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Artemida © 2021 Anton Celin

GENIJ (PF) _____ GENIUS (LPH) Anton Celin

Duh koji ulazi u čovjeka koje je misaono i znanstveno neosporno duh ili osobito i visoko nadahnuće, u punini i pojavi iskaza jednostavnosti, jeste geniji, ili onaj iza kojega su, kada se objavi, besmislena sva izučavanja najviših tajni o bilo čemu, pa tako i svi mogući - i dobiveni - odgovori.
Genij je očiglednost, te se njegova priroda ogleda u ljepoti i uznesenju, prije nego što se bilo kako pitanje postavi.
Govoreći o razlici te odnosu između talenta i genija Edwin P. Whipple je ustvrdio kako "talent ponavlja, a geniji stvara, talenat je cisterna, a geniji fontana". Naprosto, talent je velika rijeka koja upravo hita k moru, dok je geniji nepresušni ocean postavljen u beskraju. Priroda ljudskoga znanja u talentu je upravo razložno mišljenje koje će nešto i otkriti kako već traži, dok je geniji Objava koja upravo dolazi i sve pokriva. Dok se talent upinje da akrobatikom riječi i misli razriješi neki odnos u svijetu, koji jest svijet, geniji to britkom jednostavnošću na najvišoj razini sebi postavlja riješeno u apsolutnog biti božanskog svog podrijetla. Njegova priroda je svjetotvoračka, i zato je on najveći - kao navjestiteljski tako i zakonodavni - princip profetološke u biti bitka: što znači u razvoju i prostoru ograničenja svijeta, pred beskonačnošću svih svjetova, sveg mogućeg.
Geniji je onaj koji samu vječnost, iz apsolutne i nevidljive prirode duha, spušta u rukopis vremena.
Pa je zato je šutnja genija nad djelom koje je stvorio s kojim je spustio beskonačnost u konačno, u stvari najveće uopće govorenje koje se može pojaviti. Djelo je temelj i misli i govora pa zato i proroštva svijeta: a u sustavu je genija naspram apstraktne teške misli istočnog proroka, koji govore riječi koje još dodatno treba tumačiti, a i slabo se čuju - te ih stalno tumače i iznova opet govore. Upravo geniji ono najviše sakriveno u djelu, s djelom i otkriva, te sama načela onog najviše i otkrivnog, a s mjerom njihova održanja u svijetu na mjestima, sakriva.
Akrobatika riječi i misli je suvišna i nije potrebna, da se nešto dobro iskaže, istinito, i može se nekome sviđati, netko je prihvatati, nekoga zavaravati, a tu je veliki problem realne filozofije. Takvu primjedbu je dao Jaspers na Heideggerovu metafiziku, kao jezičku ekvilibristiku koja neuke fascinira, po kojoj izgleda nešto kao filozofija, koja se u visokim potencijama ezoterije gubi. Pa je u tom smislu i na sličan način i Tolstoj na jedan naslov u novinama koji se ticao njegova literarna teksta, dodao kako je književna kritika onaj prostor u kojem glupi raspravljaju o pametnima. Algoritme duha genijalnog stvaralaštva čak niti najviša inteligencija ne može razumjeti. Ne vidi se kada genij apsolutnu istinu o Jednome, upravo kao samu filozofiju, govori; i tu je u samom unutarnjem od duha - od djela - najviše u samome sebi ono mistično, što je od same filozofije. Pa je time geniji taj, koji pojedinačno pitanje dato mu ovdje na dlanu, rješava odmah obuhvatnim rješenjem za sve.
Čitava ova knjiga dokazivati će ovaj genijalan od bogoposlanih početak sveg, a iz njegove neuhvaljive prirode u realnom svijetu, i njegovog besvjesnog spram svijesti, njegovog nemogućeg spram mogućeg.
Geniji se uvijek intuitivno osjeća na onim razinama na kojima prost čovjek i duša jednostavna, sami po sebi, ne mogu spoznajno niti po najvišim intelektualnim moćima doći. U geniju je postojeći unutarnji latentni filozof, koji traži svoje ostvarenje u realnom i konceptualnom svijetu, jer svaki je u biti arhitekt mogućeg: taj koji se pojavljuje vidljivim – i kada se upravo sve više vidi – javlja sve više prorokom. Stvaranje svijeta je uvijek Ovdje-na-djelu u svakom mogućem trenutku vremena, a po najboljem u vječnosti, pa se tako pojam profetologije kao znanosti ne može odvojiti od svjetotvorstva.
Dolazak do božanskog uvijek je po geniju i u vječnosti, jer samo je geniji veza između vječnosti i vremena. A kako je genij povezan sa bogovima, to se svagdanje događa čovjeku u blistavoj intimi neposredna življenja. Možda je za ilustraciju najbolje ono što sam već govorio o ljubavi, kao posljednjoj istini neba, i tome: da kada dvoje zaljubljenih puni pažnje i smjernosti među sobom lagano razgovaraju gledajući se ravno u oči, u intimi svoje izdvojenosti, a s dalekim nekim planovima, to postaje razgovor između bogova.
Geniji je upravo tu i drugačije se ne bi božanstvo moglo pojaviti, a tek iza toga može nastupiti veliki prorok, koji svjetotvorno govori: jer on je prisutan tamo gdje se ništa ne vidi, samo (visoko) osjeća, pa to postaje najveće viđenje.
Proroštvo je naprosto činjenica za koju već ostvaren svijet po sebi dokazuje njegovu ispravnost od početka, njegovu mudrosno-zakonodavnu i vremenski-navjestitejsku neospornost.
Tako prorok od najviše snage je onaj koji svojim djelom uzdiže apsolutnu budnost duha u jednostavnosti. Taj je genij koji kada otpočinje u besvijeti, otkriva u svijesti, besvijesno-svjesnosnu svjetotvoračku posebnost. On budi duboke engrame unutarnjeg budućeg događanja, što je u biti uvijek i preduvjet bilo kakvog ostvaranja i trajanja svijeta, i njegova održanja i početka. Pa je uvijek početak svijeta u rukama jedne otkriveno-sakrivene osobnosti. Zato je genij profetolog prve kategorije, a što znači onaj koji zna u svom bitku arhetipske dokaza dobivanja kasnijeg vremena u svijetu, među svjetovima.
Znajući jedan svijet u svjetotvorstu, znati će se svi svjetovi u postupku.
Čim počne priča o geniju, počinje priča o epifaniji božanskog bitka, koja je priča o spuštanju božanske istine kao beskonačnosti u konačno, s čime postaje priča o bogotvorstvu kao apsolutnoj istini vječnosti. Svjetotvorenje je tu onda sve što nastaje svaki dan - kao svaki dan Postanje u vremenu - sa upravo znakovima gubitka te unutarnje apsolutne biti svakog početka.
