONALIST theory of genius

5. UNIVERSAL AND PERSONALIST theory of genius asserts that a genius has a universal gift to capture, experience and embody the spirit of Universum and Eternity in his work, to warm and transmit to other people absolute ideas and ultimate universal meanings. At the same time, in this theory, a genius appears as a living, distinctive personality, with the courage to do what brings her true and unique joy.
The essential characteristic and indispensable condition of genius is the ability to acquire supersensitivity to the influence of information and semantic fields, to achieve, maintain and embody the creative state of consciousness in one’s vital activity. Universally - personalistic theory asserts that the basis for genius is the ability for a creative vision of the world, the ability to combine its original vision with the vision of reality Sub specie Absolute (from the point of view of the Absolute), the ability to see the world with new eyes and transfer this new vision to other people.
Universality. The original aspiration of a genius to the Universal, Eternal, and Ultimate Higher is expressed in such essential characteristic as universality. This quality is one of the essential attributes of the Absolute, which appears as a concentrated and collapsed into a multidimensional center of Universum. In this sense, universality is understood as the ultimate essential dimension of genius, and the genius itself as a substantialized and personified Absolute.
In contrast to universality, mainly aimed at achieving harmony with the Whole, with the fullness and diversity of the Universe, universality corresponds to the grasping and expression of its extremely concentrated meaning.
So E. Garen wrote about Leonardo : “His universality is first of all the breadth of his outlook, which was such that his interests and work knew no bounds and extended to any area of ​​human activity, any sphere of reality ... But universality can be understood differently, emphasizing not the value of encyclopedic, but the most important thing, which is intended to preserve the eternal meaning.
In the second case, - wrote N.V. Goncharenko "the depth of comprehension is important, then a new word, even if it is the only thing that he said to people." In this case, one should rather speak about universality, which is understood as an expression not only of universal harmony and the hidden order of the Universe, but also of its absolute, extremely condensed, eternal and timeless meaning.
It is the desire to uncover the first ideas, the first principles and the ultimate foundations of being is understood as a qualitatively unique concept of “universality”, which correlates with universality, as a center with a circle. The dialectic of the transition of universality to universality was well expressed by Otto Weiniger, who believed that a man of genius should be called a person who lives in a conscious connection with the world as a whole, and at the same time a person in whom something truly divine is expressed. “Man is universal, he contains everything in himself,” wrote Weininger, he is everything, and therefore can no longer be part of everything, that part which depends on other parts. The regularity, this basic principle of all natural phenomena, does not extend to it, since it itself constitutes the essence of all laws, and therefore it is free, as a world whole, which is not conditioned by anything and cannot depend on anything ”.
In science, universality is manifested as the desire to find unity, fundamental and all-generating primary principles, to understand the essence of the universe, to reveal universal laws, to create a "theory of everything."
Transcendental meanings and universal structures of the cosmos consciously or intuitively envisioned by genius give rise to the integrative field of socio-cultural meanings that are projected into phenomenal worlds in the form of general cultural ideals, great world ideas, masterpieces, great discoveries and accomplishments.
Pythagoras, Plato, Leonardo da Vinci , Michelangelo , JS Bach, G. Leibniz, B. Spinoza, I. Kant were the geniuses whose vital activity was a breakthrough to the Absolute, the Universe and Eternity and their reflection and embodiment in their work. , Hegel, R. Descartes, I. V. Goethe , F.M. Dostoevsky , N. Roerich, A. Einstein, W. Whitman, Vl. Solov'ev, P. Florensky, Teyyar de Chardin, V. Vernadsky, and almost all the geniuses who consciously or intuitively embodied the ultimate meanings in their work, which made their works brilliant.
The decisive influence of various higher powers on the formation and creativity of genius was recognized by many theories, which differed from each other in the localization, categorization, understanding and mechanism of action of these forces.
“Sometimes,” wrote G. Joly, “even the great man himself, looking at the horizons that his own idea opens before him, is thrown into amazement and admiration before her and believes that she has descended to him from above, from some kind of invisible , supreme power. ”
At the same time, the attribution of a demonic, chaotic and irrational nature to external forces is the basis of an independent mystical theory of genius. Unlike it, the universal theory, endows these forces with the highest positive content, and also implies the preservation or generation of a conscious and controlling self.

1. Creativity as the embodiment of the Absolute
Genius in the universal theory appears as the embodiment of the Absolute and all its possible manifestations: Atman, Tao, Logos, the World of Ideas and Good (Plato), Forms of Forms and Pervomotor (Aristotle), the One (Plato, Proclus), "Absolute Spirit" (Hegel) .

