"Exemplary Originality": Kant on Genius and Imitation MARTIN GAMMON 1. INTRODUCTION ACCORDING TO ERNST CASSIRER, Kant 's discussion of genius in the Third Cri- tique stands "at the crossroads of all aesthetic discussions in the eighteenth century," in that he tries to accommodate the neo-Classical demand that art- works follow determinate rules to the Romantic insistence that aesthetic cre- ativity be free from such rules? In the Third Critique itself, Kant defends both of these criteria through the doctrine of "exemplary (...) originality." For Kant, the genius combines two qualities: on the one hand, "a talent for produc- ing that for which no rule can be given," so that "originality must be its primary property"; however, "since there may also be original nonsense, its products must at the same time be models, i.e., be exemplary; and consequently, though not themselves derived from imitation, they must serve that purpose for oth- ers, i.e., as a standard or rule for estimating."' On the basis of this exemplary originality, then, a genius puts "freedom from constraint of rules so into force in his art, that for art itself a new rule is won -- which is what shows a talent to be exemplary". Recently, some commentators have puzzled over the "air of paradox" sur- rounding Kant 's union of originality and exemplarity in works of genius. "If such works," Timothy Gould conjectures, "make advances on what is familiar and gain new ground, their very. (shrink)