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Artemida © 2022 Anton Celin

GENIJ (PF) _____ GENIUS (LPH) Anton Celin

Duh koji se javlja kroz čovjeka koji je neosporno duh, te osobito i visoko nadahnuće, u punini i jednostavnosti iskaza, je geniji, ili onaj iza kojega su besmislena sva pitanja jer su dobiveni – i objavljeni - već svi očiti odgovori.
Genijalnost je očigledna, te je izraz njezine biti – njezina početka - filozofija otkrivenja. Genij je objava pune intuitivnosti i njegova priroda se ogleda u uznesenosti, te u odmah neposredno danom odgovoru, prije nego što se bilo kakvo pitanje postavi.
Govoreći o razlici i 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 biti bitka: što znači projekta urednog razvoja prostora i vremena, referentnog i ograničenog svijeta, pred beskonačnošću svih svjetova.
Geniji je onaj koji samu vječnost, iz apsolutne i nevidljive prirode duha, spušta u rukopis vremena.
Pa je zato je šutnja koja stoji nad djelom genija, 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: projekta u njegovoj viziji u njegovu imenu, naspram sustava 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 i u svijetu i u djelu, metafizikom djela otkriva, te načelima tog najviše otkrivnog, s mjerom njihova održanja u svijetu - na mjestima tog stvaranja svijeta - opet sakriva.
Akrobatika riječi i misli je suvišna ovdje i nije potrebna da se proizvodi nešto dobro, iskaže, postavi kao istinito, da vrijedi: i može se ona nekome sviđati nekome ne sviđati - netko je prihvatati, a netko s njom zavaravati – kada upravo tu stoji najveći problem realne filozofije. Takvu primjedbu je dao Jaspers na Heideggerovu metafiziku, kao jezičku ekvilibristiku koju ovaj koristi da neuke fascinira, i da izgleda kao filozofija, upravo po dodanoj – nakalemljenoj – mudrosti, koja se u visokim potencijama ezoterije gubi. Filozofi – koji su geniji - veoma grubo znaju da uvrede kolege, niže od sebe – kada osjete mentalnu superiornost, pa to kasnije postaje tip razumijevanja u povijesti i jednih i drugih. Tako je Heraklit govorio osvrćući se na svog suvremenika Ksenofonta, kako sveznanstvo nije mudrost, jer kada bi sveznanstvo bila mudrost – govorio je – onda bi i Ksenofont bio mudar čovjek. Jaspers se tako našalio oko Husserla, i njegove filozofije, čuvši ga i rekavši, kako je on veoma bistar i da je šteta što nema talenta. Pa je u tom smislu i na sličan način Tolstoj, a na jedan osvrt u novinama koji se ticao njegova literarna teksta, rekao kako je književna kritika onaj prostor govora u kojem glupi raspravljaju o pametnima. Algoritme duha genijalnog stvaralaštva čak niti najviša inteligencija ne može razumjeti. Ne vidi se lako genij, kada apsolutnu istinu o jednome kao samu filozofiju govori, ulazeći u samu prirodu unutarnjeg i metafizičkog, koje je mističko s početka. Bitan lakmus papir za to su pojmovi čistoće, jednostavnosti, očiglednosti, superiornosti nad svim okolo, u trenutku u kojem se o tome odlučuje. Od duha naprosto ono jedno, i po duhu jedno i jedinstveno, postiže se mističkim izgovorom intuicije, na mjestu ose svemira koja je os univerzuma, pa je to objava cjelovitosti. Time geniji je taj koji pojedinačno pitanje i konkretno, dano mu ovdje na dlanu, rješava odmah obuhvatnim odgovorom za sve.
Čitava ova knjiga dokazivati će ovaj genijalan a od bogoposlanih početak sveg, a iz njihove neuhvaljive prirode u realnom svijetu, koja je u besvjesnom, spram svijesti, koja je u nemogućem 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 – kada se upravo sve više vidi – i javlja sve više prorokom. Stvaranje svijeta je uvijek sad-ovdje na djelu, u svakom trenutku mogućeg vremena - po najboljem u vječnosti - pa se profetologija kao znanosti ne može odvojiti od znanja o ovoj velikoj istini, od znanja o svjetotvorstvu.
Znanje o postojanju jeste već znanje o početku i već u sebi sadrži i mitologiju, i profetologiju, i eshatologiju – kao izvedenu filozofiju – i sve u vezi s tim odgovore.
U pitanju genija, Helvecijus postavlja pitanje o tome što je to toliko indentično u ljudima toliko različitim poput Descartesa, Lockea, Molierea da ih svrstava pod jedno, pod jedno ime, pod jedan pojam, genija. Pri tome govori kako pojam genija potiče od riječi gignere, gigno*, što znači radim, proizvodim, a koji se opet korijenski veže na latinsko "genius" (duh), što je indentično grčkom "daimon". Ali kako se god uzme, bitno je to da se svuda provlači stvaralaštvo i stvaranje kao princip njegov; pa to jedinstveno svojstvo što pripada različitim ljudima, koje Helvecijus zove invencijom, ili pojmom genija, je onaj temelj koji dokazuje čitava ova knjiga, a što je jedinstveni put sa dva svoja smjera: 1. spuštanje božanske biti u svijet, i tim postupkom 2. njegovo zemaljsko dolje svjetotvorenje. Kako geniji ima aktivan princip prema svijetu, i drži se da je to urođena osobina nekih ljudi koji imaju neposrednu vezu sa stvoriteljem, sve se to može vezati sa Schellingovom objavom božanstva – koju on prije svega vidi u estetici i poeziji duha u umjetnosti – što je istina samog čovjeka u unutarnjem isijanju, kroz kojega djeluje ono demonsko kao ono pozitivno.
Mora ovdje primijetiti da sve to na kraju ima veze sa ezoterijom i da je geniji ono ezoterijsko samo u punini, govor iznutra koji je osobite snage i nemjerljiv s bilo čim, pošto je jači on nego čitav svijet, jer će upravo njega promijeniti. I Kant je govorio da geniji propisuje pravila svijetu, što je opet moje osobno unazad pronalaženje onoga koji skriveno jasno otpočinje božansku profetologiju, kao znanost, i to drugim jezikom govori. Dakle sve rečeno i prvedeno kaže, kako je geniji prvi onaj koji u svijetu misli unaprijed vremenu, te sam iz sebe isijava programski i navjestiteljsko i zakonodavno proroštvo, dakle ono što će se postaviti svijetom, neposredno u estetici – pa tako i zorno – otkrivati. Geniji dakle jeste i imanencija i transcendencija, te je on i realnost i objektivizam, koji ono najviše metafizičko pokazuju. A kao prvo, on ne misli stereotipno i njegovo znanje duha je metafizički princip čak i u fizičkom svijetu, kada obiluje masom transcendentalnosti.
Geniji je zakonodavni obrazac svijeta i svih svjetova koji aktivno nameće i izvršava programski princip otkrivanja.