Geniji je poslanik duha koji se snažno čuje kao prorok tako da se na svim razinama lako usvaja i može misliti.
On je duboka intuitivna budnost očekivanja unutar svake duše, koja budi njezinu unutarnju prirodu proroštva, njezina unutarnjeg proroka, intuitivnog otkrovitelja i govornika, koji postoji zato jer je potreban svijet – i moguć - da bude spoznajno i ontičku to bezuvjetno. Pa kada genij se pojavi i uđe u sebe, nije više važan um, kojega je duša ostavila za sobom, daleko, uspinjući se iz bezdana prema gore - u stanje postanja ili vječnog stvaranja – nego je važna intuicija svjetotvorenja, koja je sljepljenost i ujedinjenost sa svim što jeste, i koja je estetika toga viđenja. Ono što se dogodilo s genijem kao tvorcem uvijek je moralo imati snagu – ako je to on - da njega pretvori u proroka.
Geniji je naprosto algoritam duha koji je objava, te je putanja i dokaz direktnog izlijevanja najviše energije, te se s njim tamo gdje se od početka otpočelo, u stanju pune kontrole od stvoritelja.
Svaki prostor i svako vrijeme imaju svojeg takvog velikog govornika - projektanta u imenu i vremenu - takvog poslanika i otkrovitelja. Uz to - i zbog ovoga - on je kao takav kada da se upravo nikada u djelu ne može osporiti. Svuda okolo su njegove prve istina bitka, "dobitku" tog svijeta, koji nastaje, a gdje se ta estetika mora u jednom trenutku u duhu ezoterijskog izgubiti. Svaka estetika u cjelovitosti je jedan dostatan svijet: ako još netko estetiku kao profetološku istinu genija, pretvorenu u projekt proroka civilizacije, može otkriti. Ona je život u nama dok živimo, a od početka smo usvojili neke likove: ikone našeg postojanja koje su nam bile kao i molitva, i okrepa duha, što su pred našim očima na/odlazile. Ali to nije kraj, jer je negdje drugdje ujedno u vječnosti genijalnog, ujedno i kraj i početak. Čovjek ide u zemlju da bi uzašao u nebo, po religiji; a po teologiji, teozofiji, filozofiji, mistici, čini to tako da otkriva velike potencijale zemaljskog javljanja, da bi se na mjestima u božansko postojanjem pretvorio. Nebo se sjedinilo sa zemljom po konceptualnoj egzistenciji što je konceptualni umjetnički akt prvog očekivanja. Opet, egzistencija je najveći algoritam duha koji sve oživljuje, sa subjektom unutra koji je osa sveg pa i svemira, sabirateljem, od čije jednostavnosti se i ne vidi u svijesti, što se u besvijesti neposredno doživjelo. A to je ono što upravo geniji spašava poezijom duha, nadnaravnim otkrićima i mističnim dokazima, kada je sve u obuhvatnom misteriju i svagdanjoj jednostavnosti.
Pa ono što krasi genija je upravo priroda njegove očiglednosti.
On je taj koji se uvijek pojavljuje tamo gdje bi se očekivalo nešto drugo, i na kraju se pokaže da je to najvažnije. Genij razbija kodove svijeta u otvaranju energije prvih potencijala, tako da se s njim u djelo najviše istine filozofije mogu postaviti. Epifanija božanskog bitka se nikada ne bi dogodila da nije njegove obuhvatnosti u toj jednoj jedinoj vječnost, koja se u rukopisu estetike postavlja vrijeme. Pa je genij zauvijek ekvilibriji konačnog i beskonačnosti, vremena i vječnosti, zemlje na kojoj govori to što može reći, te neba koje tome otkriva. Drugačije se ne bi moglo zazvati vrijeme, dokazujući vječnosti u rukopiu estetskog vremena. Naime, prva istina traži otvorenost i potpunu energiju duha, prije nego što postavi ono apsolutno a zatvoreno. Geniji naprosto se stvara u stvarnosti stvarajućeg puta, kao života - kao algoritma i koncepta duha - tako da je njegova koncentracija sam supstrat djela, postavljen kao proročka istina i mitska neizbježnost. Njegova očiglednost je algoritam duha koji proročki ide unaprijed - i rasprostire stvarnost - ali ga tek ljudi unazad razumiju. Njegov odgovor na moguće je u komparaciji i stalnom dijalogu sa nemogućim. Pa razum kod njega, koji je jednak inteligenciji, i izjednačuje se sa intuicijom i instinktom, što je obično drugim ljudima svih nižih razina suludo, govoriti profone stvari svijeta koje se naprosto vide, a ne iskazuje ono bitno što se ne vidi.
Genij je apostol visokog gnostičkog potencijala u kojemu se ocrtava – kada se od njega očekuje - ono proročko.
Ono što je milenijima istok tražio preko svojih mudraca i učitelja, Zapad je po geniju ostvario u jednostavnosti svoga bića. Naprosto, zato što sam po sebi takav upravo svijet, i tako postoji, on je veliko otkrivanje: sjedinio je u sebi nebo i zemlju, pa je samo življenje u njemu poetika egzistentnog božanskog prisustva. Geniji je kao misterij Zapada, onaj koji je na Zapadu zamijenio misterij istočnog učitelja, a koji uvijek na kraju – i u beskraju - ima nešto da nam važno objasni. Tako imamo dva svijeta: 1. nirvanični kao svijet koji nešto smiruje i hoće da spasi, i 2. ekstatički svijet genija, koji je puni duh nebeskog otkrivanja.
Geniji je i profetolog visokog rizika govorenja i visoke učestalosti čujnosti, te kada šuti, govori upravo bolje nego svi koji su puni izvjesnog misaonog govorenja.
Tjučev je u svojem vremenu govoreći o izabranoj prirodi svjetskih događanja, i činjenica kako to individualno, i među narodima i svjetovima stoji, govorio je o geniju ruskog naroda, i tom prilikom je navodio unutarnji osjećaj njegove osobnosti, jednake židovskom osjećaju mesijanske uloge. To je istina koja je u biti duboko programska, i osjeća se kao opća nacionalna intuitivnost: gdje uz to ruski narod "spoj te dvije krajnosti, dobrog i zlog", zbog čega se i brusi njegova takva osobnost. Pa je geniji ruskog naroda onaj koji vas "u istom trenutku može i očarati i razočarati". On je spoj u predviđenom i proročkom – koje je mitološko - predvidivog i nepredvidivog.
