Quotes about genius

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Quote in Werefkin's Letter to Igor Grabar on August 10, 1895; Department of Manuscripts of the State Tretyakov Gallery, Fund 106. Item 3242
1895 - 1905

2000s, States' Rights and Wrongs (2008)

1840s, Essays: Second Series (1844), Experience

Source: Fritz Zwicky, Morphological astronomy, The Observatory, Vol. 68, p. 121-143 (1948).

Il ne savait rien, ne voulait rien savoir, en quoi il se conformait à son génie, dont il ne surchargeait point l’aimable petitesse, et son heureux instinct lui conseillait de comprendre peu plutôt que de comprendre mal.
La Révolte des Anges http://fr.wikisource.org/wiki/La_R%C3%A9volte_des_anges_-_1 [The Revolt of the Angels], (1914), ch. I

“Diseases"
Elements of Physiology (1875)

The History of Rome, Volume 2 Translated by W.P. Dickson
On Hannibal the man and soldier
The History of Rome - Volume 2

From dissertation Life and Poems of Thomas Gray
Other Quotes

The Unconscious Civilization (1995)

Hawthorne and His Mosses (1850)

"The Idea of Order at Key West"
Ideas of Order (1936)

Interview, The Observer, 12 Oct 2014 http://www.theguardian.com/tv-and-radio/2014/oct/12/rachel-riley-countdown-stop-saying-girls-arent-good-at-maths

Ch 3 : Moral Factors, as translated by Michael Howard and Peter Paret.
On War (1832), Book 3

The Education of Henry Adams (1907)

Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), The Art-Principle as Represented in Poetry, p.199-200

Vol. 1: 'My beautiful One, My Unique!', pp. 130-140
1895 - 1905, Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona

Source: Table Talk (1782), Line 542.

"Realism and Idealism in English Literature (Daniel Defoe - William Blake)," lecture, Università Popolare, Trieste (February 27-28, 1912), printed in James Joyce: Occasional, Critical and Political Writing (2002) edited by Kevin Barry [Oxford University Press, <small> ISBN 0-192-83353-7</small>], p. 179

Source: The Case of Mr. Richard Arkwright and Co., 1781, p. 24

Source: The Books in My Life (1998), p. 67

Source: Erewhon (1872), Ch. 22

Japan, the Beautiful and Myself (1969)

Speaking at a Senate Appropriations hearing https://www.appropriations.senate.gov/hearings/review-of-the-us-department-of-the-interior-budget-request-for-fy2018 (21 June 2017)

The Scottish Himalaya Expedition (1951) The "Goethe couplet" referred to here is from an extremely loose translation of Faust 214-30 done by John Anster in 1835. Reference:
This quote, or one similar to it, is often attributed to Johann Wolfgang von Goethe, however it was written by Mr. Murray near the beginning of the The Scottish Himalaya Expedition.

3 May 1849
Journal Intime (1882), Journal entries

Source: "Presidential Address British Association for the Advancement of Science," 1890, p. 466 : On the expansion of the field of mathematics, and on the importance of a well-chosen notation

1990s, 1993, Eureka! A Modest Genius (1993)

Source: Voices offstage: a book of memoirs, (1968), p. 237; Cited in: Michael A. Morrison (1999) John Barrymore, Shakespearean Actor. p. 345

Preface to King Arthur http://d.lib.rochester.edu/camelot/text/blackmore-king-arthur-I (1697)

Source: The lever of riches: Technological creativity and economic progress, 1992, p. 295; as cited by Pol, Eduardo, and Peter Carroll.

Dr. Julius No, in Ch. 15 : Pandora’s Box
Dr. No (1958)

Source: Morals and Dogma of the Ancient and Accepted Scottish Rite of Freemasonry (1871), Ch. XXII : Knight of the Royal Axe, or Prince of Libanus, p. 347

Em geral, nós outros, os Portugueses, só começamos a ser idiotas – quando chegamos à idade da razão. Em pequenos temos todos uma pontinha de génio.
"A Literatura de Natal"; "Christmas Literature" p. 42.
Cartas de Inglaterra (1879–82)

The 5,000 Year Leap (1981)

On Chopin's Preludes in Histoire de Ma Vie (1902-04), Vo. IV, p. 439
Context: It was there he composed these most beautiful of short pages which he modestly entitled the Preludes. They are masterpieces. Several bring to mind visions of deceased monks and the sound of funeral chants; others are melancholy and fragrant; they came to him in times of sun and health, in the clamor of laughing children under he window, the faraway sound of guitars, birdsongs from the moist leaves, in the sight of the small pale roses coming in bloom on the snow. … Still others are of a mournful sadness, and while charming your ear, they break your heart. There is one that came to him through an evening of dismal rain — it casts the soul into a terrible dejection. Maurice and I had left him in good health one morning to go shopping in Palma for things we needed at out "encampment." The rain came in overflowing torrents. We made three leagues in six hours, only to return in the middle of a flood. We got back in absolute dark, shoeless, having been abandoned by our driver to cross unheard of perils. We hurried, knowing how our sick one would worry. Indeed he had, but now was as though congealed in a kind of quiet desperation, and, weeping, he was playing his wonderful Prelude. Seeing us come in, he got up with a cry, then said with a bewildered air and a strange tone, "Ah, I was sure that you were dead." When he recovered his spirits and saw the state we were in, he was ill, picturing the dangers we had been through, but he confessed to me that while waiting for us he had seen it all in a dream, and no longer distinguished the dream from reality, he became calm and drowsy while playing the piano, persuaded that he was dead himself. He saw himself drowned in a lake. Heavy drops of icy water fell in a regular rhythm on his breast, and when I made him listen to the sound of the drops of water indeed falling in rhythm on the roof, he denied having heard it. He was even angry that I should intepret this in terms of imitative sounds. He protested with all his might — and he was right to — against the childishness of such aural imitations. His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky. … The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.