Dolazak do božanskog uvijek je po geniju i vječnosti, jer samo je geniji čista veza između vječnosti i vremena. Ovdje ne stoji Kierkegaardva opaska o razlici između genija i apostola, jer i jedan i drugi su i vječnost i vrijeme, i jedan drugačiji je među njima identitet: pošto je geniji ekstatično i eksplozivno u duhu stanje vječnosti, a apostol vjerujuće i nirvanično vrijeme. Na kraju, apostol može biti pozvan da izvršiti svoju misiju, ali to ne može učiniti ako u sebi ne sadrži ono bogoposlaničko i genijalno. Kako je genij povezan sa bogovima, i onim Bogom – Jednim, Prvim, Apsolutom iz kojega sve proizlazi – to se svagdanje na nižim razinama, u manjim potencijama, događa svakom čovjeku u blistavoj intimi neposredna življenja. Možda za ilustraciju najbolje govorio istina o ljubavi, strasnoj, kao posljednjoj istini neba, o čemu sam već govorio, govoreći, 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 dijalogom između bogova.
Geniji je upravo tu i drugačije se ne može naći. Kada ga ne bi bilo, božanstvo se ne bi moglo pojaviti, i svijet se ne bi mogao pojaviti, jer ne bi mogao nastati veliki prorok koji svjetotvorno govori. Pogotovu ne bi mogao nastati prorok prvih u svijetu odgovora, koji je prisutan tamo gdje se ništa ne vidi, pa svo viđenje otpočinje.
Proroštvo je naprosto činjenica za koju već ostvaren svijet po sebi dokazuje kao ispravnost, uvijek u ovom-ovdje trenutku početka vremena, da je kako je govoreno. Zato se u vremenu kasnije njegova istina kao njegova bit – zakonodavna i navjestitejska - vidi kao egzistencijalna neospornost.
Tako je prorok onaj što od najviše snage svojim djelom uzdiže apsolutnu budnost duha, u jednostavnosti. Genij često i ne zna koliko zna, kada otpočinje u besvijeti, i otkriva sve bitno u svjesnosti. On otkriva besvijesno-svjesnosnu i svjetotvoračku posebnost. Budi duboke engrame unutarnjeg događanja, što je u biti uvijek preduvjet bilo kakvog ostvaranja i trajanja svijeta - njegova održanja, pa i njegova početka, stvaranja. Tako je uvijek početak svijeta u rukama jedne otkriveno-sakrivene osobnosti.
Genij je profetolog prve kategorije jer zna u svom bitku arhetipske dokaze dobivanja kasnijeg vremena 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, priča o bogo/otkrivenom spuštanju božanske istine kao beskonačnosti u konačno, s čime postaje priča o bogotvorstvu kao apsolutnoj istini i vječnom dokazu. Svjetotvorenje je onda sve što nastaje svaki dan, kao svaki dan postanje u vremenu, sa upravo znakovima gubitka unutarnje apsolutne biti početka.
Geniji je poslanik duha koji se snažno čuje kao prorok, na svim razinama tako da se lako usvaja i može lako svuda otkriti.
On je duboka intuitivna budnost očekivanja unutar svake duše, koja budi njezinu unutarnju prirodu proroštva, njezinog unutarnjeg proroka, intuitivnog otkrovitelja i govornika, koji postoji zato što je potreban svijet – i moguć - da bude spoznajno i ontički dosuđeno. Pa kada genij se pojavi i uđe u sebe, nije više važan um, kojega je duša ostavila za sobom, daleko, uspinjući se iz bezdana gore u stanje postanja ili vječnog stvaranja, nego intuicija svjetotvorenja, koja je sljepljenost i ujedinjenost sa svim što jeste, i koja je iskonski identitet duha i postojećeg, estetika toga viđenja.
Ono što se dogodilo s genijem kao tvorcem uvijek je moralo imati snagu 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 ne može lutati – idući prema bezdanu - jer se s njim uvijek tamo gdje se otpočelo.
Svaki prostor i svako vrijeme imaju svojeg takvog velikog govornika u duhu - projektanta u imenu i vremenu - takvog poslanika i otkrovitelja. Zbog toga se kao takav on nikada u djelu ne može osporiti. Svuda okolo su njegove prve istina "dobitku" tog svijeta, koji nastaje, a gdje se ta estetika mora u jednom trenutku u duhu ezoterije opet izgubiti. Svaka estetika u cjelovitosti je jedan dostatan svijet, a ako još netko estetiku kao profetološku istinu može pravilno otkriti. To je uvijek istina genija pretvorena u projekt proroka civilizacije, s dokazima. Ona je život u nama dok živimo, kako smo od početka usvojili neke likove, ikone našeg postojanja koje su nam i molitva, i okrepa duha, te pred našim očima na/odlazile, kao vrijeme, prostor u vremenu. Ali to nije kraj, jer negdje drugdje je ujedno – vječnost genijalnog – kao 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 neba, da bi se na mjestima u božansko postojanjem pretvorio. Nebo se sjedinilo sa zemljom po konceptualnoj egzistencijalnoj biti ljudskog unutarnjeg očekivanja. A egzistencija sama jeste konceptualni umjetnički akt prvog očekivanja, najveći algoritam duha koji je već živ i koji sve oživljuje. Sa subjektom unutra koji je sabiratelj sveg, osa svemira, koji jednostavno u svijesti svijet vidi, kada u besvijesti upravo osjeća ono nevidljivo. E upravo to je ono što geniji spašava poezijom duha, nadnaravnim otkrićima i mističnim dokazima, kada je sve u obuhvatnom misteriju, a u svagdanjoj jednostavnosti.
Pa ono što krasi genija jeste upravo priroda njegove jasnoće "dolaska", koja se očituje u njegovoj očiglednosti.
On je taj koji se uvijek pojavljuje tamo gdje bi se očekivalo nešto drugo, a na kraju se to pokaže kao 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 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 se tu svojim rječnikom 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 (po vremenu) razumiju. Njegov odgovor na moguće je u komparaciji i stalnom dijalogu sa nemogućim. Pa razum je kod njega - inteligencija – izjednačuje se sa intuicijom i instinktom, što je obično drugim ljudima - nižih slojeva - suludo: jer im je suludo ne govoriti – iako - profone stvari svijeta koje se naprosto vide, a iskazivati – iako bitne – daleke istine duha koje se ne vide.
Genij je apostol visokog gnostičkog potencijala u kojemu se ocrtava ono proročko. Geniji je onaj od kojega se sam svijet u razvoju očekuje. Ono što je milenijima istok tražio preko svojih mudraca i učitelja, Zapad je po geniju ostvario u jednostavnosti svog bivanja, po poeziji duha univerzuma u raspoloživosti. Naprosto, sam po sebi takav svijet postoji da je bog u njemu već samim njegovim življenjem. Sjedinio je u sebi nebo i zemlju pa je sama egzisterncija njegova poetika prvog otkrivanja.
Geniji je mag Zapada i misteriji njegov: onaj koji je zamijenio misao istočnog učitelja, a koji uvijek na kraju – i u nekom beskraju - ima još uvijek nešto važno da nam objasni.
