Genius_ The Life and Science of Richard Feynman - James Gleick [187]
“Enlightened, penetrating, and capacious minds,” as William Duff chose to put it two hundred years ago, speaking of such exemplars as Homer, Quintilian, and Michelangelo in one of a string of influential essays by mid-eighteenth-century Englishmen that gave birth to the modern meaning of the word genius. Earlier, it had meant spirit, the magical spirit of a jinni or more often the spirit of a nation. Duff and his contemporaries wished to identify genius with the godlike power of invention, of creation, of making what never was before, and to do so they had to create a psychology of imagination: imagination with a “RAMBLING and VOLATILE power”; imagination “perpetually attempting to soar” and “apt to deviate into the mazes of error.”
Imagination is that faculty whereby the mind not only reflects on its own operations, but which assembles the various ideas conveyed to the understanding by the canal of sensation, and treasured up in the repository of the memory, compounding or disjoining them at pleasure; and which, by its plastic power of inventing new associations of ideas, and of combining them with infinite variety, is enabled to present a creation of its own, and to exhibit scenes and objects which never existed in nature.
These were qualities that remained two centuries later at the center of cognitive scientists’ efforts to understand creativity: the mind’s capacity for self-reflection, self-reference, self-comprehension; the dynamical and fluid creation of concepts and associations. The early essayists on genius, writing with a proper earnestness, attempting to reduce and regularize a phenomenon with (they admitted) an odor of the inexplicable, nevertheless saw that genius allowed a certain recklessness, even a lack of craftsmanship. Genius seemed natural, unlearned, uncultivated. Shakespeare was—“in point of genius,” Alexander Gerard wrote in 1774—Milton’s superior, despite a “defective” handling of poetic details. The torrent of analyses and polemics on genius that appeared in those years introduced a rhetoric of ranking and comparing that became a standard method of the literature. Homer versus Virgil, Milton versus Virgil, Shakespeare versus Milton. The results—a sort of tennis ladder for the genius league—did not always wear well with the passage of time. Newton versus Bacon? In Gerard’s view Newton’s discoveries amounted to a filling in of a framework developed with more profound originality by Bacon—“who, without any assistance, sketched out the whole design.” Still, there were those bits of Newtonian mathematics to consider. On reflection Gerard chose to leave for posterity “a question of very difficult solution, which of the two had the greatest genius.”
He and his contemporary essayists had a purpose. By understanding genius, rationalizing it, celebrating it, and teasing out its mechanisms, perhaps they could make the process of discovery and invention less accidental. In later times that motivation has not disappeared. More overtly than ever, the nature of genius—genius as the engine of scientific discovery—has become an issue bound up with the economic fortunes of nations. Amid the vast modern network of universities, corporate laboratories, and national science foundations has arisen an awareness that the best financed and best organized of research enterprises have not learned to engender, perhaps not even to recognize, world-turning originality.
Genius, Gerard summed up in 1774, “is confessed to be a subject of capital importance, without the knowledge of which a regular method of invention cannot be established, and useful discoveries must continue to be made, as they have generally been made hitherto, merely by chance.” Hitherto, as well. In our time he continues to be echoed