Kant, Critique of Judgment (James Creed Meredith, tr.)

Preface and Introduction ...

First Part. Critique Of Aesthetic Judgement

Section I. Analytic Of Aesthetic Judgement

Book I. Analytic of the Beautiful

First Moment. Of the Judgement of Taste*: Moment of Quality

§1. The judgement of taste is aesthetic

If we wish to discern whether anything is beautiful or not, we do not refer the representation of it to the object by means of understanding with a view to cognition, but by means of the imagination (acting perhaps in conjunction with understanding) we refer the representation to the subject and its feeling of pleasure or displeasure. The judgement of taste, therefore, is not a cognitive judgement, and so not logical, but is aesthetic-which means that it is one whose determining ground cannot be other than subjective. Every reference of representations is capable of being objective, even that of sensations (in which case it signifies the real in an empirical representation). The one exception to this is the feeling of pleasure or displeasure. This denotes nothing in the object, but is a feeling which the subject has of itself and of the manner in which it is affected by the representation.

To apprehend a regular and appropriate building with one’s cognitive faculties, be the mode of representation clear or confused, is quite a different thing from being conscious of this representation with an accompanying sensation of delight. Here the representation is referred wholly to the subject, and what is more to its feeling of life-under the name of the feeling of pleasure or displeasure-and this forms the basis of a quite separate faculty of discriminating and estimating, that contributes nothing to knowledge. All it does is to compare the given representation in the subject with the entire faculty of representations of which the mind is conscious in the feeling of its state. Given representations in a judgement may be empirical, and so aesthetic; but the judgement which is pronounced by their means is logical, provided it refers them to the object. Conversely, be the given representations even rational, but referred in a judgement solely to the subject (to its feeling), they are always to that extent aesthetic.

§2. The delight which determines the judgement of taste is independent of all interest

The delight which we connect with the representation of the real existence of an object is called interest. Such a delight, therefore, always involves a reference to the faculty of desire, either as its determining ground, or else as necessarily implicated with its determining ground. Now, where the question is whether something is beautiful, we do not want to know, whether we, or any one else, are, or even could be, concerned in the real existence of the thing, but rather what estimate we form of it on mere contemplation (intuition or reflection). If any one asks me whether I consider that the palace I see before me is beautiful, I may, perhaps, reply that I do not care for things of that sort that are merely made to be gaped at. Or I may reply in the same strain as that Iroquois sachem who said that nothing in Paris pleased him better than the eating-houses. I may even go a step further and inveigh with the vigour of a Rousseau against the vigour of a great against the vanity of the of the people on such superfluous things. Or, in fine, I may quite easily persuade myself that if I found myself on an uninhabited island, without hope of ever again coming among men, and could conjure such a palace into existence by a mere wish, I should still not trouble to do so, so long as I had a hut there that was comfortable enough for me. All this may be admitted and approved; only it is not the point now at issue. All one wants to know is whether the mere representation of the object is to my liking, no matter how indifferent I may be to the real existence of the object of this representation. It is quite plain that in order to say that the object is beautiful, and to show that I have taste, everything turns on the meaning which I can give to this representation, and not on any factor which makes me dependent on the real existence of the object. Every one must allow that a judgement on the beautiful which is tinged with the slightest interest, is very partial and not a pure judgement of taste. One must not be in the least prepossessed in favour of the real existence of the thing, but must preserve complete indifference in this respect, in order to play the part of judge in matters of taste.

This proposition, which is of the utmost importance, cannot be better explained than by contrasting the pure disinterested* delight which appears in the judgement of taste with that allied to an interest-especially if we can also assure ourselves that there are no other kinds of interest beyond those presently to be mentioned.

§3. Delight in the agreeable is coupled with interest

That is agreeable which the senses find pleasing in sensation. This at once affords a convenient opportunity for condemning and directing particular attention to a prevalent confusion of the double meaning of which the word sensation is capable. All delight (as is said or thought) is itself sensation (of a pleasure). Consequently everything that pleases, and for the very reason that it pleases, is agreeable—and according to its different degrees, or its relations to other agreeable sensations, is attractive, charming, delicious, enjoyable, etc. But if this is conceded, then impressions of sense, which determine inclination, or principles of reason, which determine the will, or mere contemplated forms of intuition, which determine judgement, are all on a par in everything relevant to their effect upon the feeling of pleasure, for this would be agreeableness in the sensation of one’s state; and since, in the last resort, all the elaborate work of our faculties must issue in and unite in the practical as its goal, we could credit our faculties with no other appreciation of things and the worth of things, than that consisting in the gratification which they promise. How this is attained is in the end immaterial; and, as the choice of the means is here the only thing that can make a difference, men might indeed blame one another for folly or imprudence, but never for baseness or wickedness; for they are all, each according to his own way of looking at things, pursuing one goal, which for each is the gratification in question.

When a modification of the feeling of pleasure or displeasure is termed sensation, this expression is given quite a different meaning to that which it bears when I call the representation of a thing (through sense as a receptivity pertaining to the faculty of knowledge) sensation. For in the latter case the representation is referred to the object, but in the former it is referred solely to the subject and is not available for any cognition, not even for that by which the subject cognizes itself.

Now in the above definition the word sensation is used to denote an objective representation of sense; and, to avoid continually running the risk of misinterpretation, we shall call that which must always remain purely subjective, and is absolutely incapable of forming a representation of an object, by the familiar name of feeling. The green colour of the meadows belongs to objective sensation, as the perception of an object of sense; but its agreeableness to subjective sensation, by which no object is represented; i.e., to feeling, through which the object is regarded as an object of delight (which involves no cognition of the object).

Now, that a judgement on an object by which its agreeableness is affirmed, expresses an interest in it, is evident from the fact that through sensation it provokes a desire for similar objects, consequently the delight presupposes, not the simple judgement about it, but the bearing its real existence has upon my state so far as affected by such an object. Hence we do not merely say of the agreeable that it pleases, but that it gratifies. I do not accord it a simple approval, but inclination is aroused by it, and where agreeableness is of the liveliest type a judgement on the character of the object is so entirely out of place that those who are always intent only on enjoyment (for that is the word used to denote intensity of gratification) would fain dispense with all judgement.

§4. Delight in the good is coupled with interest

That is good which by means of reason commends itself by its mere concept. We call that good for something which only pleases as a means; but that which pleases on its own account we call good in itself. In both cases the concept of an end is implied, and consequently the relation of reason to (at least possible) willing, and thus a delight in the existence of an object or action, i.e., some interest or other.

To deem something good, I must always know what sort of a thing the object is intended to be, i. e., I must have a concept of it. That is not necessary to enable me to see beauty in a thing. Flowers, free patterns, lines aimlessly intertwining—technically termed foliage—have no signification, depend upon no definite concept, and yet please. Delight in the beautiful must depend upon the reflection on an object precursory to some (not definitely determined) concept. It is thus also differentiated from the agreeable, which rests entirely upon sensation.

In many cases, no doubt, the agreeable and the good seem convertible terms. Thus it is commonly said that all (especially lasting) gratification is of itself good; which is almost equivalent to saying that to be permanently agreeable and to be good are identical. But it is readily apparent that this is merely a vicious confusion of words, for the concepts appropriate to these expressions are far from interchangeable. The agreeable, which, as such, represents the object solely in relation to sense, must in the first instance be brought under principles of reason through the concept of an end, to be, as an object of will, called good. But that the reference to delight is wholly different where what gratifies is at the same time called good, is evident from the fact that with the good the question always is whether it is mediately or immediately good, i. e., useful or good in itself; whereas with the agreeable this point can never arise, since the word always means what pleases immediately—and it is just the same with what I call beautiful.