Tako imamo dva svijeta, jedan 1. nirvanični svijet, kao svijet koji poziva na spas i smirenje, i drugi 2. ekstatički svijet, po geniju kao duh pun 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 cijelih naroda, njihovoj osobnosti, dokazivao činjenicu kako se individualno i među tim cjelinama i svjetovima otkriva. Govorio je o geniju ruskog naroda, i tom prilikom navodio unutarnji osjećaj njegove osobnosti jednake onom židovskom osjećaju mesijanske uloge u svijetu. Ta je istina 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 takva njegova osobnost. Pa je geniji ruskog naroda onaj koji vas "u istom trenutku može i očarati i razočarati". On je spoj u predviđenom, nepredvidivog; i njegova mitološka bit ogleda se u njegovu pojmu koji izaziva nemir među narodima Zapada.
Uz to, ovdje spomenuta i svuda vidljiva priroda bipolarnosti kod genija, a gdje se kaže da je on vječnost i da je on vrijeme - poeta i prorok - govori o složenosti njegova sustava i velikoj njegovoj raširenosti. Naime, istovremeno su u njemu i ezoterija i egzotrija, i iracionalizam po duhu i egzaktnost: veza neba i zemlje, nevidljivog i vidljivog, gdje je sve to bitno za prirodu svjetotvorstva. Iako izgleda da je na prvi pogled sve drugačije, realnije i čvršće, tako se bipolarno u temelju genij događa. Geniji je nužno objava, algoritam duha, i takav vrsta zakonodavne estetike i tragedije, koja ima svoju vremenitost, ali i vraća se po budnosti – i podiže svijest po besvijesti - u samu prirodu vječnosti. Ta bipolarnost se potvrđuje na svakom koraku, pa je i Tjučev, dobar prijatelj Schellinga – filozofa metafizike iracionalnog - u svom vremenu, govorio da ruski narod je taj koji u sebi sjedinjuju dvije stvari, i najviše dobro i najviše zlo: i jeste narod krajnosti, "narod od kojeg možeš uvijek očekivati nešto neočekivano". Ruski narod je po njemu – a to navodi i Berđajev – više od naprosto naroda; i on je zbog svoje važne uloge u svjetskoj povijesti - a i veličine – "narod koji izaziva nemir kod naroda Zapada". Samo priroda općeg genija je takva da tu 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 i kao pojam 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, a u svijesti u 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, jasno i očigledno. 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 i izgovora iskazati. Jer u svemu je filozofija kao istina i duh, intuitivno, u svakom bitnom je spoznanju, pa time i zrak sa Velasquzovih slika koje Dali hoće spasiti od požara, je filozofski poticaj viđenja te ezoterije: vrijedne istine koja se po zoru naprosto "vidi", ali se ne vidi, jer da nema tog "nevidljivog" zraka ništa se na tim slikama ne bi dobrim vidjelo.
Naprosto, eto tu stoji profetološka istina proroka, umjetnika, ezoterista, svih kao odabranika božjih koji dokazuju nepostojanje i postojanje zajedno – u jednom dramskom djelu - a kao i jedno i drugo moguće. Iz sveg toga proizlazi priroda genija kao aktivna potencija duha, i filozofija, i velika otkrivena bit bivanja, koja se misaono i programski nadovezuje na onu obuhvatnost, nedokučivu samu po sebi, ali koja se na ovaj način otkriva. Uz to, upravo onoliko duha i duhovnosti koliko grčki i židovski narod kao genij naroda imaju u sebi, kao mitologiju svjetotvorstva – i unazad i unaprijed vremenu – u njemu se pojavljuje na svakom mjestu gdje se javi, kao geniji, i takav se one mora pojaviti. Događa se uvijek svijet iz proste i apsolutne vječnosti, čistoće, da izlazi i tako da se uvijek ponovo pojavljuje kao prošlo vrijeme, u sadašnjem vremenu, i buduće vrijeme. Budućnost je zato zauvijek data kao latentna profetologija – i eshatologija kao znanosti svijeta - čije se upravo filozofsko ime uglavnom ne smije spomenuti.
Uvijek je geniji taj koji govoreći u jednom vremenu - znakovima tog vremena - govori vječno i beskonačno i za sva vremena.
Uvijek za genija važi osjećaj duha osobite snage u trenutku vječnosti, pa tako i osjećaj svemoći, izniman entuzijazam – prisustvo boga - što je ekstatičko stanje: pretvaranja maloga-ja u Veliko, i stanje izvan prostora i vremena - u samom Postanju. Ta je pojava ona što se mnogima otvara intuitivno neupitnom, ali nevidljivom - kao intima pune očiglednosti i stopljenosti – po (ipak) obuhvatnoj konkretnosti. Zato geniji spušta djelo iz vječnosti u vrijeme: u rukopis znakova koji to vrijeme božanskim oblikom opremaju. Kada otpočne njegovo veliko proročko, počinje i drama duha kao istina njegova "postavljanja mogućeg", pa će jedan Kant govoriti kako "geniji propisuje pravila svijetu"; a što opet mora biti, u nultom stadiju bitka i u stanju Postanja, na brisanom prostoru mišljenja što je raskrsnica pred svim svjetovima. To je opet na osobit način u suglasju sa Schellingim egzistencijalno-iracionalno-metafizičkim mišljenjem u stadiju ezoterije, kada se istina genija određuje kao unutarnji na/dolazak čarobnog "mira i tihe veličine." Prikaz vanjskih činjenica unutarnjeg velikog otkrivanja, je već samo prisustvo velikog duha u kojem je već nebeski cilj postignut.
Geniji je onaj koji vječnost spušta u vrijeme, a iz stvorenog vremena zna putanju uspona do vječnosti.
Ono gdje se ne najvišoj točci na kraju stiže u savršenom dosezanju, tu i na početku sve otpočinje.
Razumijevanje ovoga mišljenjem i nije važno ako se postiglo već intuitivno znanje o osobitom biću otkrivanja.
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 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 noćne more i noću ne može da spava jer 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, nego u ovom slučaju poraza njegova duha, ako se to dogodi – od genija Napoleona – jer će to u ovom slučaju izvjesno tako se osjetiti.
Geniji i jeste intuitivni osjećaj na/dolaska čarobnog mira "u tihoj veličini" (Schelling), koji se na zemlji otkriva kao jedinstvenu rukopis u vremenu, lako prepoznatljive vječnosti.
To je rukopis vječnosti u paradigmi za koji se može dostojno reći da ima jasan život u konačnom do beskonačnosti; bitan algoritam postojanja i prisustva, da duša to lako usvaja - stopljena s tim – i lako slijedi. Ne treba biti čudesno što subjekt kao individua i intuicija, po svim spoznajama od početka - na najvišoj razini intelektualno zrenje - jeste prvi zakon toga i "softver" – nositelj - po kojem se sve okreće i stavlja u prvi plan, dovodi do svoje predmetne osobnosti. On je centar duha i postojanja, osa svemira, energija vječnosti za sav univerzum u konačnom, na mjestu na kojem se u svijetu bitak posvuda uzalud traži.