Anarchism: Its Philosophy and Ideal (1896)
Context: A different conception of society, very different from that which now prevails, is in process of formation. Under the name of Anarchy, a new interpretation of the past and present life of society arises, giving at the same time a forecast as regards its future, both conceived in the same spirit as the above-mentioned interpretation in natural sciences. Anarchy, therefore, appears as a constituent part of the new philosophy, and that is why Anarchists come in contact, on so many points, with the greatest thinkers and poets of the present day.
In fact, it is certain that in proportion as the human mind frees itself from ideas inculcated by minorities of priests, military chiefs and judges, all striving to establish their domination, and of scientists paid to perpetuate it, a conception of society arises, in which conception there is no longer room for those dominating minorities. A society entering into possession of the social capital accumulated by the labor of preceding generations, organizing itself so as to make use of this capital in the interests of all, and constituting itself without reconstituting the power of the ruling minorities. It comprises in its midst an infinite variety of capacities, temperaments and individual energies: it excludes none. It even calls for struggles and contentions; because we know that periods of contests, so long as they were freely fought out, without the weight of constituted authority being thrown on the one side of the balance, were periods when human genius took its mightiest flight and achieved the greatest aims. Acknowledging, as a fact, the equal rights of all its members to the treasures accumulated in the past, it no longer recognizes a division between exploited and exploiters, governed and governors, dominated and dominators, and it seeks to establish a certain harmonious compatibility in its midst — not by subjecting all its members to an authority that is fictitiously supposed to represent society, not by trying to establish uniformity, but by urging all men to develop free initiative, free action, free association.
It seeks the most complete development of individuality combined with the highest development of voluntary association in all its aspects, in all possible degrees, for all imaginable aims; ever changing, ever modified associations which carry in themselves the elements of their durability and constantly assume new forms, which answer best to the multiple aspirations of all.

1950s, First Inaugural Address (1953)
Context: We must be ready to dare all for our country. For history does not long entrust the care of freedom to the weak or the timid. We must acquire proficiency in defense and display stamina in purpose. We must be willing, individually and as a Nation, to accept whatever sacrifices may be required of us. A people that values its privileges above its principles soon loses both. These basic precepts are not lofty abstractions, far removed from matters of daily living. They are laws of spiritual strength that generate and define our material strength. Patriotism means equipped forces and a prepared citizenry. Moral stamina means more energy and more productivity, on the farm and in the factory. Love of liberty means the guarding of every resource that makes freedom possible--from the sanctity of our families and the wealth of our soil to the genius of our scientists.

1850s, Latter-Day Pamphlets (1850), Stump Orator (May 1, 1850)
Context: Our English careers to born genius are twofold. There is the silent or unlearned career of the Industrialisms, which are very many among us; and there is the articulate or learned career of the three professions, Medicine, Law (under which we may include Politics), and the Church. Your born genius, therefore, will first have to ask himself, Whether he can hold his tongue or cannot? True, all human talent, especially all deep talent, is a talent to do, and is intrinsically of silent nature; inaudible, like the Sphere Harmonies and Eternal Melodies, of which it is an incarnated fraction.

Tlön, Uqbar, Orbis Tertius (1940)
Context: Who are the inventors of Tlön? The plural is inevitable, because the hypothesis of a lone inventor — an infinite Leibniz laboring away darkly and modestly — has been unanimously discounted. It is conjectured that this brave new world is the work of a secret society of astronomers, biologists, engineers, metaphysicians, poets, chemists, algebraists, moralists, painters, geometers... directed by an obscure man of genius. Individuals mastering these diverse disciplines are abundant, but not so those capable of inventiveness and less so those capable of subordinating that inventiveness to a rigorous and systematic plan. This plan is so vast that each writer's contribution is infinitesimal. At first it was believed that Tlön was a mere chaos, and irresponsible license of the imagination; now it is known that it is a cosmos and that the intimate laws which govern it have been formulated, at least provisionally. Let it suffice for me to recall that the apparent contradictions of the Eleventh Volume are the fundamental basis for the proof that the other volumes exist, so lucid and exact is the order observed in it.

"The Way Of Chuang Tzu".
The Way of Chuang-Tzŭ (1965)
Context: The humor, the sophistication, the literary genius, and philosophical insight of Chuang Tzu are evident to anyone who samples his work. But before one can begin to understand even a little of his subtlety, one must situate him in his cul­tural and historical context. That is to say that one must see him against the background of the Confucianism which he did not hesitate to ridicule, along with all the other sedate and accepted schools of Chinese thought, from that of Mo Ti to that of Chuang's contemporary, friend, and constant op­ponent, the logician Hui Tzu. One must also see him in rela­tion to what followed him, because it would be a great mistake to confuse the Taoism of Chuang Tzu with the popular, de­ generate amalgam of superstition, alchemy, magic, and health­ culture which Taoism later became.
The true inheritors of the thought and spirit of Chuang Tzu are the Chinese Zen Buddhists of the Tang period (7th to 10th centuries A. D.). But Chuang Tzu continued to exert an influence on all cultured Chinese thought, since he never ceased to be recognized as one of the great writers and think­ ers of the classical period. The subtle, sophisticated, mystical Taoism of Chuang Tzu and Lao Tzu has left a permanent mark on all Chinese culture and on the Chinese character itself. There have never been lacking authorities like Daisetz T. Suzuki, the Japanese Zen scholar, who declare Chuang Tzu to be the very greatest of the Chinese philosophers. There is no question that the kind of thought and culture represented by Chuang Tzu was what transformed highly speculative Indian Buddhism into the humorous, iconoclastic, and totally practical kind of Buddhism that was to flourish in China and in Japan in the various schools of Zen. Zen throws light on Chuang Tzu, and Chuang Tzu throws light on Zen.

