The concept of genius, in literary theory and literary history, derives from the later 18th century, when it began to be distinguished from ingenium in a discussion of the genius loci, or "spirit of the place." It was a way of discussing essence, in that each place was supposed to have its own unique and immutable nature, but this essence was determinant, in that all persons of a place would be infused or inspired by that nature. In the early nationalistic literary theories of the Augustan era, each nation was supposed to have a nature determined by its climate, air, and fauna that made a nation's poetry, manners, and art singular. It created national character.
T.V.F. Brogan argues that "genius" is a middle term in the evolution of the idea of inspiration and poetic ability from a belief in an external source (afflatus, or divine infection, and poetic phrenzy, or divine madness) and an internal source (imagination and the subconscious). However, the concept became nearly identical with poetic madness and divine madness in later Romanticism. The word itself was conflated with the Latin ingenium (natural ability) by the time of the Renaissance, and it thereby becomes a natural spirit or natural essence unique to the individual and yet derived from the place. In this sense, it is still a term synonymous with skill.
A genius is someone embodying exceptional intellectual ability, creativity, or originality, typically to a degree that is associated with the achievement of unprecedented insight.
There is no scientifically precise definition of genius, and indeed the question of whether the notion itself has any real meaning has long been a subject of debate. The term is used in various ways: to refer to a particular aspect of an individual, or the individual in their entirety; to a scholar in many subjects (e.g. Isaac Newton or Leonardo da Vinci) or a scholar in a single subject (e.g. Nikola Tesla, Albert Einstein or Stephen Hawking). Research into what causes genius and mastery is still in its early stages, but psychology already offers relevant insights.
In ancient Rome, the genius (plural in Latin genii) was the guiding spirit or tutelary deity of a person, family (gens), or place (genius loci). The noun is related to the Latin verb gigno, genui, genitus, "to bring into being, create, produce." Because the achievements of exceptional individuals seemed to indicate the presence of a particularly powerful genius, by the time of Augustus the word began to acquire its secondary meaning of "inspiration, talent."
William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language". His visual artistry has led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced". Although he lived in London his entire life except for three years spent in Felpham he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God", or "Human existence itself".
Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterised as part of both the Romantic movement and "Pre-Romantic", for its large appearance in the 18th century. Reverent of the Bible but hostile to the Church of England – indeed, to all forms of organised religion – Blake was influenced by the ideals and ambitions of the French and American revolutions, as well as by such thinkers as Jakob Böhme and Emanuel Swedenborg. Despite these known influences, the singularity of Blake's work makes him difficult to classify. The 19th-century scholar William Rossetti characterised Blake as a "glorious luminary," and as "a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors".
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