1. Divine creativity.
In a number of concepts, genius was viewed in the context of religious creativity, and the genius was understood as a spokesman for the will and messages of God. At the same time, the basis of his creativity was unity with God “The Atman is Brahman” (Hindu Vedanta), dissolution in Tao and following its laws (Taoism), as well as assimilation to God and the continuation of his creation (N. Berdyaev).
For Pythagoras, - wrote E. Shure, - the apotheosis of man is manifested not in immersion in a state of unconsciousness, but in the form of creative activity in the divine consciousness. “All the mighty founders of religions,” continued the author, penetrating, even for a moment, into the radiance of the central truth; but the light that they extracted from it was refracted and colored according to their genius and according to the times and countries in which their mission was carried out. ”
F. Schelling, for whom the genius appeared as a personified creative evolution, noted: "... the eternal concept of man in God as the immediate cause of his work is what is called genius, it is like a genius living in a divine man." At the same time, as TP wrote. Grigorieva: "The vision of the One, the property of the true mind, rooted in Being, is inherent in everyone, regardless of whether it is in the East or in the West." So Suzuki wrote about the relationship between genius and the Absolute: "Zen actually expressed this thought in the following words:" One in Everything, and Everything in One. " When this is understood to the end, a creative genius is born. ”
Romance F. Schlegel and Novalis believed that the artist creates his own reality as God created the world. According to Novalis: “The feeling of poetry in close relationship with a sense of prophetic and with a religious sense of providence in general. The poet orders, binds, chooses, invents, and it is incomprehensible for him why this is so and not otherwise. ” I. V. Goethe understood the creative work of genius as: “from within is a developing revelation that gives a person a premonition of his godlike nature. It is a synthesis of the world and spirit, giving the most blissful confidence in the eternal harmony of being. "
S. Frank, emphasizing to a greater extent the process of co-creation of man with God, wrote: “Essentially, however, every reality, every spiritual power (since it operates through the center of the human personality and therefore translates into creative human freedom) comes from that focus and primary source the reality that we call God "
N. A. Berdyaev also wrote about the religious nature of creativity: “Man is not himself the cause of his gift and his genius. He received it from God ... Therefore, the genius feels that he is acting as if not himself, that he is possessed by God, that he is an instrument of God's accomplishments and missions. ”
Not only philosophers and theorists of art, but also the creators themselves, wrote about the deep, essential connection between the divine powers and the works of art. Michelangelo believed that: "A good picture comes closer to God and merges with him." He wrote: “If my heavy hammer imparts one kind or another to hard rocks, it is set in motion by the hand that holds it, guides and directs it: it acts under the pressure of extraneous force”.
V. Hugo talked about his work: “God dictated, and I wrote.” I. Garin believed that Dante, who confessed: “and now I say that my tongue spoke as if prompted by itself,” was a clear supporter of the concept of the poet-messenger, the poet-mouth of God. William Blake, who considered eternity the author of his works, recalled “I wrote this poem under direct dictation, recording twelve, twenty, or thirty lines at a time, without first thinking and even against my will.”
At the same time, the experience of inexhaustibility, infinity and immanent meaningfulness of the universe may not be associated with an understanding of the divine in any particular denomination, but manifest itself in the experience of the existence of a higher hidden order, universal love and harmony. So in one of his letters, Van Gogh wrote: “But I love, but how could I feel love, if I had not lived and had not lived others; and since we live, it is a miracle in itself. Call it god, or human nature, or whatever you want, but there is something that I can neither determine nor put into the system, although it is something that is extremely vital and real; it is my god or whatever God is. ”