Part I, Essay 16: The Stoic
Essays, Moral, Political, and Literary (1741-2; 1748)
Context: If nature has been frugal in her gifts and endowments, there is the more need of art to supply her defects. If she has been generous and liberal, know that she still expects industry and application on our part, and revenges herself in proportion to our negligent ingratitude. The richest genius, like the most fertile soil, when uncultivated, shoots up into the rankest weeds; and instead of vines and olives for the pleasure and use of man, produces, to its slothful owner, the most abundant crop of poisons.

1920s, Toleration and Liberalism (1925)
Context: If we are to have that harmony and tranquility, that union of spirit which is the foundation of real national genius and national progress, we must all realize that there are true Americans who did not happen to be born in our section of the country, who do not attend our place of religious worship, who are not of our racial stock, or who are not proficient in our language. If we are to create on this continent a free Republic and an enlightened civilization that will be capable of reflecting the true greatness and glory of mankind, it will be necessary to regard these differences as accidental and unessential. We shall have to look beyond the outward manifestations of race and creed. Divine Providence has not bestowed upon any race a monopoly of patriotism and character. The same principle that it is necessary to apply to the attitude of mind among our own people it is also necessary to apply to the attitude of mind among the different nations. During the war we were required not only to put a strong emphasis on everything that appealed to our own national pride but an equally strong emphasis on that which tended to disparage other peoples. There was an intensive cultivation of animosities and hatreds and enmities, together with a blind appeal to force, that took possession of substantially all the peoples of the earth. Of course, these ministered to the war spirit. They supplied the incentive for destruction, the motive for conquest. But in time of peace these sentiments are not helps but hindrances; they are not constructive.

1850s, Latter-Day Pamphlets (1850), Stump Orator (May 1, 1850)
Context: If the young aspirant is not rich enough for Parliament, and is deterred by the basilisks or otherwise from entering on Law or Church, and cannot altogether reduce his human intellect to the beaverish condition, or satisfy himself with the prospect of making money,—what becomes of him in such case, which is naturally the case of very many, and ever of more? In such case there remains but one outlet for him, and notably enough that too is a talking one: the outlet of Literature, of trying to write Books. Since, owing to preliminary basilisks, want of cash, or superiority to cash, he cannot mount aloft by eloquent talking, let him try it by dexterous eloquent writing. Here happily, having three fingers, and capital to buy a quire of paper, he can try it to all lengths and in spite of all mortals: in this career there is happily no public impediment that can turn him back; nothing but private starvation—which is itself a finis or kind of goal—can pretend to hinder a British man from prosecuting Literature to the very utmost, and wringing the final secret from her: "A talent is in thee; No talent is in thee." To the British subject who fancies genius may be lodged in him, this liberty remains; and truly it is, if well computed, almost the only one he has.

"The Mutabilities of Literature".
The Sketch Book of Geoffrey Crayon (1819–1820)
Context: Language gradually varies, and with it fade away the writings of authors who have flourished their allotted time; otherwise, the creative powers of genius would overstock the world, and the mind would be completely bewildered in the endless mazes of literature. Formerly there were some restraints on this excessive multiplication. Works had to be transcribed by hand, which was a slow and laborious operation; they were written either on parchment, which was expensive, so that one work was often erased to make way for another; or on papyrus, which was fragile and extremely perishable. Authorship was a limited and unprofitable craft, pursued chiefly by monks in the leisure and solitude of their cloisters. The accumulation of manuscripts was slow and costly, and confined almost entirely to monasteries. To these circumstances it may, in some measure, be owing that we have not been inundated by the intellect of antiquity; that the fountains of thought have not been broken up, and modern genius drowned in the deluge. But the inventions of paper and the press have put an end to all these restraints. They have made everyone a writer, and enabled every mind to pour itself into print, and diffuse itself over the whole intellectual world. The consequences are alarming. The stream of literature has swollen into a torrent — augmented into a river — expanded into a sea.

(Speaking about Edward Teller)
F*** You! Mr. President: Confessions of the Father of the Neutron Bomb (2006)
Context: He was all in favor of fighting an all-out thermonuclear war that might devastate a fair fraction of civilization, to settle an argument with the USSR, but was dead set against using discriminate nuclear weapons that could settle arguments on the battlefield without devastating everything in sight. Genius, when applied to human problems, can manifest itself in strange ways.

" Energized Enthusiasm : A Note On Theurgy http://www.the-equinox.org/vol1/no9/eqi09005.html" in The Equinox Vol. 1 no. 9 (Spring 1913) http://www.the-equinox.org/vol1/no9/index.html.
Context: I am certainly of opinion that genius can be acquired, or, in the alternative, that it is an almost universal possession. Its rarity may be attributed to the crushing influence of a corrupted society. It is rare to meet a youth without high ideals, generous thoughts, a sense of holiness, of his own importance, which, being interpreted, is, of his own identity with God. Three years in the world, and he is a bank clerk or even a government official. Only those who intuitively understand from early boyhood that they must stand out, and who have the incredible courage and endurance to do so in the face of all that tyranny, callousness, and the scorn of inferiors can do; only these arrive at manhood uncontaminated.

"Dilemma of a Pacifist"(1937)
Context: It is true that the techniques of war are constantly "improved" as the genius of an age of invention is put in the service of the war machine. But that is not what is most disturbing. What is revolutionary is that the minds of men, women and children are being deliberately trained, directed, distorted, by every conceivable instrument of education and propaganda, to make them tolerant of war, receptive of war, prepared for war, lovers of war. The greatest menace in the world is not poison gas. There are gas masks against that. The menace is poisoned words, poisoned ideas.