Even in everyday parlance, a distinction is drawn between the agreeable and the good. We do not scruple to say of a dish that stimulates the palate with spices and other condiments that it is agreeable owning all the while that it is not good: because, while it immediately satisfies the senses, it is mediately displeasing, i. e., in the eye of reason that looks ahead to the consequences. Even in our estimate of health, this same distinction may be traced. To all that possess it, it is immediately agreeable—at least negatively, i. e., as remoteness of all bodily pains. But, if we are to say that it is good, we must further apply to reason to direct it to ends, that is, we must regard it as a state that puts us in a congenial mood for all we have to do. Finally, in respect of happiness every one believes that the greatest aggregate of the pleasures of life, taking duration as well as number into account, merits the name of a true, nay even of the highest, good. But reason sets its face against this too. Agreeableness is enjoyment. But if this is all that we are bent on, it would be foolish to be scrupulous about the means that procure it for us—whether it be obtained passively by the bounty of nature or actively and by the work of our own hands. But that there is any intrinsic worth in the real existence of a man who merely lives for enjoyment, however busy he may be in this respect, even when in so doing he serves others—all equally with himself intent only on enjoyment—as an excellent means to that one end, and does so, moreover, because through sympathy he shares all their gratifications—this is a view to which reason will never let itself be brought round. Only by what a man does heedless of enjoyment, in complete freedom, and independently of what he can procure passively from the hand of nature, does be give to his existence, as the real existence of a person, an absolute worth. Happiness, with all its plethora of pleasures, is far from being an unconditioned good.*

But, despite all this difference between the agreeable and the good, they both agree in being invariably coupled with an interest in their object. This is true, not alone of the agreeable, §3, and of the mediately good, i, e., the useful, which pleases as a means to some pleasure, but also of that which is good absolutely and from every point of view, namely the moral good which carries with it the highest interest. For the good is the object of will, i. e., of a rationally determined faculty of desire). But to will something, and to take a delight in its existence, i.e., to take an interest in it, are identical.

§5. Comparison of the three specifically different kinds of delight

Both the agreeable and the good involve a reference to the faculty of desire, and are thus attended, the former with a delight pathologically conditioned (by stimuli), the latter with a pure practical delight. Such delight is determined not merely by the representation of the object, but also by the represented bond of connection between the subject and the real existence of the object. It is not merely the object, but also its real existence, that pleases. On the other hand, the judgement of taste is simply contemplative, i. e., it is a judgement which is indifferent as to the existence of an object, and only decides how its character stands with the feeling of pleasure and displeasure. But not even is this contemplation itself directed to concepts; for the judgement of taste is not a cognitive judgement (neither a theoretical one nor a practical), and hence, also, is not grounded on concepts, nor yet intentionally directed to them.

The agreeable, the beautiful, and the good thus denote three different relations of representations to the feeling of pleasure and displeasure, as a feeling in respect of which we distinguish different objects or modes of representation. Also, the corresponding expressions which indicate our satisfaction in them are different The agreeable is what gratifies a man; the beautiful what simply pleases him; the good what is esteemed (approved), i.e., that on which he sets an objective worth. Agreeableness is a significant factor even with irrational animals; beauty has purport and significance only for human beings, i.e., for beings at once animal and rational (but not merely for them as rational—intelligent beings—but only for them as at once animal and rational); whereas the good is good for every rational being in general—a proposition which can only receive its complete justification and explanation in the sequel. Of all these three kinds of delight, that of taste in the beautiful may be said to be the one and only disinterested and free delight; for, with it, no interest, whether of sense or reason, extorts approval. And so we may say that delight, in the three cases mentioned, is related to inclination, to favour, or to respect. For favour is the only free liking. An object of inclination, and one which a law of reason imposes upon our desire, leaves us no freedom to turn anything into an object of pleasure. All interest presupposes a want, or calls one forth; and, being a ground determining approval, deprives the judgement on the object of its freedom.

So far as the interest of inclination in the case of the agreeable goes, every one says Hunger is the best sauce; and people with a healthy appetite relish everything, so long as it is something they can eat. Such delight, consequently, gives no indication of taste having anything to say to the choice. Only when men have got all they want can we tell who among the crowd has taste or not. Similarly there may be correct habits (conduct) without virtue, politeness without good—will, propriety without honour, etc. For where the moral law dictates, there is, objectively, no room left for free choice as to what one has to do; and to show taste in the way one carries out these dictates, or in estimating the way others do so, is a totally different matter from displaying the moral frame of one’s mind. For the latter involves a command and produces a need of something, whereas moral taste only plays with the objects of delight without devoting itself sincerely to any.

Definition of the Beautiful Derived from the First Moment

Taste is the faculty of estimating an object or a mode of representation by means of a delight or aversion apart from any interest. The object of such a delight is called beautiful.

Second Moment. Of the Judgement of Taste: Moment of Quantity

§6. The beautiful is that which, apart from concepts, is represented as the object of a universal delight

This definition of the beautiful is deducible from the foregoing definition of it as an object of delight apart from any interest. For where any one is conscious that his delight in an object is with him independent of interest, it is inevitable that he should look on the object as one containing a ground of delight for all men. For, since the delight is not based on any inclination of the subject (or on any other deliberate interest), but the subject feels himself completely free in respect of the liking which he accords to the object, he can find as reason for his delight no personal conditions to which his own subjective self might alone be party. Hence he must regard it as resting on what he may also presuppose in every other person; and therefore he must believe that he has reason for demanding a similar delight from every one. Accordingly he will speak of the beautiful as if beauty were a quality of the object and the judgement logical (forming a cognition of the object by concepts of it); although it is only aesthetic, and contains merely a reference of the representation of the object to the subject; because it still bears this resemblance to the logical judgement, that it may be presupposed to be valid for all men. But this universality cannot spring from concepts. For from concepts there is no transition to the feeling of pleasure or displeasure (save in the case of pure practical laws, which, however, carry an interest with them; and such an interest does not attach to the pure judgement of taste). The result is that the judgement of taste, with its attendant consciousness of detachment from all interest, must involve a claim to validity for all men, and must do so apart from universality attached to objects, i.e., there must be coupled with it a claim to subjective universality.

§7. Comparison of the beautiful with the agreeable and the good by means of the above characteristic

As regards the agreeable, every one concedes that his judgement, which he bases on a private feeling, and in which he declares that an object pleases him, is restricted merely to himself personally. Thus he does not take it amiss if, when he says that Canary-wine is agreeable, another corrects the expression and reminds him that he ought to say: It is agreeable to me. This applies not only to the taste of the tongue, the palate, and the throat, but to what may with any one be agreeable to eye or ear. A violet colour is to one soft and lovely: to another dull and faded. One man likes the tone of wind instruments, another prefers that of string instruments. To quarrel over such points with the idea of condemning another’s judgement as incorrect when it differs from our own, as if the opposition between the two judgements were logical, would be folly. With the agreeable, therefore, the axiom holds good: Every one has his own taste (that of sense).

The beautiful stands on quite a different footing. It would, on the contrary, be ridiculous if any one who plumed himself on his taste were to think of justifying himself by saying: This object (the building we see, the dress that person has on, the concert we hear, the poem submitted to our criticism) is beautiful for me. For if it merely pleases him, be must not call it beautiful. Many things may for him possess charm and agreeableness—no one cares about that; but when he puts a thing on a pedestal and calls it beautiful, he demands the same delight from others. He judges not merely for himself, but for all men, and then speaks of beauty as if it were a property of things. Thus he says the thing is beautiful; and it is not as if he counted on others agreeing in his judgement of liking owing to his having found them in such agreement on a number of occasions, but he demands this agreement of them. He blames them if they judge differently, and denies them taste, which he still requires of them as something they ought to have; and to this extent it is not open to men to say: Every one has his own taste. This would be equivalent to saying that there is no such thing at all as taste, i. e., no aesthetic judgement capable of making a rightful claim upon the assent of all men.

