the critique of judgement-第21章

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rds；　a　natural　and　original　faculty；　or　is　it　only　the　idea　of　one　that　is　artificial　and　to　be　acquired　by　us；　so　that　a　judgement　of　taste；　with　its　demand　for　universal　assent；　is　but　a　requirement　of　reason　for　generating　such　a　consensus；　and　does　the　〃ought；〃　i。　e。；　the　objective　necessity　of　the　coincidence　of　the　feeling　of　all　with　the　particular　feeling　of　each；　only　betoken　the　possibility　of　arriving　at　some　sort　of　unanimity　in　these　matters；　and　the　judgement　of　taste　only　adduce　an　example　of　the　application　of　this　principle？　These　are　questions　which　as　yet　we　are　neither　willing　nor　in　a　position　to　investigate。　For　the　present　we　have　only　to　resolve　the　faculty　of　taste　into　its　elements；　and　to　unite　these　ultimately　in　the　idea　of　a　common　sense。

　　　　Definition　of　the　Beautiful　drawn　from　the　Fourth　Moment。

　　The　beautiful　is　that　which；　apart　from　a　concept；　is　cognized　as　object　of　a　necessary　delight。

　　　　　　General　Remark　on　the　First　Section　of　the　Analytic。

　　The　result　to　be　extracted　from　the　foregoing　analysis　is　in　effect　this：　That　everything　runs　up　into　the　concept　of　taste　as　a　critical　faculty　by　which　an　object　is　estimated　in　reference　to　the　free　conformity　to　law　of　the　imagination。　If；　now；　imagination　must　in　the　judgement　of　taste　be　regarded　in　its　freedom；　then；　to　begin　with；　it　is　not　taken　as　reproductive；　as　in　its　subjection　to　the　laws　of　association；　but　as　productive　and　exerting　an　activity　of　its　own　（as　originator　of　arbitrary　forms　of　possible　intuitions）。　And　although　in　the　apprehension　of　a　given　object　of　sense　it　is　tied　down　to　a　definite　form　of　this　object　and；　to　that　extent；　does　not　enjoy　free　play　（as　it　does　in　poetry）；　still　it　is　easy　to　conceive　that　the　object　may　supply　ready…made　to　the　imagination　just　such　a　form　of　the　arrangement　of　the　manifold　as　the　imagination；　if　it　were　left　to　itself；　would　freely　protect　in　harmony　with　the　general　conformity　to　law　of　the　understanding。　But　that　the　imagination　should　be　both　free　and　of　itself　conformable　to　law；　i。　e。；　carry　autonomy　with　it；　is　a　contradiction。　The　understanding　alone　gives　the　law。　Where；　however；　the　imagination　is　compelled　to　follow　a　course　laid　down　by　a　definite　law；　then　what　the　form　of　the　product　is　to　be　is　determined　by　concepts；　but；　in　that　case；　as　already　shown；　the　delight　is　not　delight　in　the　beautiful；　but　in　the　good　（in　perfection；　though　it　be　no　more　than　formal　perfection）；　and　the　judgement　is　not　one　due　to　taste。　Hence　it　is　only　a　conformity　to　law　without　a　law；　and　a　subjective　harmonizing　of　the　imagination　and　the　understanding　without　an　objective　one…which　latter　would　mean　that　the　representation　was　referred　to　a　definite　concept　of　the　object…that　can　consist　with　the　free　conformity　to　law　of　the　understanding　（which　has　also　been　called　finality　apart　from　an　end）　and　with　the　specific　character　of　a　judgement　of　taste。　　　Now　geometrically　regular　figures；　a　circle；　a　square；　a　cube；　and　the　like；　are　commonly　brought　forward　by　critics　of　taste　as　the　most　simple　and　unquestionable　examples　of　beauty。　And　yet　the　very　reason　why　they　are　called　regular；　is　because　the　only　way　of　representing　them　is　by　looking　on　them　as　mere　presentations　of　a　determinate　concept　by　which　the　figure　has　its　rule　（according　to　which　alone　it　is　possible）　prescribed　for　it。　One　or　other　of　these　two　views　must；　therefore；　be　wrong：　either　the　verdict　of　the　critics　that　attributes　beauty　to　such　figures；　or　else　our　own；　which　makes　finality　apart　from　any　concept　necessary　for　beauty。　　　One　would　scarce　think　it　necessary　for　a　man　to　have　taste　to　take　more　delight　in　a　circle　than　in　a　scrawled　outline；　in　an　equilateral　and　equiangular　quadrilateral　than　in　one　that　is　all　lop…sided；　and；　as　it　were；　deformed。　The　requirements　of　common　understanding　ensure　such　a　preference　without　the　least　demand　upon　taste。　