Who are these brilliant children? Geniuses in Greek mythology.

Patronizing humans, it is very ancient and is found in many cultures. It is believed that some spirits can inspire a person, instilling in him the knowledge of truth and endowing him with talents with which man surpasses many mortals [ ] ; This is where the concept of human genius comes from, which literally means the patronage of a good spirit-genius. Genius also protects a person from the influence of evil spirits that bring illness and failure.

Geniuses in Assyrian mythology

According to the Assyrians, either gods or a special kind of good demons could act as geniuses: shedu and lamassu. If a person angered his patron spirit, the genius left, depriving the person of his protection:

The Ahhazu meet a man with whom his god is angry, they cover him like a garment, they pounce on him, fill him with poison, bind his hands, bind his feet, tear his sides, sprinkle him with bile.

- Shurpu, VII, 20-26

Therefore, the treatment of diseases was accompanied by exorcism rituals and an invitation to the genius to return back to the human body.

Geniuses in Greek mythology

In Greek mythology, some daimons (demons) are analogous to geniuses. The good genius was called agathodaimon or Agathodaimon(from Greek αγαθο , good, good), evil - cacodemon(from Greek κακό , evil).

Aleister Crowley, in a letter to Frater R., reveals the names by which the Holy Guardian Angel is known to various magical and religious traditions:

Theosophists call him the Supreme Self, the Silent Observer or the Great Master. In the Order of the Golden Dawn he is called a Genius. Gnostics call it Logos. The Egyptians say Asar Un-nefer. Zoroaster speaks of the union of all these symbols in the form of the Lion - see the Chaldean Oracles. Anna Kingsford calls him Adonai (Clad in the Sun). The Buddhists call him Adi-Buddha - (says H.P.B.) The Bhagavad-Gita calls him Vishnu (Chapter XI). The I Ching calls him "Great Man". In Kabbalah he is called Yechida.

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Notes

1. // Dictionary of Antiquity
2. // = Russisches etymologisches Wörterbuch: in 4 volumes / auto.-comp. M. Vasmer; lane with him. and additional member-corr. USSR Academy of Sciences O. N. Trubachev, ed. and with a preface. prof. B. A. Larina [t. I]. - Ed. 2nd, erased. - M. : Progress, 1986-1987.
3. / Ivanov V. Sun. // Myths of the peoples of the world: Encycl. in 2 volumes / ch. ed. S. A. Tokarev. - 2nd ed. - M. : Soviet Encyclopedia, 1987-1988.
4. Possibly Zadkiel.

Literature

• // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• Guili R. E. Encyclopedia of Angels. - M.: Veche, 2008. - 416 p.: ill. - ISBN 978-5-9533-1941-6
• Fosse Sh. Assyrian magic. Per. from French V. L. Sanina; lane from Akkadian and Sumerian V.V. Emelyanova. - St. Petersburg: Eurasia Publishing Group, 2001. - 336 p. - ISBN 5-8071-0082-4
• // Latin-Russian and Russian-Latin dictionary of popular words and expressions

Links

Excerpt characterizing Genius (mythology)

