第44章 ANALYTIC OF AESTHETIC JUDGEMENT(11)

Further it in no way conduces to our culture, but belongs only to mere enjoyment.The beautiful, on the other hand, requires the representation of a certain quality of the object, that pern-fits also of being understood and reduced to concepts (although in the aesthetic judgement it is not reduced), and it cultivates, as it instructs us to attend to, finality in the feeling of pleasure.The sublime consists merely in the relation exhibited by the estimate of the serviceability of the sensible in the representation of nature for a possible supersensible employment.The absolutely good, estimated subjectively according to the feeling it inspires (the object of the moral feeling), as the determinability of the powers of the subject by means of the representation of an absolutely necessitating law, is principally distinguished, by the modality of a necessity resting upon concepts a priori, and involving not a mere claim, but a command upon every one to assent, and belongs intrinsically not to the aesthetic, but to the pure intellectual judgement.Further, it is not ascribed to nature but to freedom, and that in a determinant and not a merely reflective judgement.But the determinability of the subject by means of this idea, and, what is more, that of a subject which can be sensible, in the way of a modification of its state, to hindrances on the part of sensibility, while, at the same time, it can by surmounting them feel superiority over them-a determinability, in other words, as moral feeling-is still so allied to aesthetic judgement and its formal conditions as to be capable of being pressed into the service of the aesthetic representation of the conformity to law of action from duty, i.e., of the representation of this as sublime, or even as beautiful, without forfeiting its purity-an impossible result were one to make it naturally bound up with the feeling of the agreeable.

The net result to be extracted from the exposition so far given of both kinds of aesthetic judgements may be summed up in the following brief definitions:

The beautiful is what pleases in the mere estimate formed of it (consequently not by intervention of any feeling of sense in accordance with a concept of the understanding).From this it follows at once that it must please apart from all interest.

The sublime is what pleases immediately by reason of its opposition to the interest of sense.

Both, as definitions of aesthetic universally valid estimates, have reference to subjective grounds.In the one case the reference is to grounds of sensibility, in so far as these are final on behalf of the contemplative understanding, in the other case in so far as, in their opposition to sensibility, they are, on the contrary, final in reference to the ends of practical reason.Both, however, as united in the same subject, are final in reference to the moral feeling.The beautiful prepares us to love something, even nature, apart from any interest: the sublime to esteem something highly even in opposition to our (sensible) interest object, The sublime may be described in this way: It is an object (of nature) the representation of which determines the mind to regard the elevation of nature beyond our reach as equivalent to a presentation of ideas.

In a literal sense and according to their logical import, ideas cannot be presented.But if we enlarge our empirical faculty of representation (mathematical or dynamical) with a view to the intuition of nature, reason inevitably steps forward, as the faculty concerned with the independence of the absolute totality, and calls forth the effort of the mind, unavailing though it be, to make representation of sense adequate to this totality.This effort, and the feeling of the unattainability of the idea by means of imagination, is itself a presentation of the subjective finality of our mind in the employment of the imagination in the interests of the mind's supersensible province, and compels us subjectively to think nature itself in its totality as a presentation of something supersensible, without our being able to effectuate this presentation objectively.

For we readily see that nature in space and time falls entirely short of the unconditioned, consequently also of the absolutely great, which still the commonest reason demands.And by this we are also reminded that we have only to do with nature as phenomenon, and that this itself must be regarded as the mere presentation of a nature-in-itself (which exists in the idea of reason).But this idea of the supersensible, which no doubt we cannot further determine so that we cannot cognize nature as its presentation, but only think it as such-is awakened in us by an object the aesthetic estimating of which strains the imagination to its utmost, whether in respect of its extension (mathematical), or of its might over the mind (dynamical).

For it is founded upon the feeling of a sphere of the mind which altogether exceeds the realm of nature (i.e., upon the moral feeling), with regard to which the representation of the object is estimated as subjectively final.

As a matter of fact, a feeling for the sublime in nature is hardly thinkable unless in association with an attitude of mind resembling the moral.And though, like that feeling, the immediate pleasure in the beautiful in nature presupposes and cultivates a certain liberality of thought, i.e., makes our delight independent of any mere enjoyment of sense, still it represents freedom rather as in play than as exercising a law-ordained function, which is the genuine characteristic of human morality, where reason has to impose its dominion upon sensibility.There is, however, this qualification, that in the aesthetic judgement upon the sublime this dominion is represented as exercised through the imagination itself as an instrument of reason.