Uz to, ovdje spomenuta i svuda vidljiva priroda bipolarnosti kod genija, da je on i vječnost i vrijeme, da je on i poeta i prorok, govori o složenosti sustava njegova; te sama ezoterija i egzaktnost istovremeno u njemu, veza neba i zemlje, kaže da je on bitan u prirodi svjetotvorstva. Iako izgleda da je na prvi pogled sve drugačije, tako se u temelju bitka događa. Geniji je nužno objava, i takav vrsta zakonodavne tragedije, koja ima svoju vremenitost, ali i vraća se po budnosti – i podiže - u samu prirodu vječnosti. Ta bipolarnost se potvrđuje na svakom koraku, pa je i Tjučev, dobar prijatelj Schellinga u svom vremenu, govorio da ruski narod je taj koji u sebi sjedinjuju dvije stvari, i najviše dobro i najviše zlo: i jeste "narod od kojeg možeš uvijek očekivati nešto neočekivano". Ruski narod je po njemu – a to navodi i Berđajev – više od naprosto naroda, i on zbog svoje važne uloge u svjetskoj povijesti - a i veličine – je "narod koji izaziva nemir kod naroda Zapada". Samo priroda općeg genija takvu misao kao istinu - i profetologiju - može i pretpostavljati, i očekivati.
Međutim, geniji naroda je nešto osobito, te treba uvažiti činjenicu da se on mora biti kao individua, i takav se iznimnim pojaviti. U smislu zajednice ljudi tog naroda u konkretnom slučaju našeg svijeta, mora se uzeti u obzir činjenica da je to sve u sustavu duha - i duhovnosti - velika transcendentalnost: ili nebeski odgovor o nekom saznanju koje, kada se u besvijesti vidi u beskonačnom, u svijesti se konačnim prikazuje. Uz to, a i zbog prirode konačnosti djela koje mora vući algoritme besvjesnog iznutra, geniji je taj koji se pojavljuje kao iznimna osobnost i jasna očiglednost. Geniji je ekstrem, i njegova istina se intuitivno pretpostavlja, čak i kada se iskazuje u pojmu. Tako narod božanske osobnosti mora svoju genijalnost kao individua u estetskoj riječi izgovora iskazati. Jer u svemu je filozofija kao istina, i duh, i u svakom bitnom je spoznanju: pa i zrak sa Velasquzovih slika koje Dali hoće spasiti od požara, je time filozofski poticaj viđenja te ezoterije, tog ezoterijskog – prije svega – i vrijedna istina koja se u zoru naprosto "vidi": jer da nema tog "nevidljivog" zraka na tim slikama, Velasquezova umjetnost ne bi niti vrijedila.
Naprosto, eto tu stoji profetološka istina proroka, umjetnika, ezoteriste, kao odabranika božjeg koji uvijek je u obuhvatnosti, gdje dokazuje to kako su nepostojanje i postojanje zajedno mogući. Iz sveg toga proizlazi priroda genija kao aktivna potencija filozofije i velika otkrivena bit, koja je misaono nedokučiva kada je na sve već odgovorila. Uz to, upravo onoliko duha i duhovnosti koliko grčki i židovski narod kao genij naroda imao i dao, da bi imali i dali obuhvatnost kao mitologiju svjetotvorstva - unazad i unaprijed vremenu – u njemu se pojavljuje i mora biti. Događa se uvijek da svijet iz proste i apsolutne vječnosti, i – uvijek - ponovo se pojavljuje kao prošlo vrijeme, u sadašnjem vremenu. Budućnost je zato zauvijek data latentnoj profetologiji, kao znanosti, čije se ime uglavnom ne smije ni spomenuti.
Uvijek je geniji taj koji govoreći u jednom vremenu, govori vječno i beskonačno za sva vremena.
Uvijek za genija važi osjećaj duha osobite snage u trenutku osjećaj svemoći, što je ekstatičko stanje i u biti pretvaranja maloga-ja u Veliko: i stanje izvan prostora i vremena, sebe, što je stanje u samome Postanju. Ta je pojava koja se mnogima osjeća intuitivno neupitnom, ali nevidljivom - kao intima pune očiglednosti i stopljenosti – a i obuhvatne konkretnosti. Zato geniji spušta djelo iz vječnosti u vrijeme. Kada otpočne njegovo veliko proročko počinje drama istina njegova propitivanja, pa će jedan Kant govoriti da "geniji propisuje pravila svijetu". Ali on to može samo u nultom stadiju bitka i stanju postanja, na brisanom prostoru mišljenja. To je opet na osobit način u suglasju sa Schellingim egzistencijalno-iracionalno-metafizičkim mišljenjem u stadiju ezoterije, koji genija označuje kao nadolazak čarobnog "mira i tihe veličine." S time prikazuje da je vanjska činjenica dokaz unutarnjeg velikog otkrivanja, ili samo prisustvo, koje govori da je nebeski cilj već postignut.
Ono gdje se ne najvišoj točci na kraju stiže kao savršenom dosezanju, tu na početku i sve otpočinje.
Razumijevanje ovoga i nije važno ako se kao bitno postiglo već intuitivno znanje o osobitom otkrivanju.
Svojevremeno, a u vezi s ovim rečenim - kako je geniji očiglednost - treba se sjetiti Tolstoja i njegovih riječi u Ratu i miru, kada opisujući imenovanog zapovjednika odbrane domovine od strane imperatora, Kutuzova, govorio, kako ovaj se ne boji francuske vojske koja ruši pred sobom po Europi, njegove znamenite garde koja za poraz ne zna, i sve više napreduje u dubinu Rusije: Kuruzov ima patnje i noćne more i ne može da spava, jer on se boji Napoleonova genija. To govori da se on ne boji poraza kao takvog, jer će to biti drugačija pritivnička pobjeda: dakle ne pobjeda sile, pošto ću u ovom slučaju to biti istina poraza duha njegova, ako se to dogodi, koja će se takvim onda iskazati.
Geniji i jeste intuitivni osjećaj mira "u tihoj veličini", koji se na zemlji otkriva kao jedinstven rukopis lako prepoznatljive vječnosti.
To je rukopis vječnosti u paradigmi vremena, za koji se može dostojno reći da ima jasan život u beskonačnosti, bitan algoritam postojanja i prisustva, pa to duša lako usvaja - u stopljenosti s tim – i lako slijedi.
Ne treba biti čudesno što subjekt kao individua i kao uvijek intuicija, te na kraju - na najvišoj razini intelektualno zrenje - jeste prvi zakon koji zato mora zauvijek biti "softver", a i nositelj: jer po njemu i oko njega se sve okreće, sve stavlja u prvi plan, sve dovodi do svoje predmetne osobnosti. On sam kao centar duha i postojanja, osa svemira, energija vječnosti, je taj univerzum na tom mjestu, koji se posvuda po svijetu uzalud traži.