Geniji je naprosto gnostik apologetske snage po rasprostiranju po svijetu, a i apologet gnostičke moći u duhu u razumijevanju i spoznanju što nije čudesno, jer je njegova priroda ujedinjene i obuhvatnost, sveopće jedinstvo – da se postigne - i najvažnije je intuitivno pretpostavljanje. Pa kada već on ujedinjuje ta dva pojma gnostičkog i apologetskog, što znači čistog znanja i pasivnog ali i uznositog vjerovanja, on je naprosto temeljom sakramenta – svijeta i božanskog - kada se to najbolje pokazuje u estetici kroz koju najsnažnije govori. I jedan i drugi su – kao pojmovi i kao individue - otkrovitelji, samo što se ovdje to pojavljuje sljepljeno: u djelu genijalnom kao neraskidivo ujedinjeno. Tu progovara priroda prve neposrednosti, pa zato se geniji tako snažno čuje u vremenu. U njemu pojavljuje apologet gnostičkog upliva u istinu, ali i gnostik apologetske sakramentalne ambijentalnosti. To je naprosto činjenica otkrovenja spoznaje najviše razine, kada upravo stoji na dverima božanskog otkrovenja, ali tamo gdje ono apsolutno u prisustvu se pušta – pretvara - u svijet njegove konkretnosti. On je ujedno i branitelj Pisma u njegovu znanju, ali i vjerovanja u poruku kao bitno bolju soluciju; jer ipak podupire i podiže brže duh - i dušu – jednostavnije naspram stalnih prijetnji ništavilom, van i bez ovog obuhvatnog apologetskog - i algoritamskog - postupka.
Bilo da se na kojoj razini duh javi i otkrije, jedino geniji božanstvo na svim razinama može donijeti.
Pa samo udruženi apologet i gnostik u jednoj individui - a i povijesti vremena - djelom upravo genija mogu po iznimnom tragu u vječnom nadomjestiti najveće učitelje 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 imena Okovanog Prometeja, Isusova stradanja na Golgoti, pa i Antigone u njezinu naumu postojanja, mistike Chopinovih vratolomnih disonanci i sinkopa u nocturnima koji završavaju nevjerojatno, kada se kasnije uopće gnostički to ne vidi i ne može opisati kako se dogodilo. 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 svom svijetu od "pojmova svijeta", a onda sve to napustiti iz velikog razloga nad/znanosti, koja će pojmove nadilaziti: i zbog viših razloga duha i razumijevanja, izbjegavati ih. Ona na svoj osobit način ima riječi pristupa - i samo to - i na tome se ostaje, ali se u tome i sve kreće: jer unutra je već ostvaren veliki projekt koji će identificirati u sebi se intuitivno, tako da će ono filozofsko se složiti i podići u budnost, pa biti i u svijesti moguće. Iz filozofije spušteno u estetsko stanje svijeta, u sam svijet – dakle iz duha čistoće, iz Boga, ili Istine – u prostor i vrijeme, postaje upravo za nebo i 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 se dovodi do velikog vjerovanja, a 2. gnostik onaj koji traži znanje i nad stvorenim, promišljanje, da se otkrije izrećeno u misli i sama misao toga kao najvažnije, tako da to postaje bezuvijetno. Kada nastanu vapaji za ujedinjenjem to mjesto jeste pojava genija, njegove jednostavnosti i obuhvatnosti, pa se geniji i pokazuje kao najvažni algoritam objave i svjetotvorenja. Budući da to može biti samo mjesto božanskog bitka - a u ovom slučaju spuštanja istine vječnosti u samu situaciju vremena - genij se mora pojaviti kao profetolog svijeta, cvat nebeskog iz nevidljivosti koja po njemu postaje vidljiva.
Ovdje se mora znati kako je subjekt jedan, unutarnji i sav u beskonačnosti, kao i sam univerzum koji je jedan, tako da se uvijek potvrđuje ono Jedno (Hen) Plotinovo iz kojega sve otpočinje. On se javlja u obliku apsolutnog jedinstva u filozofiji i teologiji, i tu u misli kojega geniji prima u obuhvatnosti. Odatle prava istina mističke filozofije otpočinje. A mistik je čovjek koji boga poznaje. On je taj koji to čini neposredno i s njim može govoriti. On zna što je taj unutarnji nositelj svijeta kao ezoterijski – i apsolutni - dokaz. U njemu se osniva cjelina koja se dijeli u objektivizmu svijeta, pa kada ta podjela jeste iluzorna takav je i svijet koji se stvara. Onog trenutka kada se već jednom ta disperzija dogodi – rastakanje subjectuma - teško je sjetiti se u kodifikaciji tog svijeta koji traje njegova početka. Time geniji ostaje jedini kojem se zaborav istine nije dogodio, ili 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 vemenu, programu, konceptualnoj riječi (mitologije), koja će imati neko svoje proroštvo. Pošto je od subjekta sve što postoji, naspram objektivizma koji je ideja i konstrukcija, onda se geniji pojavljuje kao subjektivni apsolutizam tog objektivizma, koji je epifanija božanskog bitka: jer je na djelu spuštena vječnost u vrijeme - vrijeme u vječnosti vremena. Geniji je onaj koji otkriva svoju osobnu prirodu kao apsolutnu mogućnost, jer se unutra javlja kao ezoterija u funkciji najvišeg stvaranja. Nikada se iz subjekta nije izašlo –i uvijek se je tu, kao što se uvijek u sadašnjosti, te i objektivizam koji se misli realizmom, je u biti izgubljeni ili dobiveni genij, već prema snazi onoga u tijelu svijeta što će se ostaviti. Ljudi pogrešno misle o univerzumu 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 – a ovo je važno za genija - je jedini osnov budnosti duha, i ne samo za filozofiju, za mističko, nego uopće svijeta da nastane i bude moguć. On je svemu polog, supstancija - duhovna tvar - i van njega ništa nije moguće. Pa ako je genij izjednačen sa bogom, onda je to subjektivna stvar i samo bogotvorstva. Pa kada je duh obuhvatnosti izjednačen sa božanstvom, unutra, naspram svagdanjeg realnog svijeta iluzija, objektivizma, onda se vračamo u centralu duha - u osu svemira - gdje geniji prvotni stoji kao prorok. Da bi čovjek opstao u takvom svijetu, u ljepoti i istini njegove prirode, po duhovnom – i dobrom (agathon) - u osobnosti svojeg očekivanja, a po mitologiji koju čuje, čiji glas prodire prema vječnosti, iz vremena, on mora na krilima genijalnog – subjektivnog misterija – obuhvatno misliti i govoriti. Njemu se ne treba reći kako to da učini. Opisujući njegovu jednostavnost filozof će se izraziti da je to tiha veličina entuzijazma apsolutnih mogućnosti. 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 ljudi po svom subjektu – kao istini ezoterije - svih intelektualnih razina, svih rasa i oblika, svih kulturoloških pogleda i svih prostora, vide kao veliko i spojeni su u njegovoj veličini.