Yet even in the case of the agreeable, we find that the estimates men form do betray a prevalent agreement among them, which leads to our crediting some with taste and denying it to others, and that, too, not as an organic sense but as a critical faculty in respect of the agreeable generally. So of one who knows how to entertain his guests with pleasures (of enjoyment through all the senses) in such a way that one and all are pleased, we say that he has taste. But the universality here is only understood in a comparative sense; and the rules that apply are, like all empirical rules, general only, not universal, the latter being what the judgement of taste upon the beautiful deals or claims to deal in. It is a judgement in respect of sociability so far as resting on empirical rules. In respect of the good, it is true that judgements also rightly assert a claim to validity for every one; but the good is only represented as an object of universal delight by means of a concept, which is the case neither with the agreeable nor the beautiful.

§8. In a judgement of taste the universality of delight is only represented as subjective

This particular form of the universality of an aesthetic judgement, which is to be met in a judgement of taste, is a significant feature, not for the logician certainly, but for the transcendental philosopher. It calls for no small effort on his part to discover its origin, but in return it brings to light a property of our cognitive faculty which, without this analysis, would have remained unknown.

First, one must get firmly into one’s mind that by the judgement of taste (upon the beautiful) the delight in an object is imputed to every one, yet without being founded on a concept (for then it would be the good), and that this claim to universality is such an essential factor of a judgement by which we describe anything as beautiful, that were it not for its being present to the mind it would never enter into any one’s head to use this expression, but everything that pleased without a concept would be ranked as agreeable. For in respect of the agreeable, every one is allowed to have his own opinion, and no one insists upon others agreeing with his judgement of taste, which is what is invariably done in the judgement of taste about beauty. The first of these I may call the taste of sense, the second, the taste of reflection: the first laying down judgements merely private, the second, on the other hand, judgements ostensibly of general validity (public), but both alike being aesthetic (not practical) judgements about an object merely in respect of the bearings of its representation on the feeling of pleasure or displeasure. Now it does seem strange that while with the taste of sense it is not alone experience that shows that its judgement (of pleasure or displeasure in something) is not universally valid, but every one willingly refrains from imputing this agreement to others (despite the frequent actual prevalence of a considerable consensus of general opinion even in these judgements), the taste of reflection, which, as experience teaches, has often enough to put up with a rude dismissal of its claims to universal validity of its judgement (upon the beautiful), can (as it actually does) find it possible for all that to formulate judgements capable of demanding this agreement in its universality. Such agreement it does in fact require from every one for each of its judgements of taste the persons who pass these judgements not quarreling over the possibility of such a claim, but only failing in particular cases to come to terms as to the correct application of this faculty.

First of all we have here to note that a universality which does not rest upon concepts of the object (even though these are only empirical) is in no way logical, but aesthetic, i. e., does not involve any objective quantity of the judgement, but only one that is subjective. For this universality I use the expression general validity, which denotes the validity of the reference of a representation, not to the cognitive faculties, but to the feeling of pleasure or displeasure for every subject. (The same expression, however, may also be employed for the logical quantity of the judgement, provided we add objective universal validity, to distinguish it from the merely subjective validity which is always aesthetic.)

Now a judgement that has objective universal validity has always got the subjective also, i.e., if the judgement is valid for everything which is contained under a given concept, it is valid also for all who represent an object by means of this concept. But from a subjective universal validity, i. e., the aesthetic, that does not rest on any concept, no conclusion can be drawn to the logical; because judgements of that kind have no bearing upon the object. But for this very reason the aesthetic universality attributed to a judgement must also be of a special kind, seeing that it does not join the predicate of beauty to the concept of the object taken in its entire logical sphere, and yet does extend this predicate over the whole sphere of judging subjects.

In their logical quantity, all judgements of taste are singular judgements. For, since I must present the object immediately to my feeling of pleasure or displeasure, and that, too, without the aid of concepts, such judgements cannot have the quantity of judgements with objective general validity. Yet by taking the singular representation of the object of the judgement of taste, and by comparison converting it into a concept according to the conditions determining that judgement, we can arrive at a logically universal judgement. For instance, by a judgement of the taste I describe the rose at which I am looking as beautiful. The judgement, on the other hand, resulting from the comparison of a number of singular representations: Roses in general are beautiful, is no longer pronounced as a purely aesthetic judgement, but as a logical judgement founded on one that is aesthetic. Now the judgement, The rose is agreeable (to smell) is also, no doubt, an aesthetic and singular judgement, but then it is not one of taste but of sense. For it has this point of difference from a judgement of taste, that the latter imports an aesthetic quantity of universality, i.e., of validity for everyone which is not to be met with in a judgement upon the agreeable. It is only judgements upon the good which, while also determining the delight in an object, possess logical and not mere aesthetic universality; for it is as involving a cognition of the object that they are valid of it, and on that account valid for everyone.

In forming an estimate of objects merely from concepts, all representation of beauty goes by the board. There can, therefore, be no rule according to which any one is to be compelled to recognize anything as beautiful. Whether a dress, a house, or a flower is beautiful is a matter upon which one declines to allow one’s judgement to be swayed by any reasons or principles. We want to get a look at the object with our own eyes, just as if our delight depended on sensation. And yet, if upon so doing, we call the object beautiful, we believe ourselves to be speaking with a universal voice, and lay claim to the concurrence of everyone, whereas no private sensation would be decisive except for the observer alone and his liking.

Here, now, we may perceive that nothing is postulated in the judgement of taste but such a universal voice in respect of delight that it is not mediated by concepts; consequently, only the possibility of an aesthetic judgement capable of being at the same time deemed valid for everyone. The judgement of taste itself does not postulate the agreement of everyone (for it is only competent for a logically universal judgement to do this, in that it is able to bring forward reasons); it only imputes this agreement to everyone, as an instance of the rule in respect of which it looks for confirmation, not from concepts, but from the concurrence of others. The universal voice is, therefore, only an idea—resting upon grounds the investigation of which is here postponed. It may be a matter of uncertainty whether a person who thinks he is laying down a judgement of taste is, in fact, judging in conformity with that idea; but that this idea is what is contemplated in his judgement, and that, consequently, it is meant to be a judgement of taste, is proclaimed by his use of the expression beauty. For himself he can be certain on the point from his mere consciousness of the separation of everything belonging to the agreeable and the good from the delight remaining to him; and this is all for which be promises himself the agreement of everyone—a claim which, under these conditions, he would also be warranted in making, were it not that he frequently sinned against them, and thus passed an erroneous judgement of taste.

§9. Investigation of the question of the relative priority in a judgement of taste of the feeling of pleasure and the estimating of the object

The solution of this problem is the key to the Critique of taste, and so is worthy of all attention.

Were the pleasure in a given object to be the antecedent, and were the universal communicability of this pleasure to be all that the judgement of taste is meant to allow to the representation of the object, such a sequence would be self-contradictory. For a pleasure of that kind would be nothing but the feeling of mere agreeableness to the senses, and so, from its very nature, would possess no more than private validity, seeing that it would be immediately dependent on the representation through which the object is given.

