The Critique of Judgement [106]
for perceiving the inner finality in the relation of our mental powers engaged in the estimate of certain of its products, and, indeed, such a finality as arising from a supersensible basis is to be pronounced necessary and of universal validity, is a property of nature which cannot belong to it as its end, or rather, cannot be estimated by us to be such an end. For otherwise the judgement that would be determined by reference to such an end would found upon heteronomy, instead of founding upon autonomy and being free, as befits a judgement of taste. The principle of the idealism of finality is still more clearly apparent in fine art. For the point that sensations do not enable us to adopt an aesthetic realism of finality (which would make art merely agreeable instead of beautiful) is one which it enjoys in common with beautiful nature. But the further point that the delight arising from aesthetic ideas must not be made dependent upon the successful attainment of determinate ends (as an art mechanically directed to results), and that, consequently, even in the case of the rationalism of the principle, an ideality of the ends and not their reality is fundamental, is brought home to us by the fact that fine art, as such, must not be regarded as a product of understanding and science, but of genius, and must, therefore, derive its rule from aesthetic ideas, which are essentially different from rational ideas of determinate ends. Just as the ideality of objects of sense as phenomena is the only way of explaining the possibility of their forms admitting of a priori determination, so, also, the idealism of the finality in estimating the beautiful in nature and in art is the only hypothesis upon which a critique can explain the possibility of a judgement of taste that demands a priori validity for every one (yet without basing the finality represented in the object upon concepts).
SS 59. Beauty as the symbol of morality.
Intuitions are always required to verify the reality of our concepts. If the concepts are empirical, the intuitions are called examples: if they are pure concepts of the understanding, the intuitions go by the name of schemata. But to call for a verification of the objective reality of rational concepts, i.e., of ideas, and, what is more, on behalf of the theoretical cognition of such a reality, is to demand an impossibility, because absolutely no intuition adequate to them can be given. All hypotyposis (presentation, subjectio sub adspectum) as a rendering in terms of sense, is twofold. Either it is schematic, as where the intuition corresponding to a concept comprehended by the understanding is given a priori, or else it is symbolic, as where the concept is one which only reason can think, and to which no sensible intuition can be adequate. In the latter case the concept is supplied with an intuition such that the procedure of judgement in dealing with it is merely analogous to that which it observes in schematism. In other words, what agrees with the concept is merely the rule of this procedure, and not the intuition itself. Hence the agreement is merely in the form of reflection, and not in the content. Notwithstanding the adoption of the word symbolic by modern logicians in a sense opposed to an intuitive mode of representation, it is a wrong use of the word and subversive of its true meaning; for the symbolic is only a mode of any intrinsic connection with the intuition of sentation is, in fact, divisible into the schematic and the symbolic. Both are hypotyposes, i.e., presentations (exhibitiones), not mere marks. Marks are merely designations of concepts by the aid of accompanying sensible signs devoid of any intrinsic connection with the intuition of the object. Their sole function is to afford a means of reinvoking the concepts according to the imagination's law of association-a purely subjective role. Such marks are either words or visible (algebraic or even mimetic) signs, simply as expressions for concepts.*
*The intuitive mode of knowledge must be contrasted with the
SS 59. Beauty as the symbol of morality.
Intuitions are always required to verify the reality of our concepts. If the concepts are empirical, the intuitions are called examples: if they are pure concepts of the understanding, the intuitions go by the name of schemata. But to call for a verification of the objective reality of rational concepts, i.e., of ideas, and, what is more, on behalf of the theoretical cognition of such a reality, is to demand an impossibility, because absolutely no intuition adequate to them can be given. All hypotyposis (presentation, subjectio sub adspectum) as a rendering in terms of sense, is twofold. Either it is schematic, as where the intuition corresponding to a concept comprehended by the understanding is given a priori, or else it is symbolic, as where the concept is one which only reason can think, and to which no sensible intuition can be adequate. In the latter case the concept is supplied with an intuition such that the procedure of judgement in dealing with it is merely analogous to that which it observes in schematism. In other words, what agrees with the concept is merely the rule of this procedure, and not the intuition itself. Hence the agreement is merely in the form of reflection, and not in the content. Notwithstanding the adoption of the word symbolic by modern logicians in a sense opposed to an intuitive mode of representation, it is a wrong use of the word and subversive of its true meaning; for the symbolic is only a mode of any intrinsic connection with the intuition of sentation is, in fact, divisible into the schematic and the symbolic. Both are hypotyposes, i.e., presentations (exhibitiones), not mere marks. Marks are merely designations of concepts by the aid of accompanying sensible signs devoid of any intrinsic connection with the intuition of the object. Their sole function is to afford a means of reinvoking the concepts according to the imagination's law of association-a purely subjective role. Such marks are either words or visible (algebraic or even mimetic) signs, simply as expressions for concepts.*
*The intuitive mode of knowledge must be contrasted with the