The Evolution of Modern Capitalism: A Study of Machine Production (1906), Ch. XVII Civilisation and Industrial Development
Context: Industrial progress would undoubtedly be slower under state-control, because the very object of such control is to divert a larger proportion of human genius and effort from these occupations in order to apply them in producing higher forms of wealth. It is not, however, right to assume that progress in the industrial arts would cease under state-industry; such progress would be slower, and would itself partake of a routine character—a slow, continuous adjustment of the mechanism of production and distribution to the slowly-changing needs of the community.<!--section 11, p. 422

Unkempt Thoughts (1957), p. 116

1920s, The Genius of America (1924)
Context: It was the fate of Europe to be always a battleground. Differences in race, in religion, in political genius and social ideals, seemed always, in the atmosphere of our mother continent, to be invitations to contest by battle. From the dawn of history, and we can only conjecture how much longer, the conflicts of races and civilizations, of traditions and usages, have gone on. It is one of the anomalies of the human story that these peoples, who could not be assimilated and unified under the skies of Europe, should on coming to America discover an amazing genius for cooperation, for fusion, and for harmonious effort. Yet they were the same people when they came here that they had been on the other side of the Atlantic. Quite apparently, they found something in our institutions, something in the American system of Government and society which they themselves helped to construct, that furnished to all of them a political and cultural common denominator.

The Greatest Minds and Ideas of All Time.
Context: I know how unfashionable it is now to acknowledge in life or history any genius loftier than ourselves. Our democratic dogma has leveled not only all voters but all leaders; we delight to show that living geniuses are only mediocrities, and that dead ones are myths. … Since it is contrary to good manners to exalt ourselves, we achieve the same result by slyly indicating how inferior are the great men of the earth. In some of us, perhaps, it is a noble and merciless asceticism, which would root out of our hearts the last vestige of worship and adoration, lest the old gods should return and terrify us again. For my part, I cling to this final religion, and discover in it a content and stimulus more lasting than came from the devotional ecstasies of youth.

Letter to James Hessey (October 9, 1818)
Letters (1817–1820)
Context: I have written independently without Judgment. I may write independently, and with Judgment, hereafter. The Genius of Poetry must work out its own salvation in a man: It cannot be matured by law and precept, but by sensation and watchfulness in itself — That which is creative must create itself — In Endymion, I leaped headlong into the sea, and thereby have become better acquainted with the Soundings, the quicksands, and the rocks, than if I had stayed upon the green shore, and piped a, silly pipe, and took tea and comfortable advice. I was never afraid of failure; for I would sooner fail than not be among the greatest.

Source: Confessions of a Philosopher (1997), p. 157
Context: As Voltaire once remarked, "It is the privilege of the real genius, especially one who opens up a new path, to make great mistakes with impunity." The Copernican revolution brought about by Kant was, I think, the most important single turning point in the history of philosophy. For that reason there has been, ever since, a watershed in understanding between those who have taken his work on board and those who have not. For a good many of the problems he uncovered, the solutions he put forward have not stood the test of time, but his uncovering of the problems remains the most illuminating thing a philosopher has ever done. Because of the fundamental character of these problems, and because Kant did not solve them, confronting them has been the most important challenge to philosophy ever since.

Book I : The Beginnings, Ch. V : The Baptism Of The Penguins
Penguin Island (1908)
Context: Thinking that what he saw were men living under the natural law, and that the Lord had sent him to teach them the Divine law, he preached the gospel to them.
Mounted on a lofty stone in the midst of the wild circus:
"Inhabitants of this island," said he, "although you be of small stature, you look less like a band of fishermen and mariners than like the senate of a judicious republic. By your gravity, your silence, your tranquil deportment, you form on this wild rock an assembly comparable to the Conscript Fathers at Rome deliberating in the temple of Victory, or rather, to the philosophers of Athens disputing on the benches of the Areopagus. Doubtless you possess neither their science nor their genius, but perhaps in the sight of God you are their superiors. I believe that you are simple and good. As I went round your island I saw no image of murder, no sign of carnage, no enemies' heads or scalps hung from a lofty pole or nailed to the doors of your villages. You appear to me to have no arts and not to work in metals. But your hearts are pure and your hands are innocent, and the truth will easily enter into your souls."
Now what he had taken for men of small stature but of grave bearing were penguins whom the spring had gathered together, and who were ranged in couples on the natural steps of the rock, erect in the majesty of their large white bellies. From moment to moment they moved their winglets like arms, and uttered peaceful cries. They did not fear men, for they did not know them, and had never received any harm from them; and there was in the monk a certain gentleness that reassured the most timid animals and that pleased these penguins extremely.

Context: The last verse [In My Secret Life] completely got to me, about how we all have great ideals but in reality we end up conforming, following everyone else. We want to be stronger so we lead that life inside, thinking of ourselves as these great brave souls. I literally thought when I was 15 that I was a musical genius and I could change the world, but in fact you're not and you can't and you don't, and that realisation is almost heartbreaking.

Annotated Drawings by Eugene J. Martin: 1977-1978

Adams used this statement in a letter to Benjamin Waterhouse (21 May 1821), but he may have been quoting the poem "To Mr. Stuart, On his Portrait of Mrs. M" by Sarah Wentworth Apthorp Morton, first published in 1803:
: Genius is sorrow's child — to want allied —
Consoled by glory, and sustained by pride.
Misattributed

The Unsettling of America : Culture & Agriculture (1996), p. 62.
Context: Once plants and animals were raised together on the same farm — which therefore neither produced unmanageable surpluses of manure, to be wasted and to pollute the water supply, nor depended on such quantities of commercial fertilizer. The genius of America farm experts is very well demonstrated here: they can take a solution and divide it neatly into two problems.