Zato je uvijek Jedno koje se spominje od filozofa, koji su filozofi, i koje se javlja od vremena do vremena u čistom vidu, upravo to koje se najbolje čuje ako se dobro uspje izraziti.
Kada je Giorgano Bruno svojevremeno govorio o beskonačnosti svemira i mnoštvu svjetova, kao filozof i mag prelomnog renesansnog svijeta u tom vremenu i tom prilikom izgovorio čistu ezoteriju nultog stadija bitka - u podstrukturi univerzuma kojega pretpostavljao – morao je kao geniji nad tim svijetom se uzdići. Njegov govor "o načelu i jednome" potvrđuje veliko-Ja unutarnje kao jedno zaista stanje mističkog isijanja (emanatio), na koje se svaki onaj koji dobro govori iznutra vodi, oplemenjuje iznimno kada i 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 u svijetu, i put dogovora među svim svjetovima, putanja ka nemogućem.
Geniji je sabor, "sabiratelj" razbacanog u svijetu i samog svijeta po jednom postojanju u vremenu - izgubljene vječnosti - kao koncentrat otvorenog duha u kojemu se na tren pojavljuje opet zatvorenim.
Pa kako je već genij uvijek koncentrat postojećeg iz jedne izgubljene vječnosti, u samu vječnost, on postaje i stožerno mjesto zatvaranja vremena, pa takvim i nužno prorokom. Njegova priroda je "objava božanstva", a to je na trenu vječno otkrivanje vječnosti, što stalno sakriva sebe, kroz vrijeme u trajanju nužnog vremena. Kada se dogodi da se ono apsolutno navijesti i do njega nekako dođe, u egzistenciji nastaje problem njegova postavljanja da se iskaže, da sve bude jasno u konkretnom. Boga predstaviti u životu življenja i to učiniti naspram religije i znanost, kako to čini umjetnost kao poeziju duha, znači izreći ono što istrajava na najfinijim nitima egzistentnog otkrivanja. A opet, s koje god strane se krene u postupku i načelu, korakom po vremenu, svakim trenutkom gubitka vječnosti se situacija kvari. Najbolji dokaz su za to monoteističke teologije, koje su sve kroz povijest se kvarile u dokazivanju apsolutnog i poruci oko Jednoga, u mnoštvu svetog, vremenitog; da bi na drugoj strani kroz umjetnost – kao sliku genija po epifaniji božanskog bitka - se ponovo sve vračalo i uzdizao - iz tog profetološkog svijeta - k onom prapočetnom.
Iz svega jasno proizlazi da je Zapad temeljen na genija, kao učitelju i proroku, te da se moćno on po njemu čuje: na njemu odigrava stvarajući svijet - tijelo njegovo - pošto ga prorokuje uvezan sa svekolikim stvaranjem. Tako će filozof biti od prve prognan iz tog svijeta, kao gnostik u svijetu, kao mistik, otkrovitelj nultog stadija bitka koga nitko ne razumje, ili tek neznatna šačica. Ali isto tako i svijet učitelja istoka moćno gubiti bitku tu, protiv genija po iskazu i otjelovljenju jednostavnosti. Tako imamo dva gubitka u jednom svijetu, i jedan veliki ovaj dobiveni svijet koji traje u otpočetom vremenu, po geniju koji skriveno konceptualni duh u njemu otkriva. Imamo živu vječnost tog svijeta filozofije po poeziji duha, koja nam se kao umjetnost sama uvlači pod kožu kao duhovni i svjetski dobitak.
Međutim u realnom znanstvenom svijetu egzaktne znanosti, upravo će filozofijom biti drugačije sve pretpostavljeno, pa će i pitanje bitka biti svedeno na ono što može razum domisliti. Imamo genija kao duha i intuitivnog u stadiju obuhvatne jednostavnosti, te filozofa kojeg niti sama znanost ne može pravilno da čuje. Prvi će šutjeti djelom poezije duha koja samu nebesku prirodu oživljuje, dok će drugi govoriti istinu govorom pojma, ako netko to govorenje može da primi. Zbog svojih pitanja, zbog svojeg znanja i visokih pretpostavki o bitku - skrivenih dogovora s bogovima - ovaj drugi će veliku istinu za povijest reći, govoreći tako kroz vrijeme, iznad glava patuljaka, a u pojmu koji se čuje u visokoj vječnosti, pa će tako vječnost i u misli biti otkrivena.
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GENIUS

The spirit that appears through a man who is unquestionably a spirit, and especially a high inspiration, in the fullness and simplicity of expression, is a genius, or one behind whom all questions are meaningless because all obvious answers have been received - and published.
Genius is obvious, and the expression of its essence - its beginning - is the philosophy of revelation. Genius is a revelation of full intuition, and its nature is reflected in exaltation, and in the immediate answer given immediately, 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 prophetic essence of battle: which means the project of orderly development of space and time, of reference and limited world, before the infinity of all worlds.
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 that stands above the work of the genius, which he created, with which he lowered infinity into the final, is in fact the greatest ever speaking that can occur. The work is the foundation of both thought and speech, and therefore the prophecies of the world: a project in his vision in his name, as opposed to a system of abstract difficult thoughts of the Eastern prophet, which speak words that need further interpretation and are poorly heard, they speak again. It is the genius who reveals the most hidden in the world and in the work, through the metaphysics of the work, and with the principles of the most revealing, with the measure of their maintenance in the world - in the places of this creation of the world - he hides again.
The acrobatics of words and thoughts are superfluous here and it is not necessary to produce something good, to express it, to set it as true, to be worth it: the problem of real philosophy. Jaspers made such a remark on Heidegger's metaphysics, as a linguistic equilibrist that he uses to fascinate the ignorant, and to look like philosophy, precisely because of the added - grafted - wisdom, which is lost in the high potencies of esotericism. Philosophers - who are geniuses - know very roughly how to insult colleagues, lower than themselves - when they feel mental superiority, and this later becomes a type of understanding in the history of both. Thus Heraclitus spoke, referring to his contemporary Xenophon, that omniscience is not wisdom, because if omniscience were wisdom - he said - then Xenophon would also be a wise man. Jaspers joked about Husserl, and his philosophy, hearing him and saying that he was very bright and that it was a pity that he had no talent. In that sense, in a similar way, Tolstoy, and in a review in the newspapers concerning his literary text, said that literary criticism is the space of speech in which the stupid discuss the smart. Algorithms of the spirit of ingenious creation even the highest intelligence cannot understand. Genius is not easily seen when he speaks the absolute truth about one as philosophy itself, entering into the very nature of the inner and metaphysical, which is mystical from the beginning. The essential litmus paper for this is the notions of purity, simplicity, obviousness, superiority over everything around, at the moment when it is decided. From the spirit simply that one, and in spirit one and unique, is achieved by the mystical excuse of intuition, in place of the axis of the universe which is the axis of the universe, and so it is the revelation of wholeness. Thus the genius is the one who solves the individual question and specifically, given to him here in the palm of his hand, immediately with a comprehensive answer for all.