X
This letter had not yet been submitted to the sovereign when Barclay told Bolkonsky at dinner that the sovereign would like to see Prince Andrei personally in order to ask him about Turkey, and that Prince Andrei would appear at Bennigsen’s apartment at six o’clock in the evening.
On the same day, news was received in the sovereign's apartment about Napoleon's new movement, which could be dangerous for the army - news that later turned out to be unfair. And that same morning, Colonel Michaud, touring the Dries fortifications with the sovereign, proved to the sovereign that this fortified camp, built by Pfuel and hitherto considered the master of tactics, destined to destroy Napoleon, - that this camp was nonsense and destruction Russian army.
Prince Andrei arrived at the apartment of General Bennigsen, who occupied a small landowner's house on the very bank of the river. Neither Bennigsen nor the sovereign were there, but Chernyshev, the sovereign’s aide-de-camp, received Bolkonsky and announced to him that the sovereign had gone with General Bennigsen and the Marquis Paulucci another time that day to tour the fortifications of the Drissa camp, the convenience of which was beginning to be seriously doubted.
Chernyshev was sitting with a book of a French novel at the window of the first room. This room was probably formerly a hall; there was still an organ in it, on which some carpets were piled, and in one corner stood the folding bed of Adjutant Bennigsen. This adjutant was here. He, apparently exhausted by a feast or business, sat on a rolled up bed and dozed. Two doors led from the hall: one straight into the former living room, the other to the right into the office. From the first door one could hear voices speaking in German and occasionally in French. There, in the former living room, at the sovereign’s request, not a military council was gathered (the sovereign loved uncertainty), but some people whose opinions on the upcoming difficulties he wanted to know. This was not a military council, but, as it were, a council of those elected to clarify certain issues personally for the sovereign. Invited to this half-council were: the Swedish General Armfeld, Adjutant General Wolzogen, Wintzingerode, whom Napoleon called a fugitive French subject, Michaud, Tol, not a military man at all - Count Stein and, finally, Pfuel himself, who, as Prince Andrei heard, was la cheville ouvriere [the basis] of the whole matter. Prince Andrei had the opportunity to take a good look at him, since Pfuhl arrived soon after him and walked into the living room, stopping for a minute to talk with Chernyshev.
At first glance, Pfuel, in his poorly tailored Russian general's uniform, which sat awkwardly on him, as if dressed up, seemed familiar to Prince Andrei, although he had never seen him. It included Weyrother, Mack, Schmidt, and many other German theoretic generals whom Prince Andrei managed to see in 1805; but he was more typical than all of them. Prince Andrei had never seen such a German theoretician, who combined in himself everything that was in those Germans.
Pfuel was short, very thin, but broad-boned, of a rough, healthy build, with a wide pelvis and bony shoulder blades. His face was very wrinkled, with deep-set eyes. His hair in front, near his temples, was obviously hastily smoothed with a brush, and naively stuck out with tassels at the back. He, looking around restlessly and angrily, entered the room, as if he was afraid of everything in the large room into which he entered. He, holding his sword with an awkward movement, turned to Chernyshev, asking in German where the sovereign was. He apparently wanted to go through the rooms as quickly as possible, finish bowing and greetings, and sit down to work in front of the map, where he felt at home. He hastily nodded his head at Chernyshev’s words and smiled ironically, listening to his words that the sovereign was inspecting the fortifications that he, Pfuel himself, had laid down according to his theory. He grumbled something bassily and coolly, as self-confident Germans say, to himself: Dummkopf... or: zu Grunde die ganze Geschichte... or: s"wird was gescheites d"raus werden... [nonsense... to hell with the whole thing... (German) ] Prince Andrei did not hear and wanted to pass, but Chernyshev introduced Prince Andrei to Pful, noting that Prince Andrei came from Turkey, where the war was so happily over. Pful almost looked not so much at Prince Andrei as through him, and said laughing: “Da muss ein schoner taktischcr Krieg gewesen sein.” [“It must have been a correctly tactical war.” (German)] - And, laughing contemptuously, he walked into the room from which voices were heard.
Apparently, Pfuel, who was always ready for ironic irritation, was now especially excited by the fact that they dared to inspect his camp without him and judge him. Prince Andrei, from this one short meeting with Pfuel, thanks to his Austerlitz memories, compiled a clear description of this man. Pfuel was one of those hopelessly, invariably, self-confident people to the point of martyrdom, which only Germans can be, and precisely because only Germans are self-confident on the basis of an abstract idea - science, that is, the imaginary knowledge of perfect truth. The Frenchman is self-confident because he considers himself personally, both in mind and body, to be irresistibly charming to both men and women. An Englishman is self-confident on the grounds that he is a citizen of the most comfortable state in the world, and therefore, as an Englishman, he always knows what he needs to do, and knows that everything he does as an Englishman is undoubtedly good. The Italian is self-confident because he is excited and easily forgets himself and others. The Russian is self-confident precisely because he knows nothing and does not want to know, because he does not believe that it is possible to completely know anything. The German is the worst self-confident of all, and the firmest of all, and the most disgusting of all, because he imagines that he knows the truth, a science that he himself invented, but which for him is the absolute truth. This, obviously, was Pfuel. He had a science - the theory of physical movement, which he derived from the history of the wars of Frederick the Great, and everything that he encountered in the modern history of the wars of Frederick the Great, and everything that he encountered in the latest military history, seemed to him nonsense, barbarism, an ugly clash, in which so many mistakes were made on both sides that these wars could not be called wars: they did not fit the theory and could not serve as the subject of science.
In 1806, Pfuel was one of the drafters of the plan for the war that ended with Jena and Auerstätt; but in the outcome of this war he did not see the slightest proof of the incorrectness of his theory. On the contrary, the deviations made from his theory, according to his concepts, were the only reason for the entire failure, and he, with his characteristic joyful irony, said: “Ich sagte ja, daji die ganze Geschichte zum Teufel gehen wird.” [After all, I said that the whole thing would go to hell (German)] Pfuel was one of those theorists who love their theory so much that they forget the purpose of theory - its application to practice; In his love for theory, he hated all practice and did not want to know it. He even rejoiced at failure, because failure, which resulted from a deviation in practice from theory, only proved to him the validity of his theory.

