The history of the human race (naturally I mean the history of its mind and not merely of its wars) is readily intelligible on the theory of the appearance of genius, and of the imitation by the more monkey-like individuals of the conduct of those with genius. The chief stages, no doubt, were house-building, agriculture, and, above all, speech. Every single word has been the invention of a single man, as, indeed, we still see, if we leave out of consideration the merely technical terms. How else could language have arisen? The earliest words were “onomatopoetic”; a sound similar to the exciting cause was evolved almost without the will of the speaker, in direct response to the sensuous stimulation. All the other words were originally metaphors, or comparisons, a kind of primitive poetry, for all prose has come from poetry. Many, perhaps the majority of the greatest geniuses, have remained unknown. Think of the proverbs, now almost commonplaces, such as “one good turn deserves another.” These were said for the first time by some great man. How many quotations from the classics, or sayings of Christ, have passed into the common language, so that we have to think twice before we can remember who were the authors of them. Language is as little the work of the multitude as our ballads. Every form of speech owes much that is not acknowledged to individuals of another language. Because of the universality of genius, the words and phrases that he invents are useful not only to those who use the language in which he wrote them. A nation orients itself by its own geniuses, and derives from them its ideas of its own ideals, but the guiding star serves also as a light to other nations. As speech has been created by a few great men, the most extraordinary wisdom lies concealed in it, a wisdom which reveals itself to a few ardent explorers but which is usually overlooked by the stupid professional philologists.
The genius is not a critic of language, but its creator, as he is the creator of all the mental achievements which are the material of culture and which make up the objective mind, the spirit of the peoples. The “timeless” men are those who make history, for history can be made only by those who are not floating with the stream. It is only those who are unconditioned by time who have real value, and whose productions have an enduring force. And the events that become forces of culture become so only because they have an enduring value.
If we make a criterion of genius the exhibition of this threefold “timelessness” we shall have a measure by which it is easy to test all claimants. Lombroso and Türck have expanded the popular view which ascribes genius to all whose intellectual or practical achievements are much above the average. Kant and Schelling have insisted on the more exclusive doctrine that genius can be predicated only of the great creative artists. The truth probably lies between the two. I am inclined to think that only great artists and great philosophers (amongst the latter, I include, above all, the great religious teachers) have proved a claim to genius. Neither the “man of action” nor “the man of science” has any claim.
Men of action, famous politicians and generals, may possess a few traits resembling genius (particularly a specially good knowledge of men and an enormous capacity for remembering people). The psychology of such traits will be dealt with later; they are confused with genius only by those whom the externals of greatness dazzle. The man of genius almost typically renounces such external greatness because of the real greatness within him. The really great man has the strongest sense of values; the distinguished general is absorbed by the desire for power. The former seeks to link power with real value; the latter desires that power itself should be valued. Great generals and great politicians, like the bird Phœnix, are born out of fiery chaos and like it disappear again in chaos. The great emperor or the great demagogue is the only man who lives entirely in the present; he does not dream of a more beautiful, better future; his mind does not dwell on his own past which has already passed, and so in the two ways most possible to man, he does not transcend time, but lives only in the moment. The great genius does not let his work be determined by the concrete finite conditions that surround him, whilst it is from these that the work of the statesman takes its direction and its termination. And so the great emperor is no more than a phenomenon of nature, whereas the genius is outside nature and is an incorporation of the mind. The works of men of action crumble at the death of their authors, if indeed they have not already decayed, or they survive only a brief time leaving no traces behind them except what the chronicles record as having been done and later undone. The emperor creates no works that survive time, passing into eternity; such creations come from genius. It is the genius in reality and not the other who is the creator of history, for it is only the genius who is outside and unconditioned by history. The great man has a history, the emperor is only a part of history. The great man transcends time; time creates and time destroys the emperor.
The great man of science, unless he is also a philosopher (I think of such names as Newton and Gauss, Linnæus and Darwin, Copernicus and Galileo), deserves the title of genius as little as the man of action. Men of science are not universal; they deal only with a branch or branches of knowledge. This is not due, as is sometimes said, merely to the extreme modern specialisation that makes it impossible to master everything. Even in the nineteenth and twentieth centuries there are still amongst the learned men individuals with a knowledge as many-sided as that of Aristotle or Leibnitz; the names of von Humboldt and William Wundt at once come to my mind. The absence of genius comes from something much more deeply seated in the men of science, and in science itself, from a cause which I shall explain in the eighth chapter. Probably some one may be disposed to argue that if even the most distinguished men of science have not a knowledge so universal as that of the philosopher, there are some who stand on the outermost fringes of philosophy, and to whom it is yet difficult to deny the word genius. I think of such men as Fichte, Schleiermacher, Carlyle, and Nietzsche. Which of the merely scientific has felt in himself an unconditioned comprehension of all men and of all things, or even the capacity to verify any single thing in his mind and by his mind? On the contrary, has not the whole history of the science of the last thousand years been directed against this? This is the reason why men of science are necessarily one-sided. No man of science, unless he is also a philosopher, however eminent his achievements, has that continuous unforgetting life that the genius exhibits, and this is because of his want of universality.
Finally, it is to be observed that the investigations of the scientific are always in definite relation to the knowledge of their day. The scientific man takes possession of a definite store of experimental or observed knowledge, increases or alters it more or less, and then hands it on. And much will be taken away from his achievements, much will silently disappear; his treatises may make a brave show in the libraries, but they cease to be actively alive. On the other hand, we can ascribe to the work of the great philosopher, as to that of the great artist, an imperishable, unchangeable presentation of the world, not disappearing with time, and which, because it was the expression of a great mind, will always find a school of men to adhere to it. There still exist disciples of Plato and Aristotle, of Spinoza and Berkeley and Bruno, but there are now none who denote themselves as followers of Galileo or Helmholtz, of Ptolemy or Copernicus. It is a misuse of terms, due to erroneous ideas, to speak of the “classics” of science or of pedagogy in the sense that we speak of the classics of philosophy and art.
The great philosopher bears the name of genius deservedly and with honour. And if it will always be the greatest pain to the philosopher that he is not an artist, so the artist envies the philosopher his tenacious and controlled strength of systematic thought, and it is not surprising that the artist has taken pleasure in depicting Prometheus and Faust, Prospera and Cyprian, Paul the Apostle and Il Penseroso. The philosopher and the artist are alternate sides of one another.
We must not be too lavish in attributing genius to those who are philosophers or we shall not escape the reproach of being merely partisans of philosophy against science. Such a partisanship is foreign to my purpose, and, I hope, to this book. It would only be absurd to discuss the claims to genius of such men as Anaxagoras, Geulincx, Baader, or Emerson. I deny genius either to such unoriginally profound writers as Angelus Silesius, Philo and Jacobi, or to original yet superficial persons such as Comte, Feuerbach, Hume, Herbart, Locke and Karneades. The history of art is equally full of preposterous valuations, whilst, on the other hand, the history of science is extremely free from false estimations. The history of science busies itself very little with the biographies of its protagonists; its object is a system of objective, collective knowledge in which the individual is swept away. The service of science demands the greatest sacrifice, for in it the individual human being renounces all claim to eternity as such.