This whole book will prove this ingenious and from the messengers the beginning of everything, and from their unapproachable nature in the real world, which is in the unconscious, towards consciousness, which is in the 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: the one who appears visible - when just more and more is seen - and appears more and more to the prophet. The creation of the world is always now-here in action, at every moment of possible time - for the best in eternity - so profetology as a science cannot be separated from the knowledge of this great truth, from the knowledge of world-making.
hen it comes to genius, Helvetius raises the question of what is so identical in people so different as Descartes, Locke, Moliere that he classifies them under one, under one name, under one term, genius. He says that the term genius comes from the word gignere, gigno *, which means I work, I produce, which is again rooted in the Latin "genius" (spirit), which is identical to the Greek "daimon". But no matter how it is taken, it is important that creativity and creation as its principle permeate everywhere; so that unique quality which belongs to different people, which Helvetius calls invention, or the notion of genius, is the foundation which this whole book proves, and which is the unique path with its two directions: 1. the descent of the divine being into the world, and by this action 2. his earthly down world creation. As genius has an active principle towards the world, and is held to be an innate characteristic of some people who have a direct connection with the creator, all this may be related to Schelling's revelation of divinity - which he sees above all in the aesthetics and poetry of the spirit in art. the truth of man himself in the inner radiance, through which the demonic acts as the positive.
He must note here that all this has to do with the esoteric in the end, and that to the genius the esoteric is only in its fullness, a speech from within that is particularly powerful and immeasurable with anything, since it is stronger than the whole world. And Kant used to say that genius prescribes rules to the world, which is again my personal retrospective finding of the one who secretly clearly begins divine profetology, as a science, and he speaks it in another language. So everything said and said says that genius is the first in the world to think ahead of time, and radiates from itself programmatic and heraldic and legislative prophecy, that is, what will be set by the world, directly in aesthetics - and thus visually - to reveal. Genius, therefore, is both immanence and transcendence, and it is both reality and objectivism, which show the most metaphysical. And first, he does not think stereotypically and his knowledge of the spirit is a metaphysical principle even in the physical world, when it abounds in a mass of transcendence.
Genius is the legislative pattern of the world and all worlds that actively imposes and executes the programmatic principle of discovery.
Coming to the divine is always by genius and eternity, for only genius is the pure connection between eternity and time. Kierkegaard's remark on the difference between a genius and an apostle does not stand here, for both are both eternity and time, and one identity is different among them: since genius is ecstatic and explosive in spirit the state of eternity, and the apostle the believing and non-official time. In the end, the apostle may be called to carry out his mission, but he cannot do so if he does not contain in himself that which is divine and genius. As genius is connected with the gods, and with that God - the One, the First, the Absolute from whom everything arises - this everyday life on lower levels, in smaller potencies, happens to every man in the radiant intimacy of immediate living. Perhaps best illustrated is the truth of love, passionate, as the last truth of heaven, which I have already spoken of, saying that when two lovers full of attention and humility talk lightly to each other, looking each other straight in the eye, in the intimacy of their isolation - and far by some plans - it becomes a dialogue between the gods.
Genius is right there and cannot be found otherwise. Without him, the deity could not appear, and the world could not appear, because there could not be a great prophet speaking worldly. In particular, the prophet of the world's first answers could not have arisen, who is present where nothing is seen, so all seeing begins.
Prophecy is simply a fact for which the already realized world in itself proves as correctness, always in this-here moment of the beginning of time, that it is as it has been said. That is why in time later its truth as its essence - legislative and proclaiming - is seen as an existential indisputability.
Thus the prophet is the one who, by his highest power, raises the absolute vigilance of the spirit, in simplicity. A genius often does not even know how much he knows, when he begins in the unconscious, and discovers all that is essential in consciousness. He reveals the unconscious-conscious and world-creating peculiarity. Be the deep engrams of the inner event, which is essentially always a prerequisite for any realization and duration of the world - its maintenance, and even its beginning, creation. Thus the beginning of the world is always in the hands of one revealed-hidden personality.
A genius is a first-category profetologist because he knows in his battle the archetypal evidence of gaining later time 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, the story of the god / revealed descent of divine truth as infinity into the final, thus becoming the story of deification as absolute truth and eternal proof. The creation of the world is then everything that arises every day, like every day becoming in time, with precisely the signs of the loss of the inner absolute essence of the beginning.
A genius is a messenger of the spirit who is strongly heard as a prophet, on all levels so that he is easily adopted and can be easily revealed everywhere.
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 - and the possible - is needed to be cognitively and ontically judged. 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, but the intuition of world-creation, which is blindness and unity with all that is, and what is the primordial identity of the spirit and the existing, the aesthetics of that vision.
What happened to the genius as creator must always have had the power to turn him into a prophet.
Genius is simply the algorithm of the spirit that is revelation, and it is the path and proof of the direct outpouring of the highest energy, and one cannot wander with it - going towards the abyss - because one is always with it where it began.
Every space and every time has its such a great speaker in spirit - a designer in name and time - such a messenger and revelator. Therefore, as such, he can never be challenged in action. All around are his first truths to the “gain” of that world, which is emerging, and where that aesthetic must at some point in the spirit of esotericism be lost again. Every aesthetic in its entirety is one sufficient world, and if anyone else can properly discover aesthetics as a profetological truth. It is always the truth of a genius turned into a project of the prophets of civilization, with evidence. It is life in us as we live, as we have adopted some characters from the beginning, icons of our existence which are both prayer and refreshment of our spirit, and before our eyes they go on / like, time, space in time. But that is not the end, because somewhere else it is both - the eternity of the genius - as well as 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 the earthly appearance of heaven, in order to transform it into a divine existence in places. Heaven was united with the earth by the conceptual existential essence of human inner expectation. And existence itself is a conceptual artistic act of first expectation, the greatest algorithm of the spirit that is already alive and that revives everything. With the subject inside who is the collector of everything, the axis of the universe, who simply sees the world in consciousness, when in the unconscious he just feels the invisible. And that is exactly what saves geniuses with the poetry of the spirit, supernatural discoveries and mystical proofs, when everything is in a comprehensive mystery, and in everyday simplicity.
Well, what adorns a genius is precisely the nature of his clarity of "coming," which is manifested in his obviousness.
He is the one who always appears where something else would be expected, and in the end it turns out to be the most important.
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 in the manuscript of aesthetics sets time. So genius is forever the equilibrium of the finite and infinity, of time and eternity, of the earth on which he speaks what he can say, and of the sky which he reveals there with his vocabulary. 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 (in time). His answer to the possible is in comparison and constant dialogue with the impossible. Well, reason with him - intelligence - is equated with intuition and instinct, which is usually insane for other people - the lower classes: because it is insane for them not to say - although - profane things of the world that are simply seen, and to express - although important - distant truths of the spirit that are not seen.
A genius is an apostle of high Gnostic potential in which the prophetic is outlined. A genius is one from whom the developing world itself is expected. What the East has been seeking for millennia through its sages and teachers, the West has achieved by genius in the simplicity of its existence, by the poetry of the spirit of the universe in availability. Quite simply, such a world exists in itself that God is in it already by his very life. He united heaven and earth in himself, so the very existence of his poetics is the first revelation.