2. Manifestation of ultimate categories and primary essences.
In a number of concepts, the place of the divine is occupied by the ultimate entities, and the genius itself is understood as the ability to dissolve, identify, personify and embody Genesis and Nothing in its work.
BEING. M. Heidegger wrote that: "Being is a transcendence in the direct and primary sense." And at the same time: “The essence of life is about its existence”. Considering the process of creativity, he focused on being, rather than on a subjective creative act, and called for overcoming a focus on the personality of the creator and genius. A genius is more likely a medium than a creator, he must sign his creations not “Fecit!” (Created), but Factum est! (Created). or Owing to his creativity, the “uncoveredness of being” or the truth of being, which reveals and broadcasts itself by means of genius, is being accomplished. It is thanks to the word of genius that we hear the voice of the foundation of the world. With the help of art and language, being becomes able to inform about itself, to reveal its essence. Producing "takes" from non-manifestation to manifestation, from non-existent to presence, from secret to non-indulgence. “In a work of art, the truth of being is effectively produced”
At the same time, Being or primary reality can be understood as “Will” (Schopenhauer), “Will to power” (Nietzsche), as “Life” which is a holistic process of continuous creative formation and development (Simmel, Dilthey).
NOTHING. The basis of genius can be embodied in the works of the main essential characteristics and qualitative contents of such primeval essence as Nothing.
Lao Tzu, Chuang Tzu and Nagarjuna argued that the great emptiness, the non-existence of forms is the only reality, and the sage, following its laws, empties and opens his mind, maintains the state of emptiness in his heart-consciousness. J. Kawabata believed that Nothing: “this is the universe of the soul, emptiness, where all things acquire the self, where there are no barriers, restrictions, where there is free communication of everything with everything”. According to Suzuki, “Emptiness is formless, but the basis of everything. Having made non-being a being is the act of creativity. ” At the same time, according to Keiji Nisitani, Nothing - carries the powerful potential of denial, the decisive “no” that it tells the world. At the same time, the author identifies the philosophical systems of F. Nietzsche, M. Stirner and M. Heidegger, describing them as “creative nihilism”, as they managed to find a basis for overcoming the nihilism of despair and for creativity at a new stage.
Negativism is reasonable as a method, says Suzuki, but the highest truth is in the statement. Zen denies any authority, the concept of "sacred", which is the statement "something highly positive."
Emptiness as a free and open reality, gives things openness and fluidity, so great people are distinguished by their spontaneity, naturalness and sincerity. “When we can calm and calm the mind, we feel a new creation is arising within us,” said Sri Chanma.
Such philosophers as Plotinus, Philo of Alexandria, Gregory of Nyssa, Meister Eckhard, whose work was determined by primordial essence, more likely manifesting as Nothing, understood this ultimate category as “super-existent”, as “the One, which is not just the absence of being, but the possibility being. " Nothing in them appears as a treasury, a storehouse of being, a space of abundance containing new possibilities. “I hope to find everything in your nothing,” wrote I. V. Goethe .

Awareness of “personal nothingness,” as imperfections and incompleteness of one’s experience, as knowledge of one’s own ignorance and, at the same time, a powerful driving force of knowledge and development, was characteristic of philosophers like Socrates, who had enough self-irony to say: “I know that nothing I know, "as N. Kauzansky, who spoke of" docta ignorantia "(scientific ignorance) and Kabir, who wrote:" Knowledge that goes beyond the limits of knowledge is my knowledge. "
Nothingness, as the first essence, makes possible transcendence, and therefore freedom, representing the condition and the very nature of creativity (N. Berdyaev, M. Heidegger, J.P. Sartre). “This region, the region of nothing, the region of silence and silence is the source,” wrote Zh.P. Sartre. “If there is neither sense, nor values, nor a source of support or help, then a person as a creator must invent, invoke meanings and values, support and help from nothing. He is a wizard. ”
A genius is determined by freedom, new possibilities, mystery and chance, and his work appears as an organization of emptiness and chaos and placing them within the framework of the creatiological semantic context. A genius is always, at any moment more than himself, he is understood as the ultimate opportunity, as a source of new potencies, properties and qualities that he himself cannot guess. The dialectic and dynamics of its continuous creative growth are expressed in the following statements: “A man never coincides with himself ... The true life of an individual is accomplished as if at the point of this discrepancy with himself, at the point of going beyond” (MM Bakhtin), “ Man is greater, higher and deeper than his being. He truly finds himself when he goes beyond himself ”(SL Rubinstein).

