Defining Genius: A Review of Robinson and Bloom's Works

The Nature and Rarity of Genius

Genius is, undoubtedly, exceedingly rare and distinctive, yet it shares an inevitable and powerful quality for both ordinary people and professionals (Robinson, 1). All working biologists still need to engage with Darwinian concepts, which, to this day, prompt experiments and fresh thinking worldwide. The same esteem is given to Einstein's theories in the world of physics, Mozart's harmonies and melodies in the world of music, and Shakespeare's plays in the literary world — all of these continue to inspire individuals across cultures and languages highly dissimilar to their places of origin. While "geniuses" in recent times come and go, people remain fascinated with the concept of genius itself. Genius is what we call, in simple terms, the sort of work that rises above reputation, fame, celebrity, and fashion — as opposed to mere period pieces. It, somehow, transcends the place and time of its origin (Robinson, 10).

Subjectivity in Defining and Disputing Genius

Robinson explains that it is difficult to decide what defines genius, as well as who can rightfully be called a genius. While there are some exceptions — such as Einstein or Newton, whose brilliance cannot be disputed — there are other cases in which one may doubt the validity of such a claim. An interesting point Robinson raises is that genius is, in some instances, disputed (e.g., Picasso), whereas in others it is undisputed (e.g., Mozart). One may feel surprised that Picasso's talent is questioned; Harold Bloom claims that, in his personal opinion — probably shared by very few others — Mozart's talent seems rather trivial compared to Picasso's. Another case of subjectivity involves Robinson's constant reference to the English writer Virginia Woolf. Bloom believes that Woolf was not a genius but more of a celebrity (Harold, 35).

Genius is a term applied to so many diverse kinds of people, meaning there is considerable indefiniteness in its application. Many individuals are labeled "geniuses" by their peers but not by biographers. If one believes genius to be characterized by sudden inspiration, or a flash of ideas originating from supposedly paranormal sources, or an all-consuming desire to achieve an end, it can be said to edge perilously close to the hearing of voices by insane persons, their deliriums, or their fixations. This cannot possibly be an advantageous faculty, and one may not desire to inherit such traits.

Genius, Inheritance, and Natural Ability

With regard to the inheritance of natural ability, human history and evolution unquestionably suggest that the intellectual and moral standing of sane people in the future will be no less superior to that of the present day. Individuals of high and above-average ability provide an ample supply of capacity that is, at present, exceedingly rare and keenly sought (Robinson, 74; Harold, 33). The question of whether genius is born or made — rooted in nature versus nurture — underlies much of the debate Robinson surveys throughout his text.

Conclusion: Is True Genius Gone?

Robinson writes that though several talented artists and scientists can still be seen, true genius is nowhere to be found. He wonders what happened to geniuses and why they are absent in today's world (Robinson, 105). This book makes readers confront the gist of Robinson's central argument: there is no true genius left in the world. Whether or not one agrees with this provocative conclusion, Robinson's exploration of the qualities, histories, and disputes surrounding genius offers a compelling framework for thinking about exceptional human achievement.

Works Cited

Bloom, Harold. Genius: A Mosaic of One Hundred Exemplary Creative Minds. London: Fourth Estate, 2002.

Robinson, Andrew. Genius: A Very Short Introduction. Oxford University Press, 2011. 152 pages. ISBN 9780191611445.