Geniji je naprosto gnostik apologetske snage u rasprostiranju po svijetu, a i apologet gnostičke snage u duhu, što nije čudesno i najvažnije u tom pretpostavljanju njega; jer on je taj koji ujedinjuje ta dva pojma, gnostičkog i apologetskog, što znači znanja i vjerovanja. I jedan i drugi su – kao pojmovi i kao individue - otkrovitelji, samo što se ovdje to pojavljuje sljepljeno u geniju, spojeno, ujedinjeno. Tu progovara sama priroda prve neposrednosti, i zato se geniji tako čuje. Pa se u njemu pojavljuje apologet gnostičkog upliva u istinu, i gnostik apologetske sakramentalne ambijentalnosti. To naprosto znači da taj branitelj spoznaje najviše razine stoji na dverima božanskog otkrovenja, i tamo gdje se postavlja ono apsolutno, i otpušta u svijetu, u njegovoj konkretnosti. On je ujedno i branitelj Pisma ali i vjerovanja u poruku kao bolju soluciju, jer ipak podupire i podiže, naspram stalne prijetnje ništavilom. Bilo kako na nekim razinama jedini on nešto pozitivno može donijeti. Samo udruženi apologet i gnostik u povijesti vremena, ovako, djelom genija, ostavljaju iznimni trag u vječnom, tako da su i najveći učitelji filozofije.
Naprosto, filozofija ne bi došla do sebe i objavila se bez imena estetskog konceptualnog akta, koji se okvirno ovdje vrti oko tragedije, a u ovom slučaju bitno oko okovanog Prometeja ili Isusova stradanja na Golgoti, pa Antigone, mistika Chopinovih vratolomnih disonanci i sinkopa u nocturnima, kada se kasnije uopće gnostički to ne vidi. Bez priprave u apsolutnom, bez otkrivanja sebe u božanskoj biti na jasan način, estetski - a što znači zemaljsko-nebeski – ne bi se znalo o čemu ona govori, niti filozofiji prišlo. Filozofija treba otpočeti u svijetu pojmova svijeta, a onda to sve napustiti iz velikog razloga jer filozofija kao znanost – nad/znanost – će te pojmove i nadilaziti: uglavnom zbog viših razloga razumijevanja, i ona će ih izbjegavati. Ona ima svoj osobit svijet, a ovo su riječi pristupa njoj, i na tome se ostaje, ali se na tome i sve kreće: jer unutra već mora biti ostvaren veliki projekt koji će se identificirati u sebi, intuitivno složiti kao ono filozofsko. Iz filozofije spušteno u estetsko stanje svijeta, u sam svijet – dakle iz duha čistoće, iz Boga, iz same Istine – u prostor i vrijeme, postaje za nebo i za zemlju proročko.
A sam čovjek, filozof, uvijek je na granici dvaju svjetova, onog koji postoji i onog koji apsolutno postoji.
Kako je 1. apologet onaj koji vjeruje u poruku i ne dopušta pitanje nad njom, nego slijepo slijeđenje tako da sve dovodi do velikog vjerovanja, a 2. gnostik onaj koji traži znanje i nad stvorenim, promišljanje, da se zna izrečeno tako da i počinje misliti bezuvijetno, samu misao, kao najvažnije, onda su i nužni vapaji za njihovim ujedinjenjem. To mjesto ujedinjenja jeste pojava genija, njegove jednostavnosti i obuhvatnosti, pa se on i dokazuje kao najvažni algoritam objave i svjetotvorstva. Budući da to može biti samo mjesto božanskog bitka - a u ovom slučaju spuštanja i podizanja te Istine - genij se mora pojaviti kao profetolog svijeta, cvat nebeskog kao vječne nevidljivosti, koja u njemu postaje vidljivost.
Ovdje se mora znati kako je subjekt jedan, sav u beskonačnosti, kao i univerzum koji je jedan, te tako onaj koji neposredno od onog Plotinovog (Hen) Jednog, otpočinje. On se javlja u obliku apsolutnog jedinstva u filozofiji i teologiji, kojega geniji prima u obuhvatnosti, i tako će misliti. Odatle prava i iskrena mistika počinje. A mistik je čovjek koji boga poznaje, i tako će riječima govoriti. On je unutarnji nositelj svijeta i ezoterijski apsolutni dokaz. U njemu se osniva cjelina koja se dijeli u objektivizmu svijeta, da ta podjela postaje iluzorna, ali se tako stvara svijet. Pa kada se ta disperzija njegova dogodi – rastakanje subjektuma - teško se sjetiti u kodifikaciji svijeta koji traje, samoga njegovog i sveopćeg Početka. Time je geniji jedini u kojem se nije dogodio taj zaborav bitka, pa je u njemu nemoguće sjećanje koje je pogrešno, te se neće u njemu greška ponoviti.
Rastakanje jedinstva uvijek se događa u jedinstevnoj budnosti duha koja je sad i ovdje postavljena kao estetika prostora u nekom programu, konceptualnoj riječi (mitologije) vremena, koja će imati neko svoje proroštvo. Pošto je sve od subjekta naspram objektivizma - koji i ne postoji – onda se geniji pojavljuje kao apsolutizam tog objektivizma, koji je subjekt, kao epifanija božanskog bitka: jer on je na djelu spuštena vječnost u vrijeme - vrijeme u vječnosti i vječnost u vremenu. Geniji je onaj koji otkriva svoju osobnu prirodu kao apsolutnu mogućnost, jer se unutra sve javlja kao ezoterija ali i iluzija spoznanja, a u stvari je to čin najvišeg stvaranja. Nikada se iz subjekta nije izašlo i objektivizam koji se javlja i koji se misli realizmom, je u biti izgubljeni ili dobiveni genij, već prema snazi onoga što će u tijelu svijeta biti ostavljeno. Ljudi pogrešno misle univerzumom misleći ga objektivizmom, kao i kozmosom, svemirom, čak kao i svijetom, pretpostavljajući da je to nešto logički kodificirano, pa tako i otkriveno kao vječno, van subjekta i pretpostavljajući ga u egzoteriji. To je problem u razumijevanju svijeta u odnosu na bitak, i to je razlog zašto je filozofija nerazumljiva svakoj drugoj znanosti. Subjekt je jedini osnov budnosti duha i filozofije i mističkog, i on sam je svemu polog te van njega ništa nije moguće. A kako je geniji subjekt ipak, i u subjektu, a on izjednačen sa bogom, onda je to subjektivna stvar bogotvorstva. Kada je duh obuhvatnosti izjednačen sa božanstvom, a sve to unutar subjekta, naspram svagdanjeg realnog svijeta iluzija, objektivizma, onda se vračamo u centralu duha, u osu svemira, unutra, gdje geniji – kao duh – prvotno stoji. Da bi čovjek opstao u takvom svijetu, u ljepoti i istini njegove prirode, po dobrome (agathon), u osobnosti, po proroku koji se čuje, i čiji glas prodire prema vječnosti, iz vremena, on mora na krilima genijalnog – subjektivnog - opstati slušajući njegovu najveću jednostavnost. Mo Tzu, kineski filozof i prvi neprijatelj Konfucija i njegove doktrine, govoreći svojedobno o validnosti ideje u smislu da je neka ideja dobra, ili ne, je govorio da je za neku ideju važno: 1. da je realna, 2. da je svakome razumljiva, i 3. da je primjenljiva. Kada se to prevede na misao o geniju znači, da je veliko djelo genija ono, kojega svi ljudi u svom subjektu – kao istini ezoterije - svih intelektualnih razina, svih rasa i oblika, i svih prostora, svih kulturoloških pogleda, vide kao veliko i spojeni su u njegovoj veličini.