3. Creativity of nature and the cosmos.
Universum in the philosophy of I. Kant appears as nature, and the genius as the "favorite of nature." "Genius, in his opinion, is a natural property of the soul, through which nature gives rules to art." In this regard, the first property: the genius must be originality. In addition: "At the same time, his products should also be models, that is, exemplary, that means ... they should set an example for imitation of others." And .g. Herder believed that genius is “a collection of natural forces, and KF Moritz argued that the genius of the artist plastically sculpts being like God or nature. Charles Bate wrote that the unified principle of true art and the creation of brilliant masterpieces consists in imitating the beautiful nature, while Francesco Pagano believed that art is a combination of beauty in one place.
“It remains for the artist to trust his own eye,” Rodin wrote. When we contemplate without effort, he sees the method, and we just trust him. “I am obedient to nature in everything and never wish to order it. My only desire is to be her slavishly submissive. ”
Nikolai and Helena Roerich in the Living Ethics asserted that man is not only a part of the cosmos, but also carries it in his inner world, being at the same time "the most powerful master of cosmic forces" and the works of Cosmos. Man is "a part of cosmic energy, a part of the elements, a part of the Cosmic mind, a part of the consciousness of higher matter," and "... in every creature the participation of the energies of man as the carrier of the highest principles of Cosmos is necessary."
In science, the universality of genius is manifested in a passionate desire to uncover the laws and secrets of nature, in the selfless search for central truth, in the knowledge of Logos and the first law, in the discovery of fundamental first principles and a few simple formulas describing all the wealth of the Universe, its past, present and future.

2. Personification of higher powers is understood as a living representation, the embodiment of manifestations of the creative Absolute in the soul of a genius, in its true creative self.
The ultimate meanings, the Universe and Eternity manifest and realize themselves with the help of genius, highlighting, through his creativity, fresh facets of reality, new objects and values, bringing new layers of being out of the ocean of possibilities.

1. Creativity of the spirit.
Hegel wrote that a genius is obliged to induce a goal not to the world surrounding him, but to the inner spirit "which is still underground and knocks on the outside world like a shell." “In genius,” wrote N. Berdyaev, “the whole nature of the human spirit, its thirst for another being, trembles.” A man must dare and by the courage of the will to attain the gifts of the Spirit. "When the Spirit lives in it, then humanly arrogant and vain questions about the size of the gift will fall away."
The flame of genius, - wrote E. Blavatsky, - is ignited not by an anthropomorphic hand, but only by its own spirit. S. Frank, arguing the democratic nature of creativity, wrote: “Every person is in a small measure or in potential form a creator. We have already indicated that wherever the goal of an activity is born from the depths of the human spirit, there is creativity. ” In this understanding, each person, just because he is a person, can become a genius, since "Spirit lives where it wants" (Spiritus flat ubi vult) or where its time has come.

2. The creative higher
self . “An outstanding, brilliant man,” wrote Otto Weiniger, is one in which the timeless “I” finally established his domination ...
He creates from his “I” as a whole, including the whole universe, he creates knowledge that is not composed of separate parts. Only therefore all this is not a function of time, but represents the expression of a great, eternal thought. Therefore, every thing is full of deep meaning for him. It has a definite meaning for him, he always sees a symbol in it. ”
J. Frezer, believed that a great man is a sacred person who is “the dynamic center of the universe, from which the lines of force diverge in all directions, so that all his movement, turning his head, raising his hand, etc. immediately have a serious impact on nature. "

3. Unconscious: collective and spiritual unconscious.
N. Hartman, believed that the process of creativity is - “the life-giving breath of the unconscious”. K. Jung as a creative, powerful, external to the genius of force, determining his work, singled out the collective unconscious. which is localized both in internal inborn structures, and in the external phenomenal worlds and mainly in the world of culture. It helps the creation magically embodied in the lines, while the author only spelled the artistic flesh. “These works,” writes K. Jung, “obviously seized the author; he is led by his hand, and the pen writes something which he looks at with undisguised surprise. ”
V. Frankl, putting the meaning of life and the spiritual unconscious as the basis for lgotherapy or peak psychology, wrote: “In the sphere of human spirituality there is also what can be called subconscious spirituality ... And in the spiritual unconscious, along with the ethical unconscious, with moral conscience, there is also an aesthetic unconscious - artistic conscience. The artist’s irrational in its essence and therefore a completely non-rationalized intuition corresponds to inspiration, which is also rooted in the sphere of unconscious spirituality. ”