"Statement for the Day of My Death"
"Quotes"
Context: The twentieth century saw an amazing development of scholarship and criticism in the humanities, carried out by people who were more intelligent, better trained, had more languages, had a better sense of proportion, and were infinitely more accurate scholars and competent professional men than I. I had genius. No one else in the field known to me had quite that.

1950s, Rediscovering Lost Values (1954)
Context: There is something wrong with our world, something fundamentally and basically wrong. I don't think we have to look too far to see that. I'm sure that most of you would agree with me in making that assertion. And when we stop to analyze the cause of our world's ills, many things come to mind. We begin to wonder if it is due to the fact that we don't know enough. But it can't be that. Because in terms of accumulated knowledge we know more today than men have known in any period of human history. We have the facts at our disposal. We know more about mathematics, about science, about social science, and philosophy than we've ever known in any period of the world's history. So it can't be because we don't know enough. And then we wonder if it is due to the fact that our scientific genius lags behind. That is, if we have not made enough progress scientifically. Well then, it can't be that. For our scientific progress over the past years has been amazing. Man through his scientific genius has been able to dwarf distance and place time in chains, so that today it's possible to eat breakfast in New York City and supper in London, England. Back in about 1753 it took a letter three days to go from New York City to Washington, and today you can go from here to China in less time than that. It can't be because man is stagnant in his scientific progress. Man's scientific genius has been amazing. I think we have to look much deeper than that if we are to find the real cause of man's problems and the real cause of the world's ills today. If we are to really find it I think we will have to look in the hearts and souls of men.

Source: A Daughter of Eve (1839), Ch. 4: A Man of Note.
Context: This surface good-nature which captivates a new acquaintance and is no bar to treachery, which knows no scruple and is never at fault for an excuse, which makes an outcry at the wound which it condones, is one of the most distinctive features of the journalist. This camaraderie (the word is a stroke of genius) corrodes the noblest minds; it eats into their pride like rust, kills the germ of great deeds, and lends a sanction to moral cowardice.

Source: Manhood of Humanity (1921), p. 136. Chapter: Capitalistic Era.
Context: Such as contribute most to human progress and human enlightenment — men like Gutenberg, Copernicus, Newton, Leibnitz, Watts, Franklin, Mendeleieff, Pasteur, Sklodowska-Curie, Edison, Steinmetz, Loeb, Dewey, Keyser, Whitehead, Russell, Poincaré, William Benjamin Smith, Gibbs, Einstein, and many others — consume no more bread than the simplest of their fellow mortals. Indeed such men are often in want. How many a genius has perished inarticulate because unable to stand the strain of social conditions where animal standards prevail and "survival of the fittest" means, not survival of the "fittest in time-binding capacity," but survival of the strongest in ruthlessness and guile — in space-binding competition!

Source: The Geller Phenomenon (1976), p. 120
Context: I began with a strong bias toward skepticism. Besides, to tell the truth, I still find occult phenomena a little preposterous and irrelevant. What do they really matter if you place them against the truly great human achievements — against the creative genius of a Michaelangelo, a Beethoven, an Einstein? In that context they seem almost trivial.

The Aristos (1964)
Context: The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity. <!-- no. 61

LX. FAME
Orphic Sayings
Context: Enduring fame is ever posthumous. The orbs of virtue and genius seldom culminate during their terrestrial periods. Slow is the growth of great names, slow the procession of excellence into arts, institutions, life. Ages alone reflect their fulness of lustre. The great not only unseal, but create the organs by which they are to be seen. Neither Socrates nor Jesus is yet visible to the world.

"The Hall of Fantasy" (1843)
Context: As far as my experience goes, men of genius are fairly gifted with the social qualities; and in this age, there appears to be a fellow-feeling among them, which had not heretofore been developed. As men, they ask nothing better than to be on equal terms with their fellow-men; and as authors, they have thrown aside their proverbial jealousy, and acknowledge a generous brotherhood.

Genius, i
The Note-Books of Samuel Butler (1912), Part XI - Cash and Credit

Source: The Revolt of the Angels (1914), Ch. XXXV
Context: The archangel Michael took supreme command. He reassured their minds by his serenity. His countenance, wherein his soul was visible, expressed contempt for danger. By his orders, the chiefs of the thunderbolts, the Kerûbs, grown dull with the long interval of peace, paced with heavy steps the ramparts of the Holy Mountain, and, letting the gaze of their bovine eyes wander over the glittering clouds of their Lord, strove to place the divine batteries in position. After inspecting the defences, they swore to the Most High that all was in readiness. They took counsel together as to the plan they should follow. Michael was for the offensive. He, as a consummate soldier, said it was the supreme law. Attack, or be attacked, — there was no middle course.
"Moreover," he added, "the offensive attitude is particularly suitable to the ardour of the Thrones and Dominations."
Beyond that, it was impossible to obtain a word from the valiant chief, and this silence seemed the mark of a genius sure of himself.

Some Notes on Caravaggio (1956)
Context: Caravaggio speaks to us out of a consciousness that is brooding and obsessive, and affects us in a way that is not simply artistic. By this I mean that he comes close to presenting us with a sensation of amorphous and desperate desire unredeemed by an authoritative vision. It can be felt in the apprehensive boredom of the unsuccessful pictures and in the oppressive intensity of the best. If this sensation were deep enough it might have destructive effects, since we all live within that margin of order which we succeed in imposing on life, i. e., on the unfulfilled longings of the heart, and his work might then be truly diabolic. His genius operates in that world of antithesis where the conflict between ideal and reality rages, and the moral victory, i. e., the ultimate affirmation of the goodness of life, is always so tenuously won that we feel the dread of chaos intensely- even when he is completely successful. If there could be such a contradictory phenomenon as the uninnocent artist he might be it. He indicates the sort of sensations we might expect from such a monster. But since he is wholly innocent beneath the apparent evidence of corruption he ends by moving us in a profound and religious way.