Hence it is the universal capacity for being communicated incident to the mental state in the given representation which, as the subjective condition of the judgement of taste, must be, fundamental, with the pleasure in the object as its consequent. Nothing, however, is capable of being universally communicated but cognition and representation so far as appurtenant to cognition. For it is only as thus appurtenant that the representation is objective, and it is this alone that gives it a universal point of reference with which the power of representation of every one is obliged to harmonize. If, then, the determining ground of the judgement as to this universal communicability of the representation is to be merely subjective, that is to say, to be conceived independently of any concept of the object, it can be nothing else than the mental state that presents itself in the mutual relation of the powers of representation so far as they refer a given representation to cognition in general.

The cognitive powers brought into play by this representation are here engaged in a free play, since no definite concept restricts them to a particular rule of cognition. Hence the mental state in this representation must be one of a feeling of the free play of the powers of representation in a given representation for a cognition in general. Now a representation, whereby an object is given, involves, in order that it may become a source of cognition at all, imagination for bringing together the manifold of intuition, and understanding for the unity of the concept uniting the representations. This state of free play of the cognitive faculties attending a representation by which an object is given must admit of universal communication: because cognition, as a definition of the object with which given representations (in any subject whatever) are to accord, is the one and only representation which is valid for everyone.

As the subjective universal communicability of the mode of representation in a judgement of taste is to subsist apart from the presupposition of any definite concept, it can be nothing else than the mental state present in the free play of imagination and understanding (so far as these are in mutual accord, as is requisite for cognition in general); for we are conscious that this subjective relation suitable for a cognition in general must be just as valid for every one, and consequently as universally communicable, as is any indeterminate cognition, which always rests upon that relation as its subjective condition.

Now this purely subjective (aesthetic) estimating of the object, or of the representation through which it is given, is antecedent to the pleasure in it, and is the basis of this pleasure in the harmony of the cognitive faculties. Again, the above-described universality of the subjective conditions of estimating objects forms the sole foundation of this universal subjective validity of the delight which we connect with the representation of the object that we call beautiful.

That an ability to communicate one’s mental state, even though it be only in respect of our cognitive faculties, is attended with a pleasure, is a fact which might easily be demonstrated from the natural propensity of mankind to social life, i.e., empirically and psychologically. But what we have here in view calls for something more than this. In a judgement of taste, the pleasure felt by us is exacted from every one else as necessary, just as if, when we call something beautiful, beauty was to be regarded as a quality of the object forming part of its inherent determination according to concepts; although beauty is for itself, apart from any reference to the feeling of the subject, nothing. But the discussion of this question must be reserved until we have answered the further one of whether, and how, aesthetic judgements are possible a priori.

At present we are exercised with the lesser question of the way in which we become conscious, in a judgement of taste, of a reciprocal subjective common accord of the powers of cognition. Is it aesthetically by sensation and our mere internal sense? Or is it intellectually by consciousness of our intentional activity in bringing these powers into play?

Now if the given representation occasioning the judgement of taste were a concept which united understanding and imagination in the estimate of the object so as to give a cognition of the object, the consciousness of this relation would be intellectual (as in the objective schematism of judgement dealt with in the Critique). But, then, in that case the judgement would not be laid down with respect to pleasure and displeasure, and so would not be a judgement of taste. But, now, the judgement of taste determines the object, independently of concepts, in respect of delight and of the predicate of beauty. There is, therefore, no other way for the subjective unity of the relation in question to make itself known than by sensation. The quickening of both faculties (imagination and understanding) to an indefinite, but yet, thanks to the given representation, harmonious activity, such as belongs to cognition generally, is the sensation whose universal communicability is postulated by the judgement of taste. An objective relation can, of course, only be thought, yet in so far as, in respect of its conditions, it is subjective, it may be felt in its effect upon the mind, and, in the case of a relation (like that of the powers of representation to a faculty of cognition generally) which does not rest on any concept, no other consciousness of it is possible beyond that through sensation of its effect upon the mind—an effect consisting in the more facile play of both mental powers (imagination and understanding) as quickened by their mutual accord. A representation which is singular and independent of comparison with other representations, and, being such, yet accords with the conditions of the universality that is the general concern of understanding, is one that brings the cognitive faculties into that proportionate accord which we require for all cognition and which we therefore deem valid for every one who is so constituted as to judge by means of understanding and sense conjointly (i.e., for every man).

Definition of the Beautiful drawn from the Second Moment

The beautiful is that which, apart from a concept, pleases universally.

Third Moment. Of Judgements of Taste: Moment of the relation of the Ends brought under Review in such Judgements

§10. Finality in general

Let us define the meaning of an end in transcendental terms (i.e., without presupposing anything empirical, such as the feeling of pleasure). An end is the object of a concept so far as this concept is regarded as the cause of the object (the real ground of its possibility); and the causality of a concept in respect of its object is finality (forma finalis). Where, then, not the cognition of an object merely, but the object itself (its form or real existence) as an effect, is thought to be possible only through a concept of it, there we imagine an end. The representation of the effect is here the determining ground of its cause and takes the lead of it. The consciousness of the causality of a representation in respect of the state of the subject as one tending to preserve a continuance of that state, may here be said to denote in a general way what is called pleasure; whereas displeasure is that representation which contains the ground for converting the state of the representations into their opposite (for hindering or removing them).

The faculty of desire, so far as determinable only through concepts, i.e., so as to act in conformity with the representation of an end, would be the Will. But an object, or state of mind, or even an action may, although its possibility does not necessarily presuppose the representation of an end, be called final simply on account of its possibility being only explicable and intelligible for us by virtue of an assumption on our part of fundamental causality according to ends, i.e., a will that would have so ordained it according to a certain represented rule. Finality, therefore, may exist apart from an end, in so far as we do not locate the causes of this form in a will, but yet are able to render the explanation of its possibility intelligible to ourselves only by deriving it from a will. Now we are not always obliged to look with the eye of reason into what we observe (i.e., to consider it in its possibility). So we may at least observe a finality of form, and trace it in objects—though by reflection only—without resting it on an end (as the material of the nexus finalis).

§11. The sole foundation of the judgement of taste is the form of finality of an object (or mode of representing it)

Whenever an end is regarded as a source of delight, it always imports an interest as determining ground of the judgement on the object of pleasure. Hence the judgement of taste cannot rest on any subjective end as its ground. But neither can any representation of an objective end, i.e., of the possibility of the object itself on principles of final connection, determine the judgement of taste, and, consequently, neither can any concept of the good. For the judgement of taste is an aesthetic and not a cognitive judgement, and so does not deal with any concept of the nature or of the internal or external possibility, by this or that cause, of the object, but simply with the relative bearing of the representative powers so far as determined by a representation.

Now this relation, present when an object is characterized as beautiful, is coupled with the feeling of pleasure. This pleasure is by the judgement of taste pronounced valid for every one; hence an agreeableness attending the representation is just as incapable of containing the determining ground of the judgement as the representation of the perfection of the object or the concept of the good. We are thus left with the subjective finality in the representation of an object, exclusive of any end (objective or subjective)—consequently the bare form of finality in the representation whereby an object is given to us, so far as we are conscious of it as that which is alone capable of constituting the delight which, apart from any concept, we estimate as universally communicable, and so of forming the determining ground of the judgement of taste.