4. Личный Гений, ангел- вдохновитель.
Н.Т. Оганесян считала, что возможно, слово “гений” происходит от “гинн”, что значит туман, оболочка или, в переносном смысле, затемнение, удрученность и далее тень, демон или, наконец, дух. Под именем гения понимали и сверхъестественное существо, находящееся между богами и человеком. Каждый человек от рождения получал в дар своего личного гения, ангела и хранителя дома.
Греки представляли гения как “daimonionа”, то есть как некоторую идеальную проекцию души человека. Сократ рассматривал собственного даймониума, как проявление божественного помощника, который удерживал его от недостойных, иногда социально приемлемых, поступков, что позволило Платону отождествить его с совестью. «Когда это бывает, голос неизменно предупреждает меня о том, чего не надо делать, но никогда ни к чему не побуждает» -говорил о своем демоне Сократ.
Греки представляли гения как “daimonionа”, то есть как некоторую идеальную проекцию души человека. Сократ рассматривал собственного даймониума, как проявление божественного помощника, который удерживал его от недостойных, иногда социально приемлемых, поступков, что позволило Платону отождествить его с совестью. «Когда это бывает, голос неизменно предупреждает меня о том, чего не надо делать, но никогда ни к чему не побуждает» -говорил о своем демоне Сократ.
М. Врубель ощущал своего “Демона”, как “Душу” и считал, что он «олицетворяет собой вечную борьбу мятущегося человеческого духа, ищущего примирения обуревающих его страстей, познания жизни и не находящего ответа на свои сомнения ни на земле, ни на небе".
По свидетельствам Сократа, Магомета, Кардана, Тассо, Тартини, Спинозы, Сведенборга, Эмерсона, Дух, демон или Гений сообщал им новые сведения, вызывал необычные идеи или просто давал советы.
В то же время личность в процессе своего жизнетворчества открывает своего гения, как высший дар и истинное творческое Я. В данном случае происходит трансценденция внутрь, прорыв к глубинному универсному Я.
В буддизме Абсолютная истина считалась продуктом внутреннего опыта, а сутью практики Дзена было установление прямого контакта с духовной сущностью человека путем проникновения в глубины истинной внутренней природы человека. «Важнейший принцип, лежащий в основе дзэн, -отмечал Судзуки, — это рост или самосозревание внутреннего опыта». В свою очередь в хасидском движении Хабад стремление к единению с Богом, также осуществляется внутри своего "я".
«Именно в полноте внутреннего опыта личности, - писал Н.Бердяев,- может быть обнаружен конкретный Абсолют как источник всего существующего и основа для всех последующих абстрактных полаганий, вводящих «отвлеченные начала».
А. Арто так же считал, что первоначала и сущностные характеристики бытия необходимо искать путем погружения во внутренний опыт. Творец обнаруживает вечные истины и “первозданные сочетания самой Природы” в глубинах своя Я и воплощает их в своем творчестве.
Внутри каждого человека живет его персональный, уникальный, единственный в истории и универсуме собственный гений. Он как стражник, в притче Кафки, внушает человеку страх, только потому, что он не знает, что это его личный стражник, охранящий дверь, предзначенную только для него.

Mechanisms of geniality
1. Creative emanation. The genius creates due to the creative abundance of his inner world, semantic redundancy, emotional wealth and an overabundance of his creative power, which are generated by openness to the whole and conscious potentiation of phenomenal worlds. R. Tagore called man “the angel of excess”, because the spirit of man has an excess that goes beyond the limits of the requirements of the biological animal in man, and everything higher is unlimited in its redundancy, expressed in the process of the evolution of the world.
2. Imitation, universal mimesis. Creativity of a genius is manifested as imitation, following the meanings, deep essence, fundamental principles and goals of the Universe. Universal mimesis appears not so much as imitation, but as an image, a spiritual expression, a representation of an ideal pattern (Aristotle) ​​or an imitation of an exceptionally beautiful nature (S. Batte).
3. Plato's recollection.
According to Plato, the soul does not discover and does not know new truths, the truth is that it emerges from the depths of the soul as a memory. Genius, wrote Otto Weininger, “is a universal apperception, and at the same time the most perfect memory, the absolute negation of time. But in order to be able to apperce something, it is necessary to have something in itself which is akin to it. Usually they notice, understand and comprehend only what they have any similarities with. ” "Comfort yourself," Blaise Pascal writes, "you would not have sought me if you had not already found me." The genius owns all the knowledge and secrets of the universe, he survived all lives and destinies, he existed and will exist in all times, he remembers the whole Essence and completion of the Universe in man, but in man he awakens his creative essence, which is the concentrated essence of the Universe.
4. Co-creation with Universum and Creative Evolution.
The flow of creative power of a genius flows according to the deep laws of the Universe and, at the same time, in harmony with its own deep essence, innate creative power. “A great man, considered G.V. Plekhanov, is precisely the initiator, because he sees farther than others and wants more than others ... He is a hero. Not in the sense of a hero, that he supposedly can stop or change the natural course of things, but the fact that his activity is a creative and free expression of this necessary and unconscious course. This is all its meaning, this is all its strength. But it is a tremendous value, a terrible force. ”