第59章 ANALYTIC OF AESTHETIC JUDGEMENT(26)

But, now, reason is further interested in ideas (for which in our moral feeling it brings about an immediate interest), having also objective reality.That is to say, it is of interest to reason that nature should at least show a trace or give a hint that it contains in itself some ground or other for assuming a uniform accordance of its products with our wholly disinterested delight (a delight which we cognize-a priori as a law for every one without being able to ground it upon proofs).That being so, reason must take an interest in every manifestation on the part of nature of some such accordance.

Hence the mind cannot reflect on the beauty of nature without at the same time finding its interest engaged.But this interest is akin to the moral.One, then, who takes such an interest in the beautiful in nature can only do so in so far as he has previously set his interest deep in the foundations of the morally good.On these grounds we have reason for presuming the presence of at least the germ of a good moral disposition in the case of a man to whom the beauty of nature is a matter of immediate interest.

It will be said that this interpretation of aesthetic judgements on the basis of kinship with our moral feeling has far too studied an appearance to be accepted as the true construction of the cypher in which nature speaks to us figuratively in its beautiful forms.But, first of all, this immediate interest in the beauty of nature is not in fact common.It is peculiar to those whose habits of thought are already trained to the good or else are eminently susceptible of such training; and under the circumstances the analogy in which the pure judgement of taste that, without relying upon any interest, gives us a feeling of delight, and at the same time represents it a priori as proper to mankind in general, stands to the moral judgement that does just the same from concepts, is one which, without any clear, subtle, and deliberate reflection, conduces to a like immediate interest being taken in the objects of the former judgement as in those of the latter-with this one difference, that the interest in the first case is free, while in the latter it is one founded on objective laws.In addition to this, there is our admiration of Nature, which in her beautiful products displays herself as art, not as mere matter of chance, but, as it were, designedly, according to a law-directed arrangement, and as finality apart from any end.As we never meet with such an end outside ourselves, we naturally look for it in ourselves, and, in fact, in that which constitutes the ultimate end of our existence-the moral side of our being.(The inquiry into the ground of the possibility of such a natural finality will, however, first come under discussion in the Teleology.)The fact that the delight in beautiful art does not, in the pure judgement of taste, involve an immediate interest, as does that in beautiful nature, may be readily explained.For the former is either such an imitation of the latter as goes the length of deceiving us, in which case it acts upon us in the character of a natural beauty, which we take it to be; or else it is an intentional art obviously directed to our delight.In the latter case, however, the delight in the product would, it is true, be brought about immediately by taste, but there would be nothing but a mediate interest in the cause that lay beneath-an interest, namely, in an art only capable of interesting by its end, and never in itself.It will, perhaps, be said that this is also the case where an object of nature only interests by its beauty so far as a moral idea is brought into partnership therewith.But it is not the object that is of immediate interest, but rather the inherent character of the beauty qualifying it for such a partnership-a character, therefore, that belongs to the very essence of beauty.

The charms in natural beauty, which are to be found blended, as it were, so frequently with beauty of form, belong either to the modifications of light (in colouring) or of sound (in tones).For these are the only sensations which permit not merely of a feeling of the senses, but also of reflection upon the form of these modifications of sense, and so embody as it were a language in which nature speaks to us and which has the semblance of a higher meaning.