§12. The judgement of taste rests upon a priori grounds

To determine a priori the connection of the feeling of pleasure or displeasure as an effect, with some representation or other (sensation or concept) as its cause, is utterly impossible; for that would be a causal relation which (with objects of experience) is always one that can only be cognized a posteriori and with the help of experience. True, in the Critique of Practical Reason we did actually derive a priori from universal moral concepts the feeling of respect (as a particular and peculiar modification of this feeling which does not strictly answer either to the pleasure or displeasure which we receive from empirical objects). But there we were further able to cross the border of experience and call in aid a causality resting on a supersensible attribute of the subject, namely that of freedom. But even there it was not this feeling exactly that we deduced from the idea of the moral as cause, but from this was derived simply the determination of the will. But the mental state present in the determination of the will by any means is at once in itself a feeling of pleasure and identical with it, and so does not issue from it as an effect. Such an effect must only be assumed where the concept of the moral as a good precedes the determination of the will by the law; for in that case it would be futile to derive the pleasure combined with the concept from this concept as a mere cognition.

Now the pleasure in aesthetic judgements stands on a similar footing: only that here it is merely contemplative and does not bring about an interest in the object; whereas in the moral judgement it is practical, The consciousness of mere formal finality in the play of the cognitive faculties of the subject attending a representation whereby an object is given, is the pleasure itself, because it involves a determining ground of the subject’s activity in respect of the quickening of its cognitive powers, and thus an internal causality (which is final) in respect of cognition generally, but without being limited to a definite cognition, and consequently a mere form of the subjective finality of a representation in an aesthetic judgement. This pleasure is also in no way practical, neither resembling that form the pathological ground of agreeableness nor that from the intellectual ground of the represented good. But still it involves an inherent causality, that, namely, of preserving a continuance of the state of the representation itself and the active engagement of the cognitive powers without ulterior aim. We dwell on the contemplation of the beautiful because this contemplation strengthens and reproduces itself. The case is analogous (but analogous only) to the way we linger on a charm in the representation of an object which keeps arresting the attention, the mind all the while remaining passive.

§13. The pure judgement of taste is independent of charm and emotion

Every interest vitiates the judgement of taste and robs it of its impartiality. This is especially so where, instead of, like the interest of reason, making finality take the lead of the lead of the feeling of pleasure, it grounds it upon this feeling—which is what always happens in aesthetic judgements upon anything so far as it gratifies or pains. Hence judgements so influenced can either lay no claim at all to a universally valid delight, or else must abate their claim in proportion as sensations of the kind in question enter into the determining grounds of taste. Taste that requires an added element of charm and emotion for its delight, not to speak of adopting this as the measure of its approval, has not yet emerged from barbarism.

And yet charms are frequently not alone ranked with beauty (which ought properly to be a question merely of the form) as supplementary to the aesthetic universal delight, but they have been accredited as intrinsic beauties, and consequently the matter of delight passed off for the form. This is a misconception which, like many others that have still an underlying element of truth, may be removed by a careful definition of these concepts.

A judgement of taste which is uninfluenced by charm or emotion (though these may be associated with the delight in the beautiful), and whose determining ground, therefore, is simply finality of form, is a pure judgement of taste.

§14 Exemplification

Aesthetic, just like theoretical (logical) judgements, are divisible into empirical and pure. The first are those by which agreeableness or disagreeableness, the second those by which beauty is predicated of an object or its mode of representation. The former are judgements of sense (material aesthetic judgements), the latter (as formal) alone judgements of taste proper.

A judgement of taste, therefore, is only pure so far as its determining ground is tainted with no merely empirical delight. But such a taint is always present where charm or emotion have a share in the judgement by which something is to be described as beautiful.

Here now there is a recrudescence of a number of specious pleas that go the length of putting forward the case that charm is not merely a necessary ingredient of beauty, but is even of itself sufficient to merit the name of beautiful. A mere colour, such as the green of a plot of grass, or a mere tone (as distinguished from sound or noise), like that of a violin, is described by most people as in itself beautiful, notwithstanding the fact that both seem to depend merely on the matter of the representations in other words, simply on sensation—which only entitles them to be called agreeable. But it will at the same time be observed that sensations of colour as well as of tone are only entitled to be immediately regarded as beautiful where, in either case, they are pure. This is a determination which at once goes to their form, and it is the only one which these representations possess that admits with certainty of being universally communicated. For it is not to be assumed that even the quality of the sensations agrees in all subjects, and we can hardly take it for granted that the agreeableness of a colour, or of the tone of a musical instrument, which we judge to be preferable to that of another, is given a like preference in the estimate of every one.

Assuming vibrations vibration sound, and, what is most important, that the mind not alone perceives by sense their effect in stimulating the organs, but also, by reflection, the regular play of the impressions (and consequently the form in which different representations are united)—which I, still, in no way doubt—then colour and tone would not be mere sensations. They would be nothing short of formal determinations of the unity of a manifold of sensations, and in that case could even be ranked as intrinsic beauties.

But the purity of a simple mode of sensation means that its uniformity is not disturbed or broken by any foreign sensation. It belongs merely to the form; for abstraction may there be made from the quality of the mode of such sensation (what colour or tone, if any, it represents). For this reason, all simple colours are regarded as beautiful so far as pure. Composite colours have not this advantage, because, not being simple, there is no standard for estimating whether they should be called pure or impure.

But as for the beauty ascribed to the object on account of its form, and the supposition that it is capable of being enhanced by charm, this is a common error and one very prejudicial to genuine, uncorrupted, sincere taste. Nevertheless charms may be added to beauty to lend to the mind, beyond a bare delight, an adventitious interest in the representation of the object, and thus to advocate taste and its cultivation. This applies especially where taste is as yet crude and untrained. But they are positively subversive of the judgement of taste, if allowed to obtrude themselves as grounds of estimating beauty. For so far are they from contributing to beauty that it is only where taste is still weak and untrained that, like aliens, they are admitted as a favour, and only on terms that they do not violate that beautiful form.

In painting, sculpture, and in fact in all the formative arts, in architecture and horticulture, so far as fine arts, the design is what is essential. Here it is not what gratifies in sensation but merely what pleases by its form, that is the fundamental prerequisite for taste. The colours which give brilliancy to the sketch are part of the charm. They may no doubt, in their own way, enliven the object for sensation, but make it really worth looking at and beautiful they cannot. Indeed, more often than not the requirements of the beautiful form restrict them to a very narrow compass, and, even where charm is admitted, it is only this form that gives them a place of honour.

All form of objects of sense (both of external and also, mediately, of internal sense) is either figure or play. In the latter case it is either play of figures (in space: mimic and dance), or mere play of sensations (in time). The charm of colours, or of the agreeable tones of instruments, may be added: but the design in the former and the composition in the latter constitute the proper object of the pure judgement of taste. To say that the purity alike of colours and of tones, or their variety and contrast, seem to contribute to beauty, is by no means to imply that, because in themselves agreeable, they therefore yield an addition to the delight in the form and one on a par with it. The real meaning rather is that they make this form more clearly, definitely, and completely intuitable, and besides stimulate the representation by their charm, as they excite and sustain the attention directed to the object itself.

Even what is called ornamentation (parerga), i.e., what is only an adjunct and not an intrinsic constituent in the complete representation of the object, in augmenting the delight of taste does so only by means of its form. Thus it is with the frames of pictures or the drapery on statues, or the colonnades of palaces. But if the ornamentation does not itself enter into the composition of the beautiful form—if it is introduced like a gold frame merely to win approval for the picture by means of its charm—it is then called finery and takes away from the genuine beauty.

Emotion—a sensation where an agreeable feeling is produced merely by means of a momentary check followed by a more powerful outpouring of the vital force—is quite foreign to beauty. Sublimity (with which the feeling of emotion is connected) requires, however, a different standard of estimation from that relied upon by taste. A pure judgement of taste has, then, for its determining ground neither charm nor emotion, in a word, no sensation as matter of the aesthetic judgement.