Philosophical-aesthetic a concept formed in modern times (16-18 centuries) on the basis of the ancient concept of “genius” - “spirit” (Greek, lit. “endowing”; lat. genius) as given to a person as a deity expressing his personality and destiny , deities double, guardian, as well as the word ingenio, which has the same root as genius (included in European rhetorical theory), meaning innate (properly received at the birth of the spirit) abilities, talents, ingenuity, sharpness of mind. According to the teachings of Diotima in Plato’s “Symposium” (202 e), the spirits-“daimons” are “the mean between god and mortal” and have the power “to be interpreters and transmitters of human affairs to the gods, and divine ones to people, requests and sacrifices alone, orders and rewards for sacrifices to others,” thanks to which the whole being is tied together. Plato emphasizes the connection with the “daimon” of creativity. functions - everything related to “sacrifices, sacraments, spells, divination, sorcery.” In the Phaedrus (242 pp.) Socrates talks about his “daimonion”, which gives him signs. The actions of the “daimon” are reflected primarily in divination, and the ability of divination is also coupled with the soul so that deities are given from outside. the signs turn out to be simultaneous. and the “inner voice” of the individual. Thus, ideas about the “daimon” and resp. Roman "genius" (themselves extremely varied in popular beliefs and literary evidence over the centuries) in his philosophy. interpretation, as their fundamentals. implications suggest: creative. the nature of G. as a force of inspiration and insight; the implementation of the interconnection of the whole, ensuring its existence; not just the attachment of G. to the individual, but the connection of G. with the “soul” as internal. the beginning of man, personality. All these points are preserved and reflected in the new European. concept of G., which in other respects breaks with tradition. All of them were developed only in the growth of individualism in modern Europe. culture, through the Renaissance idea of ​​the deification of man and the idea of ​​the artist as a “second god”.

In the 18th century the process of interiorization of G. is taking place as a deity guiding man, a force coming from outside - now G. begins to be understood as an internal, immanent creative soul. ability. A mediator between humanistic heritage and Philosophy at the turn of the 18th and 19th centuries, which played a decisive role in the rethinking of G., was Shaftesbury, who wrote: “The poet is already the second Creator, a true Prometheus walking under Jupiter. Like this supreme artist, or the universal plastic nature, he creates form whole, commensurate and proportional in itself..." (Soliloquy, I, III). In the 18th century (especially in the so-called “brilliant” era of “Storm and Drang” of the 1770s in Germany), in connection with the strengthening of anti-rhetoric, trends in creativity and aesthetic theory, the idea of ​​an individual arises. and original (primordial) G., which creates a rule and then follows it, i.e. autocratically creates a special, original artist. world. Such a representation, losing its polemic. extreme goes into him. classic philosophy and German neo-humanism at the turn of the 18th-19th centuries, G. is balanced with nature, and “interiorized” G. never breaks ties with G. as a tradition. representation-mythologem. G.'s activity is deeply intertwined with the activity of nature; G. the artist plastically sculpts being like God or nature; Wed at K.F. Moritz (On the plastic imitation of the beautiful, 1788): “A plastic genius must, as far as possible, grasp all the proportions of great harmony sleeping in him, the scope of which is wider than his individuality” - Moritz K. Ph. Schriften zur Asthetik und Poetik. Tub., 1962; 84). Kant defined talent as “a talent (natural gift), which gives the rule to art,” or, in other words, as “innate inclinations of the soul,” through which nature gives the rule to art (Critique of the Power of Judgment). That. between external and internal. the origins of G., genius, balance is established. Resp. from Schelling in “Philosophy of Art”: “... the eternal concept of man in God as the direct cause of his (human) production (creativity) is what is called genius, it is, as it were, genius, the divine dwelling in man.” Kant’s concept of humanity, which summarizes the long process of a new understanding of creativity, includes both the “originality” of creativity and its unconsciousness, non-reflectivity (hence Schiller’s connection of creativity with “naive”, i.e. poetry that does not reflect itself), and his impersonality (nature itself speaks in the artist). Kant refers only to “fine art,” which is the only thing that does not obey a known rule.