Zato je uvijek Jedno (Hen) koje spominju filozofi od početka, koje se javlja od vremena do vremena, po geniju kao proroku, upravo se zato najbolje čuje, već bilo kako da se uspje izraziti.
Kada je Giorgano Bruno svojevremeno govorio o beskonačnosti svemira i mnoštvu svjetova, kao filozof i mag prelomnog renesansnog svijeta i tom prilikom izgovorio čistu ezoteriju - u podstrukturi univerzuma kojega pretpostavljao – morao je kao geniji se nad tim svijetom uzdići. Njegov govor "o načelu i jednome" potvrđuje veliko-Ja unutarnje, Jedno, kao zaista jedno biće mističkog isijanja (lat. emanatio), na koje se svaki onaj koji dobro govori iznutra stalno opominje, iznutra vodi, čak oplemenjuje iznimno kada doseže nešto u vanjskom. Time se ono zemeljsko i nebesko, egzoterijsko i ezoterijsko, dodiruju i spajaju u jedno jedinstvo, kada se ta intuitivna obuhvatnost pojavljuje kao server sveg mogućeg na svijetu i dogovor među svim svjetovima.
Geniji je "sabiratelj" razbacanog svijeta po jednom postojanju u vremenu - izgubljene vječnosti - kao koncentrat otvorenog duha, u kojemu se na tren pojavljuje opet zatvorenim prorokom.
Pa kako je već genij uvijek koncentrat postojećeg iz jedne izgubljene vječnosti, on postaje i stožerno mjesto zatvaranja vremena, pa takvim i nužno prorokom. Njegova priroda je "objava božanstva", a to je u trenu vječno otkrivanje vječnosti, što stalno sakriva sebe, kroz vrijeme u trajanju nužnog vremena. Kada se to dogodi da se apsolutno navijesti, pojavi, nekako već do njega dođe, u egzistenciji nastaje problem njegova postavljanja u prostoru i vremenu, da se iskaže, da sve to bude jasno u konkretnom. Kako boga predstaviti da to bude u životu življenja, i da se zna: ili to učiniti kako čini religija, znanost, kako umjetnost; ili kako filozofija i sama poeziju duha što istrajava na najfinijim nitima egzistencije, koja jest ono božansko? S koje god strane se krene u postupku i u načelu, po koraku kao se ide vremenom, sa svakim trenutkom gubitka vječnosti, sve se kvari. Najbolji dokaz za to su 1. monoteističke teologije, koje su sve kroz povijest dokazivanja apsolutnog se kvarile u poruci dokazivanja jednog, kroz vrijeme, u mnoštvu svetog, da bi na drugoj strani 2. umjetnost kao poeziji duha u iskazu genija po epifaniji božanskog bitka se ponovo uzdižući iz tog profetološkog svijeta, vračala se k onom ostavljenom pra/Početku.
Iz svega je jasno, a tako je Zapad i postavljen, da će 1. genij u njemu biti onaj koji se moćno čuje, prorokuje i jasno govori, dok će 2. mistik morati biti prognan od prve iz tog svijeta kao filozof nultog stadija bitka, kada će se filozofijom nešto drugo (znanstveno) pretpostavljati.
Prvi će šutjeti djelom poezije duha, koja govori intuitivno samu nebesku prirodu postojanja. Zbog svojih pitanja i svojih odgovora, zbog svojeg znanja i visokih pretpostavki u bitku – te bivanju - skrivenih dogovora s bogovima, ovaj drugi će reći veliku istinu za povijest, kroz vrijeme, iznad glava patuljaka, koji će se čuti u vječnosti, pa će tako vječnost i u misli i u pojmu biti otkrivena.

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GENIUS

The spirit that enters a man who is a spiritually and scientifically indisputable spirit, or especially a high inspiration, in the fullness and appearance of expressions of simplicity, is a genius, or one behind whom, when revealed, all studies of the highest secrets about anything are meaningless. all possible - and received - answers.
Genius is the obvious, and its nature is reflected in beauty and ascension, before any question is asked.
Speaking of the difference and relationship between talent and genius, Edwin P. Whipple argued that “talent repeats, and genius creates, talent is a cistern, and genius is a fountain”. Quite simply, talent is a big river just rushing to the sea, while the genius of the inexhaustible ocean is set in infinity. The nature of human knowledge in talent is just a reasonable opinion that will reveal something as it is already looking for, while the genius is the Revelation that is just coming and covering everything. While talent strives to resolve some relationship in the world, which is the world, with the acrobatics of words and thoughts, geniuses, with their sharp simplicity at the highest level, set themselves resolved in the absolute essence of their divine origin. Its nature is world-creating, and that is why it is the greatest - both heraldic and legislative - principle of the profetological essence of battle: which means in the development and space of the limitations of the world, before the infinity of all worlds, all possible.
A genius is one who lowers eternity itself, from the absolute and invisible nature of the spirit, into the manuscript of time.
So the silence of the genius over the work he created with which he lowered infinity into the final is, in fact, the greatest talk ever that can occur. The work is the foundation of both thought and speech and therefore the prophecies of the world: and in the system there is genius versus the abstract heavy thoughts of the Eastern prophet, who speak words that still need to be interpreted and are barely heard - and constantly interpret and speak them again. It is the genius that reveals the most hidden in the work, with the work, and hides the very principles of the most revealing and with the measure of their maintenance in the world, in places.
The acrobatics of words and thoughts is superfluous and not necessary, to express something well, true, and it can be liked by someone, accepted by someone, deceived by someone, and there is a big problem of real philosophy. Jaspers made such a remark on Heidegger's metaphysics, as a linguistic equilibrist that fascinates the ignorant, according to which it looks something like a philosophy, which is lost in the high potencies of esotericism. In that sense, in a similar way, Tolstoy added to a newspaper headline concerning his literary text that literary criticism is the space in which the stupid discuss the smart. Algorithms of the spirit of ingenious creation even the highest intelligence cannot understand. It is not seen when a genius speaks the absolute truth about the One, just like philosophy itself; and here in the very inner of the spirit - of the work - the most in itself is the mystical, which is of philosophy itself. So the genius is the one who solves the individual question given to him here in the palm of his hand immediately with a comprehensive solution for everyone.