§15. The judgement of taste is entirely independent of the concept of perfection

Objective finality can only be cognized by means of a reference of the manifold to a definite end, and hence only through a concept. This alone makes it clear that the beautiful, which is estimated on the ground of a mere formal finality, i.e., a finality apart from an end, is wholly independent of the representation of the good. For the latter presupposes an objective finality, i.e., the reference of the object to a definite end.

Objective finality is either external, i.e., the utility, or internal, i. e., the perfection, of the object. That the delight in an object on account of which we call it beautiful is incapable of resting on the representation of its utility, is abundantly evident from the two preceding articles; for in that case, it would not be an immediate delight in the object, which latter is the essential condition of the judgement upon beauty. But in an objective, internal finality, i.e., perfection, we have what is more akin to the predicate of beauty, and so this has been held even by philosophers of reputation to be convertible with beauty, though subject to the qualification: where it is thought in a confused way. In a critique of taste it is of the utmost importance to decide whether beauty is really reducible to the concept of perfection.

For estimating objective finality we always require the concept of an end, and, where such finality has to be, not an external one (utility), but an internal one, the concept of an internal end containing the ground of the internal possibility of the object. Now an end is in general that, the concept of which may be regarded as the ground of the possibility of the object itself. So in order to represent an objective finality in a thing we must first have a concept of what sort of a thing it is to be. The agreement of the manifold in a thing with this concept (which supplies the rule of its synthesis) is the qualitative perfection of the thing. Quantitative perfection is entirely distinct from this. It consists in the completeness of anything after its kind, and is a mere concept of quantity (of totality). In its case the question of what the thing is to be is regarded as definitely disposed of, and we only ask whether it is possessed of all the requisites that go to make it such. What is formal in the representation of a thing, i.e., the agreement of its manifold with a unity (i.e., irrespective of what it is to be), does not, of itself, afford us any cognition whatsoever of objective finality. For since abstraction is made from this unity as end (what the thing is to be), nothing is left but the subjective finality of the representations in the mind of the subject intuiting. This gives a certain finality of the representative state of the subject, in which the subject feels itself quite at home in its effort to grasp a given form in the imagination, but no perfection of any object, the latter not being here thought through any concept. For instance, if in a forest I light upon a plot of grass, round which trees stand in a circle, and if I do not then form any representation of an end, as that it is meant to be used, say, for country dances, then not the least hint of a concept of perfection is given by the mere form. To suppose a formal objective finality that is yet devoid of an end, i.e., the mere form of a perfection (apart from any matter or concept of that to which the agreement relates, even though there was the mere general idea of a conformity to law) is a veritable contradiction.

Now the judgement of taste is an aesthetic judgement, one resting on subjective grounds. No concept can be its determining ground, and hence not one of a definite end. Beauty, therefore, as a formal subjective finality, involves no thought whatsoever of a perfection of the object, as a would-be formal finality which yet, for all that, is objective: and the distinction between the concepts of the beautiful and the good, which represents both as differing only in their logical form, the first being merely a confused, the second a clearly defined, concept of perfection, while otherwise alike in content and origin, all goes for nothing: for then there would be no specific difference between them, but the judgement of taste would be just as much a cognitive judgement as one by which something is described as good—just as the man in the street, when be says that deceit is wrong, bases his judgement on confused, but the philosopher on clear grounds, while both appeal in reality to identical principles of reason. But I have already stated that an aesthetic judgement is quite unique, and affords absolutely no (not even a confused) knowledge of the object. It is only through a logical judgement that we get knowledge. The aesthetic judgement, on the other hand, refers the representation, by which an object is given, solely to the subject, and brings to our notice no quality of the object, but only the final form in the determination of the powers of representation engaged upon it. The judgement is called aesthetic for the very reason that its determining ground cannot be a concept, but is rather the feeling (of the internal sense) of the concert in the play of the mental powers as a thing only capable of being felt. If, on the other band, confused concepts, and the objective judgement based on them, are going to be called aesthetic, we shall find ourselves with an understanding judging by sense, or a sense representing its objects by concepts—a mere choice of contradictions. The faculty of concepts, be they confused or be they clear, is understanding; and although understanding has (as in all judgements) its role in the judgement of taste, as an aesthetic judgement, its role there is not that of a faculty for cognizing an object, but of a faculty for determining that judgement and its representation (without a concept) according to its relation to the subject and its internal feeling, and for doing so in so far as that judgement is possible according to a universal rule.

§16. A judgement of taste by which an object is described as beautiful, under the condition of a definite concept, is not pure

There are two kinds of beauty: free beauty (pulchritudo vaga), or beauty which is merely dependent (pulchritudo adhaerens). The first presupposes no concept of what the object should be; the second does presuppose such a concept and, with it, an answering perfection of the object. Those of the first kind are said to be (self-subsisting) beauties of this thing or that thing; the other kind of beauty, being attached to a concept (conditioned beauty), is ascribed to objects which come under the concept of a particular end.

Flowers are free beauties of nature. Hardly anyone but a botanist knows the true nature of a flower, and even he, while recognizing in the flower the reproductive organ of the plant, pays no attention to this natural end when using his taste to judge of its beauty. Hence no perfection of any kind—no internal finality, as something to which the arrangement of the manifold is related—underlies this judgement. Many birds (the parrot, the humming-bird, the bird of paradise), and a number of crustacea, are self-subsisting beauties which are not appurtenant to any object defined with respect to its end, but please freely and on their own account. So designs a la grecque, foliage for framework or on wall-papers, etc., have no intrinsic meaning; they represent nothing—no object under a definite concept—and are free beauties. We may also rank in the same class what in music are called fantasias (without a theme), and, indeed, all music that is not set to words.

In the estimate of a free beauty (according to mere form) we have the pure judgement of taste. No concept is here presupposed of any end for which the manifold should serve the given object, and which the latter, therefore, should represent—an incumbrance which would only restrict the freedom of the imagination that, as it were, is at play in the contemplation of the outward form.

But the beauty of man (including under this head that of a man, woman, or child), the beauty of a horse, or of a building (such as a church, palace, arsenal, or summer-house), presupposes a concept of the end that defines what the thing has to be, and consequently a concept of its perfection; and is therefore merely appendant beauty. Now, just as it is a clog on the purity of the purity of the judgement of taste to have the agreeable (of sensation) joined with beauty to which properly only the form is relevant, so to combine the good with beauty (the good, namely, of the manifold to the thing itself according to its end) mars its purity.

Much might be added to a building that would immediately please the eye, were it not intended for a church. A figure might be beautified with all manner of flourishes and light but regular lines, as is done by the New Zealanders with their tattooing, were we dealing with anything but the figure of a human being. And here is one whose rugged features might be softened and given a more pleasing aspect, only he has got to be a man, or is, perhaps, a warrior that has to have a warlike appearance.

Now the delight in the manifold of a thing, in reference to the internal end that determines its possibility, is a delight based on a concept, whereas delight in the beautiful is such as does not presuppose any concept, but is immediately coupled with the representation through which the object is given (not through which it is thought). If, now, the judgement of taste in respect of the latter delight is made dependent upon the end involved in the former delight as a judgement of reason, and is thus placed under a restriction, then it is no longer a free and pure judgement of taste.

Taste, it is true, stands to gain by this combination of intellectual delight with the aesthetic. For it becomes fixed, and, while not universal, it enables rules to be prescribed for it in respect of certain definite final objects. But these rules are then not rules of taste, but merely rules for establishing a union of taste with reason, i.e., of the beautiful with the good—rules by which the former becomes available as an intentional instrument in respect of the latter, for the purpose of bringing that temper of the mind which is self-sustaining and of subjective universal validity to the support and maintenance of that mode of thought which, while possessing objective universal validity, can only be preserved by a resolute effort. But, strictly speaking, perfection neither gains by beauty, nor beauty by perfection. The truth is rather this, when we compare the representation through which an object is given to us with the object (in respect of what it is meant to be) by means of a concept, we cannot help reviewing it also in respect of the sensation in the subject. Hence there results a gain to the entire faculty of our representative power when harmony prevails between both states of mind.