Where　some　purpose　is　perceived；　as；　for　instance；　that　of　forming　an　estimate　of　the　area　of　a　plot　of　land；　or　rendering　intelligible　the　relation　of　divided　parts　to　one　another　and　to　the　whole；　then　regular　figures；　and　those　of　the　simplest　kind；　are　needed；　and　the　delight　does　not　rest　immediately　upon　the　way　the　figure　strikes　the　eye；　but　upon　its　serviceability　for　all　manner　of　possible　purposes。　A　room　with　the　walls　making　oblique　angles；　a　plot　laid　out　in　a　garden　in　a　similar　way；　even　any　violation　of　symmetry；　as　well　in　the　figure　of　animals　（e。g。；　being　one…eyed）　as　in　that　of　buildings；　or　of　flower…beds；　is　displeasing　because　of　its　perversity　of　form；　not　alone　in　a　practical　way　in　respect　of　some　definite　use　to　which　the　thing　may　be　put；　but　for　an　estimate　that　looks　to　all　manner　of　possible　purposes。　With　the　judgement　of　taste　the　case　is　different。　For；　when　it　is　pure；　it　combines　delight　or　aversion　immediately　with　the　bare　contemplation　of　the　object　irrespective　of　its　use　or　of　any　end。　　　The　regularity　that　conduces　to　the　concept　of　an　object　is；　in　fact；　the　indispensable　condition　（conditio　sine　qua　non）　of　grasping　the　object　as　a　single　representation　and　giving　to　the　manifold　its　determinate　form。　This　determination　is　an　end　in　respect　of　knowledge；　and　in　this　connection　it　is　invariably　coupled　with　delight　（such　as　attends　the　accomplishment　of　any；　even　problematical；　purpose）。　Here；　however；　we　have　merely　the　value　set　upon　the　solution　that　satisfies　the　problem；　and　not　a　free　and　indeterminately　final　entertainment　of　the　mental　powers　with　what　is　called　beautiful。　In　the　latter　case；　understanding　is　at　the　service　of　imagination；　in　the　former；　this　relation　is　reversed。　　　With　a　thing　that　owes　its　possibility　to　a　purpose；　a　building；　or　even　an　animal；　its　regularity；　which　consists　in　symmetry；　must　express　the　unity　of　the　intuition　accompanying　the　concept　of　its　end；　and　belongs　with　it　to　cognition。　But　where　all　that　is　intended　is　the　maintenance　of　a　free　play　of　the　powers　of　representation　（subject；　however；　to　the　condition　that　there　is　to　be　nothing　for　understanding　to　take　exception　to）；　in　ornamental　gardens；　in　the　decoration　of　rooms；　in　all　kinds　of　furniture　that　shows　good　taste；　etc。；　regularity　in　the　shape　of　constraint　is　to　be　avoided　as　far　as　possible。　Thus　English　taste　in　gardens；　and　fantastic　taste　in　furniture；　push　the　freedom　of　imagination　to　the　verge　of　what　is　grotesque　the　idea　being　that　in　this　divorce　from　all　constraint　of　rules　the　precise　instance　is　being　afforded　where　taste　can　exhibit　its　perfection　in　projects　of　the　imagination　to　the　fullest　extent。　　　All　stiff　regularity　（such　as　borders　on　mathematical　regularity）　is　inherently　repugnant　to　taste；　in　that　the　contemplation　of　it　affords　us　no　lasting　entertainment。　Indeed；　where　it　has　neither　cognition　nor　some　definite　practical　end　expressly　in　view；　we　get　heartily　tired　of　it。　On　the　other　hand；　anything　that　gives　the　imagination　scope　for　unstudied　and　final　play　is　always　fresh　to　us。　We　do　not　grow　to　hate　the　very　sight　of　it。　Marsden；　in　his　description　of　Sumatra；　observes　that　the　free　beauties　of　nature　so　surround　the　beholder　on　all　sides　that　they　cease　to　have　much　attraction　for　him。　On　the　other　band　he　found　a　pepper　garden　full　of　charm；　on　coming　across　it　in　mid…forest　with　its　rows　of　parallel　stakes　on　which　the　plant　twines　itself。　From　all　this　he　infers　that　wild；　and　in　its　appearance　quite　irregular　beauty；　is　only　pleasing　as　a　change　to　one　whose　eyes　have　become　surfeited　with　regular　beauty。　But　he　need　only　have　made　the　experiment　of　passing　one　day　in　his　pepper　garden　to　realize　that　once　the　regularity　has　enabled　the　understanding　to　put　itself　in　accord　with　the　order　that　is　the　constant　requirement；　instead　of　the　object　diverting　him　any　longer；　it　imposes　an　irksome　constraint　upon　the　imagination：　whereas　nature　subject　to　no　constraint　of　artificial　rules；　and　lavish；　as　it　there　is；　in　its　luxuriant　variety　can　supply　constant　food　for　his　taste。　Even　a　bird's　song；　which　we　can　reduce　to　no　musical　rule；　seems　to　have　more　freedom　in　it；　and　thus　to　be　richer　for　taste；　than　the　human　voice　singing　in　accordance　with　all　the　rules