This whole book will prove this genius of the messengers the beginning of everything, and from his unapproachable nature in the real world, and his unconscious towards consciousness, his impossible towards the possible.
Genius always feels intuitively on those levels where the simple man and the simple soul, by themselves, cannot come cognitively or by the highest intellectual powers. In genius is the existing inner latent philosopher, who seeks his realization in the real and conceptual world, for each is essentially the architect of the possible: he who appears visible - and when he sees more and more - appears more and more to the prophet. The creation of the world is always Here-in-action at every possible moment of time, and at its best in eternity, so that the notion of profetology as a science cannot be separated from world-making.
Coming to the divine is always by genius and in eternity, for only genius is the link between eternity and time. And as genius is connected with the gods, this happens to man every day in the radiant intimacy of immediate living. Perhaps the best thing to illustrate is what I have already said about love, as the last truth of heaven, and that: that when two lovers full of attention and humility talk to each other lightly looking straight into each other's eyes, in the intimacy of their isolation, and with some distant plans, it becomes a conversation between the gods.
The genius is right there and otherwise the deity could not appear, and only after that can the great prophet appear, who speaks worldly: because he is present where nothing is seen, only (highly) felt, so it becomes the greatest vision.
Prophecy is simply a fact for which the already realized world in itself proves its correctness from the beginning, its wisdom-legislative and time-proclaiming indisputability.
Thus the prophet of the highest power is one who by his work raises the absolute vigilance of the spirit in simplicity. He is a genius who, when he begins in the unconscious, discovers in consciousness, the unconscious-conscious world-creating peculiarity. It awakens the deep engrams of the inner future event, which is in fact always a precondition for any realization and duration of the world, and its maintenance and beginning. So the beginning of the world is always in the hands of one revealed-hidden personality. That is why a genius is a profetologist of the first category, which means one who knows in his battle the archetypal evidence of gaining later time in the world, among the worlds.
Knowing one world in world creation, all worlds in process will be known.
As soon as the story of genius begins, the story of the epiphany of the divine battle begins, which is the story of the divine / revealed descent of divine truth as infinity into the final, thus becoming the story of deification as the absolute truth of eternity. The creation of the world is then everything that arises every day - like every day Becoming in time - with exactly the signs of the loss of that inner absolute essence of every beginning.
A genius is a messenger of the spirit who is strongly heard as a prophet so that he is easily adopted and able to think at all levels.
He is the deep intuitive vigilance of expectation within each soul, which awakens its inner nature of prophecy, its inner prophet, intuitive revealer and speaker, which exists because the world is needed - and possible - to be cognitive and ontic unconditionally. So when genius appears and enters itself, it is no longer the mind, which the soul has left behind, far away, ascending from the abyss upwards - into the state of becoming or eternal creation - that is important, but the intuition of world creation, which is blindness and unity with all that it is, and what is the aesthetics of that vision. What happened to the genius as creator must always have had the power - if it was him - to turn him into a prophet.
Genius is simply the algorithm of the spirit that is revelation, and the trajectory and proof of the direct outpouring of the highest energy, and with it where it began from the beginning, is in a state of full control from the creator.
Every space and every time has its such a great speaker - a designer in name and time - such a messenger and revelator. In addition - and because of this - he is as such when he can never be challenged in action. All around him are his first true battles, the "gain" of that world, which arises, and where that aesthetic must at some point be lost in the spirit of the esoteric. Every aesthetic in its entirety is one sufficient world: if anyone else can discover aesthetics as the profetological truth of genius, transformed into the project of the prophets of civilization. It is the life in us as we live, and from the beginning we have adopted some characters: the icons of our existence that were like prayer to us, and the refreshment of the spirit that came before / before our eyes. But this is not the end, because somewhere else it is both in the eternity of the genius, both the end and the beginning. Man goes to earth to ascend to heaven, by religion; and according to theology, theosophy, philosophy, mysticism, it does so in such a way as to reveal the great potentials of earthly appearances, in order to be transformed in places into a divine existence. Heaven merged with earth by conceptual existence which is the conceptual artistic act of first expectation. Again, existence is the greatest algorithm of the spirit that animates everything, with the subject inside which is the axis of everything, even the universe, the collector, whose simplicity is not even seen in consciousness, which was directly experienced in the unconscious. And that is what saves geniuses with the poetry of the spirit, supernatural discoveries and mystical proofs, when everything is in a comprehensive mystery and everyday simplicity.
Well, what adorns a genius is precisely the nature of his obviousness.
He is the one who always shows up where something else would be expected, and in the end it turns out to be the most important thing. Genius breaks the codes of the world in the opening of the energy of the first potentials, so that with it the highest truths of philosophy can be placed in the work. The epiphany of the divine battle would never have happened had it not been for its comprehensiveness in that one and only eternity, which is placed in the manuscript of aesthetics of time. So genius is forever the equilibrium of the finite and infinity, of time and eternity, the earth on which he speaks what he can say, and the sky which he reveals to it. Time could not be invoked otherwise, proving eternity in the manuscript of aesthetic time. Namely, the first truth requires openness and complete energy of the spirit, before it sets the absolute and the closed. Genius is simply created in the reality of the creative path, as life - as an algorithm and concept of spirit - so that its concentration is the very substratum of the work, set as prophetic truth and mythical inevitability. Its obviousness is an algorithm of the spirit that prophetically goes forward - and spreads reality - but only people understand it backwards. His answer to the possible is in comparison and constant dialogue with the impossible. So reason in him, which is equal to intelligence, and is equated with intuition and instinct, which is usually insane for other people of all lower levels, to say profane things of the world that are simply seen, and does not express the essential that is not seen.
A genius is an apostle of high Gnostic potential in which the prophetic is outlined - when expected of him.
What the East has been seeking for millennia through its sages and teachers, the West has achieved through genius in the simplicity of its being. Simply because the world itself is such, and so it exists, it is a great revelation: it has united heaven and earth in itself, so that only living in it is the poetics of an existential divine presence. Genius is like the mystery of the West, the one who has replaced the mystery of the Eastern teacher in the West, and who always has something important to explain to us in the end - and in infinity. Thus we have two worlds: 1. nirfficial as a world that calms something and wants to save, and 2. ecstatic world of genius, which is the full spirit of heavenly revelation.
He is a genius and a profetologist with a high risk of speaking and a high frequency of hearing, and when he is silent, he speaks just better than anyone who is full of a certain mental speech.