In respect of an object with a definite internal end, a judgement of taste would only be pure where the person judging either has no concept of this end, or else makes abstraction from it in his judgement. But in cases like this, although such a person should lay down a correct judgement of taste, since he would be estimating the object as a free beauty, he would still be found fault with by another who saw nothing in its beauty but a dependent quality (i.e., who looked to the end of the object) and would be accused by him of false taste, though both would, in their own way, be judging correctly: the one according to what he had present to his senses, the other according to what was present in his thoughts. This distinction enables us to settle many disputes about beauty on the part of critics; for we may show them how one side is dealing with free beauty, and the other with that which is dependent: the former passing a pure judgement of taste, the latter one that is applied intentionally.

§17. Ideal of beauty

There can be no objective rule of taste by which what is beautiful may be defined by means of concepts. For every judgement from that source is aesthetic, i.e., its determining ground is the feeling of the subject, and not any concept of an object. It is only throwing away labour to look for a principle of taste that affords a universal criterion of the beautiful by definite concepts; because what is sought is a thing impossible and inherently contradictory. But in the universal communicability of the sensation (of delight or aversion)—a communicability, too, that exists apart from any concept—in the accord, so far as possible, of all ages and nations as to this feeling in the representation of certain objects, we have the empirical criterion, weak indeed and scarce sufficient to raise a presumption, of the derivation of a taste, thus confirmed by examples, from grounds deep seated and shared alike by all men, underlying their agreement in estimating the forms under which objects are given to them.

For this reason some products of taste are looked on as exemplary—not meaning thereby that by imitating others taste may be acquired. For taste must be an original faculty; whereas one who imitates a model, while showing skill commensurate with his success, only displays taste as himself a critic of this model.* Hence it follows that the highest model, the archetype of taste, is a mere idea, which each person must beget in his own consciousness, and according to which he must form his estimate of everything that is an object of taste, or that is an example of critical taste, and even of universal taste itself. Properly speaking, an idea signifies a concept of reason, and an ideal the representation of an individual existence as adequate to an idea. Hence this archetype of taste—which rests, indeed, upon reason’s indeterminate idea of a maximum, but is not, however, capable of being represented by means of concepts, but only in an individual presentation—may more appropriately be called the ideal of the beautiful. While not having this ideal in our possession, we still strive to beget it within us. But it is bound to be merely an ideal of the imagination, seeing that it rests, not upon concepts, but upon the presentation—the faculty of presentation being the imagination. Now, how do we arrive at such an ideal of beauty? Is it a priori or empirically? Further, what species of the beautiful admits of an ideal?

First of all, we do well to observe that the beauty for which an ideal has to be sought cannot be a beauty that is free and at large, but must be one fixed by a concept of objective finality. Hence it cannot belong to the object of an altogether pure judgement of taste, but must attach to one that is partly intellectual. In other words, where an ideal is to have place among the grounds upon which any estimate is formed, then beneath grounds of that kind there must lie some idea of reason according to determinate concepts, by which the end underlying the internal possibility of the object is determined a priori. An ideal of beautiful flowers, of a beautiful suite of furniture, or of a beautiful view, is unthinkable. But, it may also be impossible to represent an ideal of a beauty dependent on definite ends, e.g., a beautiful residence, a beautiful tree, a beautiful garden, etc., presumably because their ends are not sufficiently defined and fixed by their concept, with the result that their finality is nearly as free as with beauty that is quite at large. Only what has in itself the end of its real existence—only man that is able himself to determine his ends by reason, or, where he has to derive them from external perception, can still compare them with essential and universal ends, and then further pronounce aesthetically upon their accord with such ends, only he, among all objects in the world, admits, therefore, of an ideal of beauty, just as humanity in his person, as intelligence, alone admits of the ideal of perfection.

Two factors are here involved. First, there is the aesthetic normal idea, which is an individual intuition (of the imagination). This represents the norm by which we judge of a man as a member of a particular animal species. Secondly, there is the rational idea. This deals with the ends of humanity so far as capable of sensuous representation, and converts them into a principle for estimating his outward form, through which these ends are revealed in their phenomenal effect. The normal idea must draw from experience the constituents which it requires for the form of an animal of a particular kind. But the greatest finality in the construction of this form—that which would serve as a universal norm for forming an estimate of each individual of the species in question—the image that, as it were, forms an intentional basis underlying the technic of nature, to which no separate individual, but only the race as a whole, is adequate, has its seat merely in the idea of the judging subject. Yet it is, with all its proportions, an aesthetic idea, and, as such, capable of being fully presented in concreto in a model image. Now, how is this effected? In order to render the process to some extent intelligible (for who can wrest nature’s whole secret from her?), let us attempt a psychological explanation.

It is of note that the imagination, in a manner quite incomprehensible to us, is able on occasion, even after a long lapse of time, not alone to recall the signs for concepts, but also to reproduce the image and shape of an object out of a countless number of others of a different, or even of the very same, kind. And, further, if the mind is engaged upon comparisons, we may well suppose that it can in actual fact, though the process is unconscious, superimpose as it were one image upon another, and from the coincidence of a number of the same kind arrive at a mean contour which serves as a common standard for all. Say, for instance, a person has seen a thousand full-grown men. Now if he wishes to judge normal size determined upon a comparative estimate, then imagination (to my mind) allows a great number of these images (perhaps the whole thousand) to fall one upon the other, and, if I may be allowed to extend to the case the analogy of optical presentation, in the space where they come most together, and within the contour where the place is illuminated by the greatest concentration of colour, one gets a perception of the average size, which alike in height and breadth is equally removed from the extreme limits of the greatest and smallest statures; and this is the stature of a beautiful man. (The same result could be obtained in a mechanical way, by taking the measures of all the thousand, and adding together their heights, and their breadths [and thicknesses], and dividing the sum in each case by a thousand.) But the power of imagination does all this by means of a dynamical effect upon the organ of internal sense, arising from the frequent apprehension of such forms. If, again, for our average man we seek on similar lines for the average head, and for this the average nose, and so on, then we get the figure that underlies the normal idea of a beautiful man in the country where the comparison is instituted. For this reason a Negro must necessarily (under these empirical conditions) have a different normal idea of the beauty of forms from what a white man has, and the Chinaman one different from the European. And the. process would be just the same with the model of a beautiful horse or dog (of a particular breed). This normal idea is not derived from proportions taken from experience as definite rules: rather is it according to this idea that rules forming estimates first become possible. It is an intermediate between all singular intuitions of individuals, with their manifold variations—a floating image for the whole genus, which nature has set as an archetype underlying those of her products that belong to the same species, but which in no single case she seems to have completely attained. But the normal idea is far from giving the complete archetype of beauty in the genus. It only gives the form that constitutes the indispensable condition of all beauty, and, consequently, only correctness in the presentation of the genus. It is, as the famous Doryphorus of Polycletus was called, the rule (and Myron’s Cow might be similarly employed for its kind). It cannot, for that very reason, contain anything specifically characteristic; for otherwise it would not be the normal idea for the genus. Further, it is not by beauty that its presentation pleases, but merely because it does not contradict any of the conditions under which alone a thing belonging to this genus can be beautiful. The presentation is merely academically correct.*

But the ideal of the beautiful is still something different from its normal idea. For reasons already stated it is only to be sought in the human figure. Here the ideal consists in the expression of the moral, apart from which the object would not please at once universally and positively (not merely negatively in a presentation academically correct). The visible expression of moral ideas that govern men inwardly can, of course, only be drawn from experience; but their combination with all that our reason connects with the morally good in the idea of the highest finality—benevolence, purity, strength, or equanimity, etc.—may be made, as it were, visible in bodily manifestation (as effect of what is internal), and this embodiment involves a union of pure ideas of reason and great imaginative power, in one who would even form an estimate of it, not to speak of being the author of its presentation. The correctness of such an ideal of beauty is evidenced by its not permitting any sensuous charm to mingle with the delight in its object, in which it still allows us to take a great interest. This fact in turn shows that an estimate formed according to such a standard can never be purely aesthetic, and that one formed according to an ideal of beauty cannot be a simple judgement of taste.