Preface
His Master's Voice (1968)
Context: Clarity of thought is a shining point in a vast expanse of unrelieved darkness. Genius is not so much a light as it is a constant awareness of the surrounding gloom, and its typical cowardice is to bathe in its own glow and avoid, as much as possible, looking out beyond its boundary. No matter how much genuine strength it may contain, there is also, inevitably, a considerable part that is only the pretense of that strength.

Die wahre Tugend ist Genialität.
“Selected Ideas (1799-1800)”, Dialogue on Poetry and Literary Aphorisms, Ernst Behler and Roman Struc, trans. (Pennsylvania University Press:1968) #36

Small Houses: Their Economic Design and Construction (1922)
Context: Simplicity and Dignity are so nearly related that they may be considered together.... A quiet air of reserved power is characteristic of dignity, and that is best obtained by simple means and the absence of apparent effort. Simplicity is the mark of genius. The giant in art does his work easily, without straining and without affectation; his ways are direct and to the point.

Dylan Thomas and Hector Berlioz (1956).
Context: Genius is unquestionably a great trial, when it takes the romantic form, and genius and romance are so associated in the public mind that many people recognize no other kind. There are other forms of genius, of course, and though they create their own problems, they are not "impossible" people. But O, how deeply we should thank God for these impossible people like Berlioz and Dylan Thomas! What a weary, grey, well-ordered, polite, unendurable hell this would be without them!

Gothamist interview (2006)
Context: The biggest challenge in a simul is finding the right shoes! I want to look good in front of fifty people, but really sneakers are the best bet. I try to finish a simul as quickly as possible and don’t worry if I lose a game or two along the way. It becomes a manic workout. I’m literally running around playing moves as fast as my fingers and legs will go. My brain usually follows.
The simul is a great chess illusion. It makes the simul-giver seem like a genius, when really they’re just speaking their language. Chessplayers rely so heavily on instincts developed from years of training and practice. Chess is not all about thinking, there’s a lot of feeling involved.

Kim Il Sung’s first speech in Pyongyang in October 1945 went down terribly, because he lacked the natural charisma to make plausible the biographical legend the Soviets had chosen for him. But the propaganda apparatus quickly made clear that by swallowing his legend, the whole nation could regard its own colonial past in a nobler light. In celebrating the leader as the embodiment of ethnic virtues, 25 million people celebrate themselves. Which is not to say the cult hasn’t cooled a lot.
2010s, Interview with Joshua Stanton (August 2017)

1459a.4
Poetics

Is It Bill Bailey? (TV, 1998)

Sam Harris in debate on ABC Nightline (23 March 2010) "Does God Have a Future?" http://www.youtube.com/watch?v=V_kAk2Naz-A&t=1m25s
2010s
Context: The God that our neighbors believe in is essentially an invisible person. He’s a creator deity, who created the universe to have a relationship with one species of primates – lucky us. And he’s got galaxy upon galaxy to attend to, but he’s especially concerned with what we do, and he’s especially concerned with what we do while naked. He almost certainly disapproves of homosexuality. And he’s created this cosmos as a vast laboratory in which to test our powers of credulity, and the test is this: can you believe in this God on bad evidence, which is to say, on faith? And if you can, you will win an eternity of happiness after you die. And it's precisely this sort of god and this sort of scheme that you must believe in if you're going to have any kind of future in politics in this country, no matter what your gifts. You could be an unprecedented genius, you could look like George Clooney, you could have a billion dollars and you could have the social skills of Oprah and you are going nowhere in politics in this country, unless you believe in that sort of god.

Quoted in "What'd I Say?" : The Atlantic Story : 50 Years of Music (2001) by Ahmet M. Ertegun; also partially quoted in What Is This Thing Called Jazz?: African American Musicians As Artists, Critics, and Activists (2002) by Eric C. Porter, p. 118, and Freedom Is, Freedom Ain't: Jazz And the Making of the Sixties (2005) by Scott Saul, p. 154
Context: Good jazz is when the leader jumps on the piano, waves his arms, and yells. Fine jazz is when a tenorman lifts his foot in the air. Great jazz is when he heaves a piercing note for 32 bars and collapses on his hands and knees. A pure genius of jazz is manifested when he and the rest of the orchestra run around the room while the rhythm section grimaces and dances around their instruments.

Preface of M. Quetelet
A Treatise on Man and the Development of His Faculties (1842)
Context: The words cited from my work, when viewed isolatedly, are far from expressing the idea which I wished to attach to them. The works of genius upon which our judgments bear are in general complex; for there is no work, constructed by genius, which does not suppose the exercise of various of its faculties. A skilful analysis could alone make out the part of each of them...

Source: The Wealth of Nations (1776), Book I, Chapter II, p. 17.
Context: By nature a philosopher is not in genius and disposition half so different from a street porter, as a mastiff is from a greyhound

The Principles of Success in Literature (1865)
Context: Genius is rarely able to give any account of its own processes. But those who have had ample opportunities of intimately knowing the growth of works in the minds of artists, will bear me out in saying that a vivid memory supplies the elements from a thousand different sources, most of which are quite beyond the power of localisation, the experience of yesterday being strangely intermingled with the dim suggestions of early years, the tones heard in childhood sounding through the diapason of sorrowing maturity; and all these kaleidoscopic fragments are recomposed into images that seem to have a corresponding reality of their own.