In the 19th century a tradition-neutral idea of ​​genius is created, of genius as the highest creative force. abilities, in isolation from internal. forms of the word "G.", from G. as a mythologeme, from the tradition of its rethinking. As a result of this, G. could become commonplace, optional. representation inherent in mass aesthetics. consciousness, but at the same time and present. problem of philosophy and psychology of creativity. Here G. appears as essentially a new concept, developed in the depths of the traditional one and containing a certain final meaning of it. Jean-Paul, distinguishing talent from talent (Preparatory School of Aesthetics), actually uses a new concept. In exactly the same way, Hegel in Aesthetics understands G. as self-conscious. creativity, without at all connecting G. with tradition. a mythologem of an inspiring deity, or a natural principle, and removing any “restrictions” on the activities of G., who can manifest himself in any field, not only in art. In the 19th century the idea of ​​G. is partly connected with the cult of the “hero” as a superhuman. personality (already in Carlyle, Nietzsche), contrasted with non-creative. and hostile to the artist, true art, the masses, the “crowd.” Such a cult of the G. “hero” becomes an indispensable moment of the average bourgeois, brought to the point of absurdity. consciousness. At the same time, the era of comprehensive study of the phenomenon of G. begins. Since the new concept of G. differs from the previous one primarily in the immanence of G. of the individual, the study of psychophysiol. G.'s substrate led to irrationalism. currents of science and philosophy to ideas about deviating from the norm, pathological. nature of G. (which corresponds, however, to the traditional idea of ​​“possession” by the deity, the proximity of “inspiration” and madness). It is more natural, however, to consider G. a phenomenon that does not go beyond the normal: a genius person is endowed with a rare and each time individually structured set of properties and abilities that predispose the person to creativity (usually in a variety of fields of activity), but usually allow him to make decisions. choice in favor of one, main. type of activity. It is obvious that genius is predetermined not only by the outstanding strength (thus going beyond the ordinary) of abilities, but, perhaps even more so, by the unusual dynamics of their combination in the individual. At the same time, various properties, drives, abilities must be in this person in a truly rare state, in which their obvious disharmony, leading to equilibrium, harmonious. condition, and imbalance in the k.-l. the level of personality, in any case, is compensated at the highest. creative her level - where she acts as the creator of masterpieces of creativity. The creativity of a brilliantly gifted person is tactful. resolution of the contradictions inherent in his personality. The absence of a completely unusual correlation of properties and abilities would lead to the fact that the more or less uniform development of a variety of abilities would not allow one to stand out as one main one, a concentration on which is completely inevitable for a genius-gifted person (versatile talent in this case internally certainly affects the result of genius activity - as a special wealth, the versatility of what is created). The presence of only one clearly expressed ability would not allow, on the contrary, the development of final harmony. The often observed “strangeness”, imbalance, everyday disorder, unsociability of a genius personality comes from its concentration on creativity, where the final (exceeding the usual level) harmonization of the strengths and abilities of the individual occurs, while at the everyday (“everyday”) level such a personality can appear as “uncompensated”, disharmonious. Properties and abilities of G., which manifest themselves, as a rule, on a healthy psychophysiol. basis, can be very rare - this, for example, may be the ability for an intense, directly fresh perception of art. phenomena without attenuation of the original. impressions, but, on the contrary, with their deepening; the ability to intuitively perceive and realize, to comprehend, as a single whole, huge masses of artistically organized material (Mozart spoke of his ability to capture an entire part of a symphony with a single, instant glance); ability for unusual associations phenomena, their sides, seemingly distant, leading to a non-trivial artistic. or scientific thinking, to discoveries in science, technology, art, etc. The ability to instantly become aware of your creativity. activity without interfering with its spontaneity. The manifestation of G.'s abilities is individual and unique every time. It is indicative and goes back to a deep tradition to compare Hegel’s activity with lightning: “The internal plan and the implementation of a brilliant fantasy simultaneously appear to us like a lightning strike in their instantaneous interpenetration and elusive vitality” (Hegel, see Aesthetics. T. 3. M., 1971 . P. 341). Thanks to such qualities, a genius-gifted person in art, science, philosophy, etc. begins to express his history. An era with a special depth, maximally accessible to man, without being connected by many secondary ones, is insignificant. its moments, circumstances; G.'s attitude towards his time is always paradoxical, because G. sees the essence of what is happening deeper, wider, more multifaceted than his contemporaries.