The genius is the magician of the West and his mystery: the one who replaced the thought of the Eastern teacher, and who always in the end - and in some infinity - still has something important to explain to us.
Thus we have two worlds, one the 1st nirfficial world, as a world calling for salvation and calm, and the other the 2nd ecstatic world, by genius as a spirit full 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.
In his time, Tyuchev, speaking of the chosen nature of entire nations, their personalities, proved the fact that he reveals himself individually and among these wholes and worlds. He spoke of the genius of the Russian people, and on that occasion cited an inner sense of his personality equal to that Jewish sense of messianic role in the world. This truth is deeply programmatic and 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 such a 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 compound in the foreseeable, the unpredictable; and its mythological essence is reflected in its notion which causes unrest among the peoples of the West.
In addition, the nature of bipolarity mentioned here and everywhere in genius, where it is said that he is eternity and that he is time - poet and prophet - speaks of the complexity of his system and its great prevalence. Namely, at the same time there is esotericism and exotria, and irrationalism in spirit and exactness: the connection of heaven and earth, the invisible and the visible, where all this is important for the nature of world creation. While everything seems different, more realistic, and firmer at first glance, this is how bipolar fundamentally genius happens. Genius is necessarily a revelation, an algorithm of spirit, and that kind of legislative aesthetics and tragedy, which has its temporality, but also returns by vigilance - and raises consciousness by unconsciousness - to the very nature of eternity. This bipolarity is confirmed at every step, so Tyuchev, a good friend of Schelling - the philosopher of the irrational metaphysics - in his time, said that the Russian people are the ones who unite two things, the highest good and the highest evil: "a people from whom you can always expect something unexpected." According to him, the Russian people are - and Berdjaev states that - more than just a people; and he is, because of his important role in world history — and of greatness — "a people who cause unrest among the people of the West." Only the nature of general genius is such that this thought as truth - and profetology - can both be assumed and expected.
However, the genius of the people is something special, and we should take into account the fact that it must be as an individual and as such a concept to appear exceptional. In terms of the community of people of that nation in the concrete 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 answer to some knowledge which, when seen in the unconscious in the final displays. 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, clearly and obviously. 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 aesthetic word and pronunciation. For in everything philosophy is as truth and spirit, intuitively, in every essential cognition, and thus the air from Velasquz's paintings which Dali wants to save from fire, is the philosophical impetus of seeing that esotericism: a valuable truth that is simply "seen" at dawn. but it is not seen, for if it were not for this "invisible" ray nothing in these pictures would be seen as good.
Quite simply, this is the prophetic truth of the prophets, artists, esotericists, all as God's chosen ones who prove non-existence and existence together - in one play - and as well as both possible. From all this arises the nature of genius as the active potency of the spirit, and philosophy, and the great revealed essence of being, which mentally and programmatically builds on that comprehensiveness, incomprehensible in itself, but which is revealed in this way. In addition, just as much spirit and spirituality as the Greek and Jewish people as a genius of the people have in themselves, as a mythology of world creation - both back and forth time - appears in it in every place where it appears, as geniuses, and such they must appear . The world always happens from simple and absolute eternity, purity, to come out and so that it always reappears as the past tense, in the present tense, and the future tense. The future is therefore forever given as latent profetology - and eschatology as the sciences of the world - whose very philosophical name is generally not to be mentioned.
It is always the genius who, speaking in one time - the signs of that time - speaks eternally and infinitely and for all time.
The feeling of a spirit of special strength in the moment of eternity is always valid for a genius, including the feeling of omnipotence, exceptional enthusiasm - the presence of God - which is an ecstatic state: turning the little self into the Great, and a state beyond space and time - in Genesis itself. This phenomenon is what opens to many intuitively unquestionable, but invisible - as an intimacy full of obviousness and fusion - in (yet) comprehensive concreteness. That is why genius lowers the work from eternity into time: into the manuscript of signs that equip that time with a divine form. When his great prophecy begins, the drama of the spirit begins as the truth of his "setting of the possible," and one Kant will say that "genius prescribes rules to the world"; and what must again be, in the zero stage of battle and in the state of Genesis, in the erased space of thought which is the crossroads before all worlds. This is again in a special way in agreement with Schelling's existential-irrational-metaphysical thinking in the esoteric stage, when the truth of genius is defined as the inner on / coming of magical "peace and quiet greatness." The depiction of the external facts of the inner great revelation, is already only the presence of a great spirit in which the heavenly goal has already been achieved.
A genius is one who descends eternity into time, and from created time knows the path of ascent to eternity.
Where one does not reach the highest point in the end in perfect attainment, this is where it all begins at the beginning.
Understanding this by thinking is not important if intuitive knowledge of the particular being of discovery has been achieved.
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 Kutuzov said that he was not afraid of the French army collapsing in front of Europe, his famous a guard who knows no defeat and is advancing more and more into the depths of Russia: Kuruzov has nightmares and cannot sleep at night because he is afraid of Napoleon's genius. This says that he is not afraid of defeat as such, because it will be a different enemy victory: therefore not the victory of force, but in this case the defeat of his spirit, if that happens - by the genius of Napoleon - because in this case it will certainly feel that way.
Genius is the intuitive feeling of the arrival of magical peace "in quiet size" (Schelling), which is revealed on earth as a unique handwriting in time, easily recognizable eternity.
It is a manuscript of eternity in a paradigm that can be worthily said to have a clear life in the finite to infinity; an essential algorithm of existence and presence, that the soul easily adopts it - fused with it - and easily follows. It should not be surprising that the subject as an individual and intuition, according to all knowledge from the beginning - at the highest level intellectual maturity - is the first law of it and the "software" - the bearer - by which everything turns and comes to the fore, leads to its subject personality . He is the center of spirit and existence, the axis of the universe, the energy of eternity for the whole universe in the final, in the place where in the world being everywhere is sought in vain.
Genius is simply a gnostic of apologetic power by spreading around the world, and an apologist of gnostic power in spirit in understanding and knowing what is not miraculous, for its nature is united and comprehensiveness, universal unity - to be achieved - and most importantly intuitive assumption. So when he unites these two notions of gnostic and apologetic, which means pure knowledge and passive but also sublime belief, he is simply the foundation of the sacrament - the world and the divine - when it is best shown in the aesthetics through which he speaks most powerfully. Both are - as concepts and as individuals - revelators, only here it appears blindly: in a work of genius as inextricably united. This is where the nature of first immediacy speaks, which is why geniuses are heard so strongly in time. An apologist of Gnostic influence on truth appears in it, but also a gnostic of apologetic sacramental ambience. It is simply the fact of the revelation of the highest level of cognition, when it is just standing at the door of divine revelation, but where it is absolutely in the presence released - transformed - into the world of its concreteness. He is at the same time a defender of Scripture in his knowledge, but also of his belief in the message as a much better solution; for it nevertheless supports and uplifts the spirit — and the soul — more simply in the face of the constant threats of nothingness, outside and without this comprehensive apologetic — and algorithmic — procedure.