Tyuchev in his time, speaking of the chosen nature of world events, and the fact that it stands individually, and among nations and worlds, spoke of the genius of the Russian people, and on that occasion cited an inner sense of his personality equal to the Jewish sense of messianic role. This is a truth that is essentially deeply programmatic, and it feels like a general national intuition: where, in addition, the Russian people are "a combination of these two extremes, good and evil", which is why their such personality is being honed. Well, the genius of the Russian people is the one who "can both enchant and disappoint you at the same time." He is a combination of the predictable and the prophetic - which is mythological - predictable and unpredictable.
In addition, the nature of bipolarity mentioned here and seen everywhere by the genius, that he is both eternity and time, that he is both a poet and a prophet, speaks of the complexity of his system; and the esotericism itself and the exactness in it at the same time, the connection of heaven and earth, says that it is essential in the nature of world-making. Although everything seems different at first glance, this is how the battle fundamentally happens. Genius is necessarily a revelation, and such a kind of legislative tragedy, which has its temporality, but also returns by vigilance - and raises - to the very nature of eternity. This bipolarity is confirmed at every step, so Tyuchev, a good friend of Schelling in his time, said that the Russian people are the ones who unite two things, both the most good and the most evil: and is "a people from whom you can always expect something unexpectedly". According to him, the Russian people are - and Berdyaev states this - more than just a people, and because of their important role in world history - and greatness - they are "a people that causes unrest among the people of the West." Only the nature of general genius can both presuppose and expect such a thought as truth — and profetology.
However, the genius of the people is something special, and one should take into account the fact that he must be as an individual, and such an exceptional appear. In terms of the community of people of that nation in the particular case of our world, one must take into account the fact that it is all in the system of spirit - and spirituality - a great transcendence: or a heavenly response to some knowledge which, when seen in the unconscious is finalized. In addition, and because of the nature of the finality of the work that must be drawn by the algorithms of the unconscious from within, it is the genius who emerges as an exceptional personality and a clear obvious. Genius is extreme, and its truth is intuitively assumed, even when expressed in a concept. Thus the people of the divine personality must express their genius as an individual in the aesthetic word of pronunciation. For in everything philosophy is as truth, and spirit, and in every essential cognition there is: even the air from Velasquz's paintings which Dali wants to save from fire, is thus a philosophical stimulus to see that esoteric, that esoteric - above all - and valuable truth which in the dawn simply “sees”: for if it were not for this “invisible” air in these paintings, Velasquez’s art would not even be worth it.
Quite simply, here stands the prophetic truth of the prophet, the artist, the esotericist, as the chosen one of God who is always in comprehensiveness, where he proves how non-existence and existence together are possible. From all this arises the nature of genius as the active potency of philosophy and the great revealed essence, which is mentally incomprehensible when it has already answered everything. In addition, just as much spirit and spirituality as the Greek and Jewish people as the genius of the people had and gave, to have and give comprehensiveness as the mythology of world creation - back and forth time - appears and must be in it. It always happens that the world comes out of simple and absolute eternity, and - always - it reappears as the past, in the present. The future is therefore forever given to latent profetology, as a science, whose name is generally not even to be mentioned.
It is always the genius who, speaking in one time, speaks eternally and infinitely for all time.
The feeling of the spirit of special strength is always considered a genius at the moment, the feeling of omnipotence, which is an ecstatic state and in essence the transformation of the small self into the Great: and the state beyond space and time, oneself, which is the state in Becoming itself. It is a phenomenon that many feel intuitively unquestionable, but invisible - as an intimacy full of obviousness and fusion - and comprehensive concreteness. That is why genius lowers a work from eternity to time. When his great prophetic beginning begins, the drama of the truth of his interrogation begins, so one Kant will say that "genius prescribes rules to the world." But he can do that only in the zero stage of battle and the state of becoming, in the erased space of thought. This is again in a peculiar way in agreement with Schelling's existential-irrational-metaphysical thinking in the esoteric stage, which the genius characterizes as the coming of magical "peace and quiet greatness." By doing so, he shows that the external fact is evidence of an internal great revelation, or mere presence, which says that the heavenly goal has already been achieved.
Where one does not reach the highest point in the end as a perfect achievement, that is where it all begins at the beginning.
Razumijevanje ovoga i nije važno ako se kao bitno postiglo već intuitivno znanje o osobitom otkrivanju.
Understanding this is not important if intuitive knowledge of particular discovery has been achieved as essential.
At one time, in connection with this saying - as the genius is obvious - we should remember Tolstoy and his words in War and Peace, when describing the appointed commander of the defense of the homeland by the emperor, Kutuzov, he said that he was not afraid of the French army collapsing in front of him. across Europe, his famous guard who knows no defeat, and is advancing more and more into the depths of Russia: Kuruzov has sufferings and nightmares and cannot sleep because he is afraid of Napoleon's genius. This says that he is not afraid of defeat as such, for it will be a different victory of the adversary: therefore not a victory of force, for in this case it will be the truth of the defeat of his spirit, if that happens, which will then manifest itself as such.
Genius is an intuitive sense of peace "in quiet size", which is revealed on earth as a unique handwriting of easily recognizable eternity.
It is a manuscript of eternity in the paradigm of time, which can be worthily said to have a clear life in infinity, an essential algorithm of existence and presence, so that the soul easily adopts it - in fusion with it - and easily follows it.
It should not be surprising that the subject as an individual and as always an intuition, and in the end - at the highest level intellectual maturity - is the first law which must therefore forever be "software" and the bearer: because according to it and around everything everything turns in the foreground, it all leads to its subject personality. He himself, as the center of spirit and existence, the axis of the universe, the energy of eternity, is that universe in that place, which is sought in vain everywhere in the world.
Genius is simply a gnostic of apologetic power in spreading around the world, and also an apologist of gnostic power in spirit, which is not miraculous and most important in that assumption of him; for he is the one who unites these two notions, gnostic and apologetic, meaning knowledge and belief. Both are - as concepts and as individuals - revelators, only here it appears glued together in genius, connected, united. This is where the very nature of first immediacy speaks, and that is why geniuses are heard that way. So the apologist of the Gnostic influence on the truth appears in him, and the Gnostic of the apologetic sacramental ambience. This simply means that this defender of the highest level of cognition stands at the door of divine revelation, and where the absolute is placed, and releases in the world, in its concreteness. He is at the same time a defender of the Scriptures, but also of the belief in the message as a better solution, because he still supports and raises, in spite of the constant threat of nothingness. Either way on some levels he alone can bring something positive. Only the combined apologist and gnostic in the history of time, thus, by the work of genius, leave an exceptional trace in the eternal, so that they are also the greatest teachers of philosophy.