Lit.: Goncharenko N.V. Genius in art and science. M., 1991; Zilsel E. Die Entstehung des Geniebegriffs. Tub., 1926; Nowak H. Zur Entwicklungsgeschichte des Begriffs Daimon: Diss. Bonn, 1960; Schmidt-Dengler W. Genius: zur Wirkungsgeschichte antiker Mythologeme in der Goethezeit. Munch., 1978; Schmidt J. Die Geschichte des Genie-Gedankens in der deutschen Literatur, Philosophie und Politik 1750-1945. Bd. 1-2. Darmstadt, 1988; Zilsel E. Die Geniereligion. Ein kritischer Versuch iiber das moderne Personlichkeitsideal, mit einer historischen Begrundung. Fr./M., 1990.

Great definition

Incomplete definition ↓

Genius is perhaps one of the most mysterious phenomena. The birth of a genius cannot be planned or predicted; it always happens suddenly and, as a rule, leaves a deep mark on the history of mankind. Such people are able to change any ideas about science, art and other important areas of life. Any of us knows their names: Wolfgang Amadeus Mozart, Isaac Newton, Leonardo da Vinci, Johann Goethe, Blaise Pascal - this is only a small part of the geniuses who influenced the development of mankind.

The nature of this phenomenon has long been subject to close study, but there is still no exact answer even to the original question: what is genius? Scientists' opinions differ quite widely.

1. Plato believed that genius was given to man by God.
2. The Italian psychiatrist Cesare Lombroso was convinced that it was a symptom of insanity, and even wrote a book on this topic, “Genius and Insanity.” Indeed, many geniuses fell into madness, but not all.
3. Some other scientists believe that genius is the sublimation of sexual complexes.

These three versions are far from the only ones; each direction of psychology and psychiatry has its own theory. Moreover, none of them has such comprehensive evidence to once and for all give an accurate definition of genius.

Where did the word "genius" come from?

In the mythology of ancient Rome, there were certain spirits who were in charge of people's achievements. They were called geniuses. It was believed that everyone man has his own set such helpers. The better the spirits coped with their duties, the more great things their ward accomplished. During the time of the Roman Emperor Octavian Augustus, the word "genius" gradually came to mean not only these mythical characters, but also talent and inspiration in general.

General Definition of Genius

Despite the global differences in the views of scientists on this phenomenon, there is still a certain common denominator that generally provides an acceptable definition. Genius is the highest level of human development in one or more areas of knowledge and skills. Moreover, such people do not go unnoticed, they always make some outstanding discoveries, invent something new - in general, one way or another, they prove themselves.

Sometimes genius is confused with talent and giftedness. In fact, there are several important signs that help distinguish one from the other.

Giftedness

Giftedness is common high level of ability. Gifted people can successfully cope with a task, as well as develop qualitatively and quickly. Many young children initially have this quality, which is why starting early is considered so important. After all, giftedness, with the right approach, can develop into talent.

Talent

This is the next step after giftedness. Talent is also considered higher level abilities. But, as a rule, this happens in one direction. The popular saying “A talented person is talented in everything” is not entirely true. Usually, having passed through the stage of general talent, a person begins to pay more attention to what is most interesting to him. Accordingly, the main development further occurs in this area. This does not mean that a talented person's abilities are limited, it is usually simply a matter of lack of time. Who knows how much these people could do if the days were even a little longer.

Genius

Finally, we come to the third stage of ability development. This is genius. As mentioned above, at this stage there is highest point of development. Like talent, genius is usually limited to one area. The difference is that in other areas of life a brilliant person can be downright stupid, while talented and gifted people are usually more or less versed in any field.

Signs of genius

• Powerful Intuition. As a rule, a genius does not need to have the full range of knowledge in the desired field. What he lacks in information, he more than makes up for with actions on a whim.
• Developed imagination. It is this that serves as a guide for genius, giving the opportunity to create without relying on existing standards.
• Uniqueness. As a rule, geniuses do not develop what they already have, but create something fundamentally new, different from everything that came before.
• Perseverance, attentiveness, hard work. Without these qualities it is difficult to achieve anything. And a genius, as we have already said, must definitely leave his mark on history.
• Maximum passion. It doesn’t matter what field we are talking about, science or art - when a genius creates, everything else ceases to exist for him.
• A high self-evaluation. Geniuses are usually absolutely self-sufficient individuals. They believe in themselves and their business. Such an attitude is simply necessary so that a person can give all of himself to what he does.