No matter at what level the spirit appears and discovers, only a genius deity on all levels can bring.
Well, only a united apologist and gnostic in one individual - and in the history of time - can replace the greatest teachers of philosophy in an eternal way with the work of a genius.
Prometheus, Jesus' suffering on Golgotha, and even Antigone in her plan of existence, the mystique of Chopin's headlong dissonances and syncopes in nocturnes that end unbelievably, when later on it is not at all gnostic to see it and cannot describe how it happened. Without preparation in the absolute, without revealing oneself in the divine essence in a clear way - aesthetically, and meaning earthly-heavenly - one would not know what it is talking about, nor would one approach philosophy. Philosophy should start in its world from the "notions of the world" and then abandon it all for a great reason over / science, which will transcend the notions: and for the higher reasons of spirit and understanding, avoid them. In its own way, it has words of approach - and only that - and it stays there, but that's where it all moves: because a big project has already been realized inside that will identify within itself intuitively, so that it will philosophically agree and to raise in vigilance, and to be in consciousness possible. From philosophy, lowered into the aesthetic state of the world, into the world itself - that is, from the spirit of purity, from God, or Truth - into space and time, it becomes prophetic precisely 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 as to lead to great belief, and the 2nd gnostic is the one who seeks knowledge over the created, contemplation, to reveal what is said in thought and itself the thought of it as the most important, so that it becomes unconditional. When the cries for unification arise, that place is the appearance of genius, its simplicity and comprehensiveness, so genius proves to be the most important algorithm of revelation and world creation. Since it can only be the site of a divine battle — and in this case the descent of the truth of eternity into the very situation of time — the genius must appear as the prophetologist of the world, the flower of heaven from the invisibility that becomes visible to him.
Here it must be known that the subject is one, inner and all in infinity, as well as the universe itself which is one, so that the One (Hen) Plotinus from which everything begins is always confirmed. It appears in the form of absolute unity in philosophy and theology, and there in the thought which geniuses receive in comprehensiveness. From there the true truth of mystical philosophy begins. And a mystic is a man who knows God. He is the one who does it directly and can talk to him. He knows what this inner bearer of the world is as esoteric - and absolute - evidence. In it, a whole is established that is divided in the objectivism of the world, so when that division is illusory, so is the world that is created. The moment this dispersion occurs once - the dissolution of the subject - it is difficult to remember in the codification of that world which lasts its beginning. Thus the genius remains the only one to whom the forgetting of the truth has not happened, or the forgetting of the battle, so that in him it is impossible to remember what is wrong, 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 time, program, conceptual word (mythology), which will have some prophecy of its own. Since everything that exists is from the subject, as opposed to objectivism which is idea and construction, then genius appears as the subjective absolutism of that objectivism, which is the epiphany of divine battle: for eternity in time is lowered in action — time in the eternity of time. A genius is one who reveals his personal nature as an absolute possibility, because he appears inside as an esotericist in the function of the highest creation. It has never left the subject - and it is always there, as it always is in the present, and the objectivism 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 - and this is important for a genius - is the only basis for the vigilance of the spirit, and not only for philosophy, for the mystical, but for the world in general to arise and be possible. He is the deposit of everything, the substance - the spiritual substance - and nothing is possible outside of it. So if genius is equated with god, then it is a subjective thing and only deification. So when the spirit of comprehensiveness is equated with divinity, inside, as opposed to the everyday real world of illusions, objectivism, then we return to the center of the spirit - the axis of the universe - where the original genius stands as a prophet. In order for man to survive in such a world, in the beauty and truth of his nature, in the spiritual - and good (agathon) - in the personality of his expectation, and in the mythology he hears, whose voice penetrates eternity, from time, he must on the wings of genius - subjective mystery - to think and speak comprehensively. He doesn't need to be told how to do it. Describing its simplicity the philosopher will express that it is the silent magnitude of the enthusiasm of absolute possibilities. 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 people by their subject - as the truth of esotericism - of all intellectual levels, all races and forms, all cultural views and all spaces, see as great and are united in his size.
That is why the One that is mentioned by philosophers, who are philosophers, and which appears from time to time in pure form, is always the one that is best heard if it is well 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 at the time, he uttered the pure esotericism of the zero stage of battle - in the substructure of the universe he assumed - he had to rise as a genius over that world. His discourse "on principle and one" affirms the great-I of the inner as one truly state of mystical radiance (emanatio), to which every one who speaks well from within is guided, ennobled exceptionally when he attains something in the outer. 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 the path of agreement between all worlds, the path to the impossible.
A genius is a council, a "collector" scattered in the world and the world itself by one existence in time - lost eternity - as a concentrate of an open spirit in which it reappears closed for a moment.
So since genius is always the concentrate of the existing from one lost eternity, into eternity itself, it also becomes the pivotal place of the closing of time, and thus necessarily a prophet. His nature is the "revelation of the deity," and it is at the moment the eternal revelation of eternity, which constantly hides itself, through time in the duration of necessary time. When it happens that it is absolutely announced and somehow comes to it, in existence there is a problem of setting it to express itself, to make everything clear in concrete. To present God in the life of living and to do so in the face of religion and science, as art does as poetry of the spirit, means to utter what persists on the finest threads of existential revelation. And yet, from whichever side one proceeds in procedure and principle, step by step, every moment of the loss of eternity the situation deteriorates. The best proof of this are the monotheistic theologies, which throughout history have been corrupted in proving the absolute and the message around the One, in the multitude of the sacred, the temporal; that on the other hand, through art - as a picture of genius in the epiphany of the divine battle - everything would return again and rise - from that prophetic world - to the original one.
It is clear from everything that the West is based on genius, as a teacher and a prophet, and that it is powerfully heard by him: the creative world - his body - plays on him, since he prophesies it bound to all creation. Thus the philosopher will be banished from that world from the first, as a gnostic in the world, as a mystic, a discoverer of the zero stage of battle whom no one understands, or only a small handful. But also the world of the teachers of the East might lose the battle there, against the genius in utterance and the embodiment of simplicity. So we have two losses in one world, and one big this gained world that lasts in the beginning time, by the genius that the hidden conceptual spirit in it reveals. We have a living eternity of that world of philosophy according to the poetry of the spirit, which as art itself creeps under our skin as a spiritual and worldly gain.
However, in the real scientific world of exact science, it is precisely philosophy that will presuppose everything differently, so the question of battle will be reduced to what reason can conceive. We have a genius as a spirit and an intuitive in the stage of comprehensive simplicity, and a philosopher whom even science itself cannot hear properly. The former will be silent by the work of the poetry of the spirit which animates the very nature of heaven, while the latter will speak the truth by the speech of the concept, if anyone can receive that discourse. Because of his questions, because of his knowledge and high assumptions about the battle - hidden agreements with the gods - the latter will tell the great truth about history, speaking so through time, above the heads of dwarves, and in the notion heard in high eternity, so eternity will thoughts of being discovered.