Definition of the Beautiful Derived from this Third Moment

Beauty is the form of finality in an object, so far as perceived in it apart from the representation of an end.*

Fourth Moment. Of the Judgement of Taste: Moment of the Modality of the Delight in the Object

§18. Nature of the modality in a judgement of taste

I may assert in the case of every representation that the synthesis of a pleasure with the representation (as a cognition) is at least possible. Of what I call agreeable I assert that it actually causes pleasure in me. But what we have in mind in the case of the beautiful is a necessary reference on its part to delight. However, this necessity is of a special kind. It is not a theoretical objective necessity—such as would let us cognize a priori that every one will feel this delight in the object that is called beautiful by me. Nor yet is it a practical necessity, in which case, thanks to concepts of a pure rational will in which free agents are supplied with a rule, this delight is the necessary consequence of an objective law, and simply means that one ought absolutely (without ulterior object) to act in a certain way. Rather, being such a necessity as is thought in an aesthetic judgement, it can only be termed exemplary. In other words it is a necessity of the assent of all to a judgement regarded as exemplifying a universal rule incapable of formulation. Since an aesthetic judgement is not an objective or cognitive judgement, this necessity is not derivable from definite concepts, and so is not apodeictic. Much less is it inferable from universality of experience (of a thoroughgoing agreement of judgements about the beauty of a certain object). For, apart from the fact that experience would hardly furnish evidences sufficiently numerous for this purpose, empirical judgements do not afford any foundation for a concept of the necessity of these judgements.

§19. The subjective necessity attributed to a judgement of taste is conditioned

The judgement of taste exacts agreement from every one; and a person who describes something as beautiful insists that every one ought to give the object in question his approval and follow suit in describing it as beautiful. The ought in aesthetic judgements, therefore, despite an accordance with all the requisite data for passing judgement, is still only pronounced conditionally. We are suitors for agreement from every one else, because we are fortified with a ground common to all. Further, we would be able to count on this agreement, provided we were always assured of the correct subsumption of the case under that ground as the rule of approval.

§20. The condition of the necessity advanced by a judgement of taste is the idea of a common sense

Were judgements of taste (like cognitive judgements) in possession of a definite objective principle, then one who in his judgement followed such a principle would claim unconditioned necessity for it. Again, were they devoid of any principle, as are those of the mere taste of sense, then no thought of any necessity on their part would enter one’s head. Therefore they must have a subjective principle, and one which determines what pleases or displeases, by means of feeling only and not through concepts, but yet with universal validity. Such a principle, however, could only be regarded as a common sense. This differs essentially from common understanding, which is also sometimes called common sense (sensus communis): for the judgement of the latter is not one by feeling, but always one by concepts, though usually only in the shape of obscurely represented principles.

The judgement of taste, therefore, depends on our presupposing the existence of a common sense. (But this is not to be taken to mean some external sense, but the effect arising from the free play of our powers of cognition.) Only under the presupposition, I repeat, of such a common sense, are we able to lay down a judgement of taste.

§21. Have we reason for presupposing a common sense?

Cognitions and judgements must, together with their attendant conviction, admit of being universally communicated; for otherwise a correspondence with the object would not be due to them. They would be a conglomerate constituting a mere subjective play of the powers of representation, just as scepticism would have it. But if cognitions are to admit of communication, then our mental state, i.e., the way the cognitive powers are attuned for cognition generally, and, in fact, the relative proportion suitable for a representation (by which an object is given to us) from which cognition is to result, must also admit of being universally communicated, as, without this, which is the subjective condition of the act of knowing, knowledge, as an effect, would not arise. And this is always what actually happens where a given object, through the intervention of sense, sets the imagination at work in arranging the manifold, and the imagination, in turn, the understanding in giving to this arrangement the unity of concepts. But this disposition of the cognitive powers has a relative proportion differing with the diversity of the objects that are given. However, there must be one in which this internal ratio suitable for quickening (one faculty by the other) is best adapted for both mental powers in respect of cognition (of given objects) generally; and this disposition can only be determined through feeling (and not by concepts). Since, now this disposition itself must admit of being universally communicated, and hence also the feeling of it (in the case of a given representation), while again, the universal communicability of a feeling presupposes a common sense: it follows that our assumption of it is well founded. And here, too, we do not have to take our stand on psychological observations, but we assume a common sense as the necessary condition of the universal communicability of our knowledge, which is presupposed in every logic and every principle of knowledge that is not one of scepticism.

§22. The necessity of the universal assent that is thought in a judgement of taste, is a subjective necessity which, under the presupposition of a common sense, is represented as objective

In all judgements by which we describe anything as beautiful, we tolerate no one else being of a different opinion, and in taking up this position we do not rest our judgement upon concepts, but only on our feeling. Accordingly we introduce this fundamental feeling not as a private feeling, but as a public sense. Now, for this purpose, experience cannot be made the ground of this common sense, for the latter is invoked to justify judgements containing an ought. The assertion is not that every one will fall in with our judgement, but rather that every one ought to agree with it. Here I put forward my judgement of taste as an example of the judgement of common sense, and attribute to it on that account exemplary validity. Hence common sense is a mere ideal norm. With this as presupposition, a judgement that accords with it, as well as the delight in an object expressed in that judgement, is rightly converted into a rule for everyone. For the principle, while it is only subjective, being yet assumed as subjectively universal (a necessary idea for everyone), could, in what concerns the consensus of different judging subjects, demand universal assent like an objective principle, provided we were assured of our subsumption under it being correct.

This indeterminate norm of a common sense is, as a matter of fact, presupposed by us; as is shown by our presuming to lay down judgements of taste. But does such a common sense in fact exist as a constitutive principle of the possibility of experience, or is it formed for us as a regulative principle by a still higher principle of reason, that for higher ends first seeks to beget in us a common sense? Is taste, in other words, 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 that the art of music prescribes; for we grow tired much sooner of frequent and lengthy repetitions of the latter. Yet here most likely our sympathy with the mirth of a dear little creature is confused with the beauty of its song, for if exactly imitated by man (as has been sometimes done with the notes of the nightingale) it would strike our ear as wholly destitute of taste.

Further, beautiful objects have to be distinguished from beautiful views of objects (where the distance often prevents a clear perception). In the latter case, taste appears to fasten, not so much on what the imagination grasps in this field, as on the incentive it receives to indulge in poetic fiction, i. e., in the peculiar fancies with which the mind entertains itself as it is being continually stirred by the variety that strikes the eye. It is just as when we watch the changing shapes of the fire or of a rippling brook: neither of which are things of beauty, but they convey a charm to the imagination, because they sustain its free play.

Analytic of the Sublime ...

Deduction (§§30-42) ...

Deduction (§§43-54) ...

Dialectic ...