Genius has one more feature. A person’s ordinary abilities can be developed into giftedness, and then into talent. But not genius - this is a quality that either exists initially or does not exist at all. Usually genius is visible in early childhood, while talent can manifest itself in anyone, even in old age.

Scientists will probably struggle for a very long time to figure out who a genius is, thanks to what factors he is born, and why he is so rare.

One thing is obvious: no matter what area genius manifests itself, it will always be able to declare itself and will certainly leave a deep mark in the history of mankind.

), creative formation and image, as well as possessing this talent. IN poetry and philosophy of the 18th century, including romance, a genius is an outstanding, exceptional person. Kant calls a man of genius “the darling of nature,” and “genius” is an innate mentality, thanks to which he prescribes rules not only for science, but also for the (fine) arts (“Critique of Judgment,” § 46 – 49). Goethe, joining Hamann, Herder, as well as the cult of genius during the period of Sturm und Drang, even more clearly defines genius as the highest form-creating talent; like him, Schiller views it as creative. Nietzsche also considered creative childhood to be essential. the quality of a genius. In the New, an attempt was made to put “genius” on the same level as madness (Moro de Tours, Lombroso, etc.); Plato already speaks of the “divine madness” of poets. Indeed, many brilliant people fell into (Tasso, Swift, Lenau, Schumann, Haller, Nietzsche); indeed, a genius sometimes has a sudden thirst for creativity, similar to certain original and ideologically highly productive phases bordering on the area of ​​mild psychopathology (mild phase fluctuations of hypomania - a stage preceding schizophrenia, which is characterized by visions, etc.). But if we characterize genius, which differs from the life of other people, as a “perversion,” then it does not have to be a painful, incorrect, arbitrary exception, but from a sociological point of view, it is at the same time a creatively formative pinnacle of human existence, establishing rules and creating laws. Modern times have not developed further than the theories of Lombroso (“Genius and Madness”).

Philosophical Encyclopedic Dictionary. 2010 .

Antonyms:

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genius- I, M. genie f., German. Genius, floor. geniusz lat. genius. 1. According to the religious beliefs of the ancient Romans, God is the patron saint of man, city, country; spirit of good and evil. Sl. 18. The Romans brought incense, flowers and honey to their Angel or according to their Genius... ... Historical Dictionary of Gallicisms of the Russian Language

This is the talent of a deceased person. Edmond Goncourt Talent is something you possess; genius is what masters you. Malcolm Cowley A genius shoots at a target that no one can see and hits. A genius is a man with talent and the diligence of a man without talent. Gabriel... Consolidated encyclopedia of aphorisms

Genius- Genius ♦ Génie At the beginning of the 18th century, Abbot Dubos gave the following definition: “Genius is an ability that a person has received from nature and which allows him to do well and easily what others do very poorly, even if applied to... ... Sponville's Philosophical Dictionary

- (Latin genius, from gignere to give birth, to produce). 1) the power of heaven creates in science or art something out of the ordinary, makes new discoveries, points out new paths. 2) a person who has such power. 3) according to the ancient concept. Romans... ... Dictionary of foreign words of the Russian language

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- (Genius). A spirit that animates a known person, place, etc. and corresponds to the Greek Demon. Genius, according to the Romans, was found not only in every person, but in every family, city, country, etc. Local geniuses were imagined as snakes... Encyclopedia of Mythology

See ability, mind, evil genius, unrecognized genius... Dictionary of Russian synonyms and expressions similar in meaning. under. ed. N. Abramova, M.: Russian Dictionaries, 1999. genius sage, genius, greatness, brilliant person, arrogant, clever, titan... ... Synonym dictionary

Genius is a multi-valued term: Genius (mythology) the personal spirit of a person in Roman mythology “A genius is a person with extremely outstanding abilities, one who finds ways to solve the most complex problems in the most incredible and at the same time ... ... Wikipedia

GENIUS, genius, husband. (lat. genius) (book). 1. Highest creative ability in scientific or artistic activity. Scientific genius of Lenin. 2. A person who has a similar ability. Darwin was a genius. 3. In Roman mythology, the lowest deity,... ... Ushakov's Explanatory Dictionary

Me, husband. New.Otch.: Genievich, Genievna.Derivatives: Genya (Gena).Origin: (Use of the common noun genius as a personal name.) Dictionary of personal names. I am a genius, m. Nov. Report: Genievich, Genievna. Derivatives: Genya (Gene). [Use of Narits... Dictionary of personal names