This contribution exposes two of Schelling's arguments against so-called romantic genius, which seem to hold true even today. Schelling's critique shows the theoretical emptiness of this notion, in order to reaffirm its practical usefulness. Both the "ethical-aesthetic" and the "rhetorical-dialectical" arguments intend to deconstruct the notion of genius, so as to eliminate mysticism and poetics of predestination. Having cleared the field of misunderstandings, the contribution finally sketches a "procedural" definition of genius proposed by Schelling.