Quite simply, philosophy would not come to its senses and be published without the name of an aesthetic conceptual act, which roughly revolves around tragedy, and in this case essentially around the chained Prometheus or Jesus' suffering on Golgotha, then Antigone, the mystique of Chopin's breakneck dissonances and syncope in nocturnes. when later it is not seen gnostically at all. Without preparation in the absolute, without revealing oneself in the divine essence in a clear, aesthetic way - which means earthly-heavenly - one would not know what it is talking about, nor would one approach philosophy. Philosophy should start in the world of world concepts, and then abandon it all for a great reason, because philosophy as a science - over / science - will transcend these concepts: mainly for higher reasons of understanding, and it will avoid them. It has its own special world, and these are the words of approach to it, and it stays on that, but that's where it all moves: because inside a great project must already be realized that will identify within itself, intuitively agree as the philosophical one. From philosophy, lowered into the aesthetic state of the world, into the world itself - that is, from the spirit of purity, from God, from Truth itself - into space and time, it becomes prophetic for heaven and earth.
And man himself, the philosopher, is always on the border of two worlds, the one that exists and the one that absolutely exists.
As the 1st apologist is the one who believes in the message and does not allow the question over it, but blindly following so that everything leads to great belief, and the 2nd gnostic is the one who seeks knowledge over the created, contemplation, to know what is said so it begins to think unconditionally, the thought itself, as the most important, then the cries for their unification are also necessary. This place of unification is the appearance of genius, its simplicity and comprehensiveness, so it proves to be the most important algorithm of revelation and world creation. Since it can only be a place of divine battle - and in this case the lowering and raising of that Truth - the genius must appear as the prophetologist of the world, the blossom of the heavenly as eternal invisibility, which becomes visibility in him.
Here it must be known how the subject is one, all in infinity, as well as the universe which is one, and thus the one which begins directly from that of Plotinus' (Hen) One. It appears in the form of absolute unity in philosophy and theology, which geniuses receive in comprehensiveness, and so they will think. From there, true and sincere mysticism begins. And a mystic is a man who knows God, and so he will speak in words. He is the inner bearer of the world and the esoteric absolute proof. In it a whole is established which is divided in the objectivism of the world, that this division becomes illusory, but thus the world is created. So when this dispersion of his happens - the dissolution of the subject - it is difficult to remember in the codification of the world that lasts, its very and universal Beginning. Thus the genius is the only one in whom this forgetfulness of the battle did not take place, so that in him the memory which is wrong is impossible, and the mistake will not be repeated in him.
The dissolution of unity always occurs in the unique vigilance of the spirit which is now and here set as the aesthetics of space in some program, the conceptual word (mythology) of time, which will have some prophecy of its own. Since everything is from the subject to objectivism - which does not exist - then genius appears as the absolutism of that objectivism, which is the subject, as the epiphany of the divine battle: for it is in action lowered eternity into time - time into eternity and eternity into time. A genius is one who reveals his personal nature as an absolute possibility, because inside everything appears as an esoteric but also an illusion of cognition, and in fact it is an act of the highest creation. Never has an objectivism emerged from the subject, which occurs and is thought of as realism, is essentially a lost or gained genius, but according to the power of what will be left in the body of the world. People mistakenly think of the universe by thinking of it as objectivism, as well as the cosmos, the universe, even the world, assuming that it is something logically codified, and thus revealed as eternal, outside the subject and assuming it in the exoteric. This is a problem in understanding the world in relation to being, and this is why philosophy is incomprehensible to any other science. The subject is the only basis for the vigilance of the spirit and philosophy and the mystical, and he himself is the deposit of everything, and without it nothing is possible. And since the subject is a genius, even in the subject, and he is equated with God, then it is a subjective matter of deification. When the spirit of comprehensiveness is equated with divinity, and all that within the subject, as opposed to the everyday real world of illusions, objectivism, then we return to the center of the spirit, to the axis of the universe, inside, where genius - as a spirit - originally stands. In order for man to survive in such a world, in the beauty and truth of his nature, by good (agathon), in personality, by a prophet who is heard, and whose voice penetrates to eternity, from time, he must survive on the wings of genius - subjective - listening its greatest simplicity. Mo Tzu, a Chinese philosopher and the first enemy of Confucius and his doctrine, once spoke of the validity of an idea in the sense that an idea is good or not, he said that an idea is important: 1. that it is realistic, 2. that it is understandable to everyone , and 3. that it is applicable. When translated into the thought of genius, it means that the great work of genius is what all people in their subject - as the truth of esotericism - of all intellectual levels, all races and forms, and all spaces, all cultural views, see as great and connected. are in its size.
That is why the One (Hen) always mentioned by philosophers from the beginning, which appears from time to time, by genius as a prophet, is precisely why it is best heard, but in any way it can be expressed.
When Giorgano Bruno once spoke of the infinity of the universe and the multitude of worlds, as a philosopher and magician of the crucial Renaissance world, and on that occasion uttered pure esotericism - in the substructure of the universe he assumed - he had to rise above that world as a genius. His discourse "on principle and one" affirms the great-Self of the inner, the One, as truly one being of mystical radiance (lat. Emanatio), to which every one who speaks well from within is constantly admonished, guided from within, even ennobled exceptionally when he attains something in external. Thus, the earthly and the heavenly, the exoteric and the esoteric, touch and merge into one unity, when this intuitive comprehensiveness appears as a server of everything possible in the world and an agreement between all worlds.
The genius is the "collector" of a scattered world by one existence in time - lost eternity - as a concentrate of an open spirit, in which he reappears for a moment as a closed prophet.
So since genius is always a concentrate of the existing from a lost eternity, it also becomes the pivotal place of the closing of time, and thus necessarily a prophet. His nature is the "revelation of divinity," and it is in the moment the eternal revelation of eternity, which constantly hides itself, through time in the duration of necessary time. When this happens to be absolutely announced, to appear, somehow it already happens, in existence there is a problem of its placement in space and time, to express itself, to make it all clear in concrete. How to present God to be in the life of living, and to be known: or to do it as religion, science, as art; or how does philosophy and the poetry of the spirit itself persist on the finest threads of existence, which is the divine? Whichever way one goes in the process and in principle, step by step as one goes with time, with each moment of loss of eternity, everything breaks down. The best proof of this are the 1st monotheistic theologies, all of which throughout the history of proving the absolute have been corrupted in the message of proving one, through time, in the multitude of the sacred, to the other side 2. Art as poetry of the spirit rising again from that prophetic world, she returned to that abandoned primordial beginning.
It is clear from everything, and so the West is set, that the 1st genius in him will be the one who is powerfully heard, prophesied and clearly spoken, while the 2nd mystic will have to be banished from the first from that world as a zero-stage philosopher of battle, when philosophy will assume something else (scientific).
The former will be silent by the work of the poetry of the spirit, which intuitively speaks of the very heavenly nature of existence. Because of his questions and his answers, because of his knowledge and high assumptions in battle - and being - hidden agreements with the gods, the latter will tell a great truth about history, through time, above the heads of dwarves, who will be heard in eternity, and so eternity both in thought and in concept to be revealed.