Source: A Soldier Reports (1976), p. 405.
Context: In the renewed war in South Vietnam beginning in the late 1950s, the considerable success that Giap and the Viet Cong enjoyed was cut short by the introduction of American troops. In the face of American airpower, helicopter mobility, and fire support, there was no way Giap could win on the battlefield. Given the restrictions they had imposed on themselves, neither was there much chance that the Americans and South Vietnamese could win a conventional victory; but so long as American troops were involved, Giap could point to few battlefield successes more spectacular or meaningful than the occasional overrunning of a fire-support base. Yet Giap persisted nevertheless in a big-unit war in which his losses were appalling, as evidenced by his admission to the Italian journalist Oriana Fallaci that he had by early 1969 lost half a million men killed. Ruthless disregard for losses is seldom seen as military genius. A Western commander absorbing losses on the scale of Giap's would have hardly lasted in command more than a few weeks.

The Aristos (1964)
Context: The artefacts of a genius are distinguished by rich human content, for which he forges new images and new techniques, creates new styles. He sees himself as a unique eruption in the desert of the banal. He feels himself mysteriously inspired or possessed. The craftsman, on the other hand, is content to use the traditional materials and techniques. The more self-possessed he is, the better craftsman he will be. What pleases him is skill of execution. He is very concerned with his contemporary success, his market value. If a certain kind of political commitment is fashionable, he may be committed; but out of fashion, not conviction. The genius, of course, is largely indifferent to contemporary success; and his commitment to his ideals, both artistic and political, is profoundly, Byronically, indifferent to their contemporary popularity. <!-- no. 61

Preface http://andromeda.rutgers.edu/~jlynch/Texts/preface.html
A Dictionary of the English Language (1755)
Context: It is the fate of those, who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good; to be exposed to censure, without hope of praise; to be disgraced by miscarriage, or punished for neglect, where success would have been without applause, and diligence without reward. Among these unhappy mortals is the writer of dictionaries, whom mankind have considered, not as the pupil, but the slave of science, the pioneer of literature, doomed only to remove rubbish and clear obstructions from the paths through which Learning and Genius press forward to conquest and glory, without bestowing a smile on the humble drudge that facilitates their progress. Every other author may aspire to praise; the lexicographer can only hope to escape reproach, and even this negative recompense has been yet granted to very few.

"Night and Day" in Frontiers (1990)
Context: The genius of American culture and its integrity comes from fidelity to the light. Plain as day, we say. Happy as the day is long. Early to bed, early to rise. American virtues are daylight virtues: honesty, integrity, plain speech. We say yes when we mean yes and no when we mean no, and all else comes from the evil one. America presumes innocence and even the right to happiness.

January 29, 1840
Journals (1838-1859)
Context: Aeschylus had a clear eye for the commonest things. His genius was only an enlarged common sense. He adverts with chaste severity to all natural facts. His sublimity is Greek sincerity and simpleness, naked wonder which mythology had not helped to explain... Whatever the common eye sees at all and expresses as best it may, he sees uncommonly and describes with rare completeness. The multitude that thronged the theatre could no doubt go along with him to the end... The social condition of genius is the same in all ages. Aeschylus was undoubtedly alone and without sympathy in his simple reverence for the mystery of the universe.

2000s, The Sacred Warrior (2000)
Context: India is Gandhi's country of birth; South Africa his country of adoption. He was both an Indian and a South African citizen. Both countries contributed to his intellectual and moral genius, and he shaped the liberatory movements in both colonial theaters.
He is the archetypal anticolonial revolutionary. His strategy of noncooperation, his assertion that we can be dominated only if we cooperate with our dominators, and his nonviolent resistance inspired anticolonial and antiracist movements internationally in our century.

The Chinese Novel (1938)
Context: I grew up believing that the novel has nothing to do with pure literature. So I was taught by scholars. The art of literature, so I was taught, is something devised by men of learning. Out of the brains of scholars came rules to control the rush of genius, that wild fountain which has its source in deepest life. Genius, great or less, is the spring, and art is the sculptured shape, classical or modern, into which the waters must be forced, if scholars and critics were to be served. But the people of China did not so serve. The waters of the genius of story gushed out as they would, however the natural rocks allowed and the trees persuaded, and only common people came and drank and found rest and pleasure. For the novel in China was the peculiar product of the common people. And it was solely their property.

Genius in Beauty.
The House of Life (1870—1881)

1820s, Critical and Miscellaneous Essays (1827–1855)
Context: Humor is properly the exponent of low things; that which first renders them poetical to the mind. The man of Humor sees common life, even mean life, under the new light of sportfulness and love; whatever has existence has a charm for him. Humor has justly been regarded as the finest perfection of poetic genius. He who wants it, be his other gifts what they may, has only half a mind; an eye for what is above him, not for what is about him or below him. Now, among all writers of any real poetic genius, we cannot recollect one who, in this respect, exhibits such total deficiency as Schiller. In his whole writings there is scarcely any vestige of it, scarcely any attempt that way. His nature was without Humor; and he had too true a feeling to adopt any counterfeit in its stead. Thus no drollery or caricature, still less any barren mockery, which, in the hundred cases are all that we find passing current as Humor, discover themselves in Schiller. His works are full of labored earnestness; he is the gravest of all writers.

Source: How to Become President (1940), Ch. 3 : Why a woman president? Well, why?
Context: Now, I don’t pretend to know all the answers. I’m just a plain, ordinary, everyday genius who loves her fellow-man whenever possible. But let me tell you that women are getting very tired of running a poor second to the Forgotten Man, and with all the practice we’ve had around the house the time is ripe for a woman to sweep the country. I’ll make a prediction with my eyes open: that a woman can and will be elected if she is qualified and gets enough votes.

Confessions Of A Sceptic
The Nemesis of Faith (1849)
Context: Say not they have their reward on earth in the calm satisfaction of noble desires, nobly gratified, in the sense of great works greatly done; that too may be, but neither do they ask for that. They alone never remember themselves; they know no end but to do the will which beats in their hearts' deep pulses. Ay, but for these, these few martyred heroes, it might be after all that the earth was but a huge loss-and-profit ledger book; or a toy machine some great angel had invented for the amusement of his nursery; and the storm and the sunshine but the tears and the smiles of laughter in which he and his baby cherubs dressed their faces over the grave and solemn airs of slow-paced respectability.
Yes, genius alone is the Redeemer; it bears our sorrows, it is crowned with thorns for us; the children of genius are the church militant, the army of the human race. Genius is the life, the law of mankind, itself perishing, that others may take possession and enjoy. Religion, freedom, science, law, the arts, mechanical or heautiful, all which gives respectability a chance, have heen moulded out by the toil and the sweat and the blood of the faithful; who, knowing no enjoyment, were content to he the servants of their own born slaves, and wrought out the happiness of the world which despised and disowned them.

(20 November 1847)
1840s, The Journals of Søren Kierkegaard, 1840s
Context: What the age needs is not a genius — it has had geniuses enough, but a martyr, who in order to teach men to obey would himself be obedient unto death. What the age needs is awakening. And therefore someday, not only my writings but my whole life, all the intriguing mystery of the machine will be studied and studied. I never forget how God helps me and it is therefore my last wish that everything may be to his honour.

Vol. 2 "On Philosophy and the Intellect" as translated in Essays and Aphorisms (1970), as translated by R. J. Hollingdale
Parerga and Paralipomena (1851), Counsels and Maxims
Context: Talent works for money and fame; the motive which moves genius to productivity is, on the other hand, less easy to determine. It isn’t money, for genius seldom gets any. It isn’t fame: fame is too uncertain and, more closely considered, of too little worth. Nor is it strictly for its own pleasure, for the great exertion involved almost outweighs the pleasure. It is rather an instinct of a unique sort by virtue of which the individual possessed of genius is impelled to express what he has seen and felt in enduring works without being conscious of any further motivation. It takes place, by and large, with the same sort of necessity as a tree brings forth fruit, and demands of the world no more than a soil on which the individual can flourish.

As quoted from Electrical Review (c. 1895) without further attribution in The Search for the North Pole (1896) by Evelyn Briggs Baldwin, p. 520, this was later published as part of various works by Hubbard, including FRA Magazine : A Journal of Affirmation (1915), and An American Bible (1918) edited by Alice Hubbard. A portion of this was once misattributed to Amelia J Calver in The Manifesto (January 1896) by the United Society of Believers in Christ’s Second Appearing (Shakers), p. 184, and more recently to Kin Hubbard at some sites on the internet.
Context: Genius is often only the power of making continuous efforts. The line between failure and success is so fine that we scarcely know when we pass it — so fine that we are often on the line and do not know it. How many a man has thrown up his hands at a time when a little more effort, a little more patience, would have achieved success. As the tide goes clear out, so it comes clear in. In business sometimes prospects may seem darkest when really they are on the turn. A little more persistence, a little more effort, and what seemed hopeless failure may turn to glorious success. There is no failure except in no longer trying. There is no defeat except from within, no really insurmountable barrier save our own inherent weakness of purpose.

Cited in: . Brief Biographies of Inventors of Machines for the Manufacture of Textile .... (1863) p. xiv; Highlighted section cited in: Samuel Smiles Industrial biography; iron-workers and tool-makers http://books.google.com/books?id=5trBcaXuazgC&pg=PA170, (1864) p. 170
Context: Although it is not, abstractedly speaking, of importance to know who first made a most valuable experiment, or to what individual the community is indebted for the invention of the most useful machine, yet the sense of mankind has in this, as in several other things, been in direct opposition to frigid reasoning; and we are pleased with a recollection of benefits, and with rendering honour to the memory of those who bestowed them. Were public benefactors to be allowed to pass away like hewers of wood and drawers of water, without commemoration, genius and enterprise would be deprived of their most coveted distinction, and after-times would lose incentives to that emulation which urges us to cherish and practise what has been worthy of commendation or imitation in our forefathers; and to make their works, which may have served for a light and been useful to the age in which they lived, a guide and a spur to ourselves

Studies in Greek and Roman History, Alexander the Great and the Loneliness of Power, 1964 p. 204
Context: After fighting, scheming and murdering in pursuit of the secure tenure of absolute power, he found himself at last on a lonely pinnacle over an abyss, with no use for his power and security unattainable. His genius was such that he ended an epoch and began another - but one of unceasing war and misery, from which exhaustion produced an approach to order after two generations and peace at last under the Roman Empire. He himself never found peace. One is tempted to see him, in medieval terms, as the man who sold his soul to the Devil for power: the Devil kept his part of the bargain but ultimately claimed his own. But to the historian, prosaically such allegory, we must put it differently: to him, when he has done all the work - work that must be done, and done carefully - of analysing the play of faction and the system of government, Alexander illustrates with startling clarity the ultimate loneliness of supreme power.

On his brother Frank
The New York Times interview (1998)
Context: He's an amazing man … When he was 12, one of our schoolmasters said: "My boy, you are a literary genius. My strong suggestion is to go to America. They will appreciate you there." Over the years I've read what he's written that never got published, and I always said it still holds. He is a literary genius. Also the most nonjudgmental decent guy. He forgives.