The Critique of Judgement [37]
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.*
*It will be found that a perfectly regular face one that a painter might fix his eye on for a model-ordinarily conveys nothing. This is because it is devoid of anything characteristic, and so the idea of the race is expressed in it rather than the specific qualities of a person. The exaggeration of what is characteristic in this way, i.e., exaggeration violating the normal idea (the finality of the race), is called caricature. Also experience shows that these quite regular faces indicate as a rule internally only a mediocre type of man; presumably-if one may assume that nature in its external form expresses the proportions of the internal -because, where none of the mental qualities exceed the proportion requisite to constitute a man free from faults, nothing can be expected in the way of what is called genius, in which nature seems to make a departure from its wonted relations of the mental powers in favour of some special one.
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.*
*As telling against this explanation, the instance may be adduced that there are things in which we see a form suggesting adaptation to an end, without any end being cognized in them-as, for example, the stone implements frequently obtained from sepulchral tumuli and supplied with a hole, as if for [inserting] a handle; and although these by their shape manifestly indicate a finality, the end of which is unknown, they are not on that account described as beautiful. But the very fact of their being regarded as art-products involves an immediate recognition that their shape is attributed to some purpose or other and to a definite
*It will be found that a perfectly regular face one that a painter might fix his eye on for a model-ordinarily conveys nothing. This is because it is devoid of anything characteristic, and so the idea of the race is expressed in it rather than the specific qualities of a person. The exaggeration of what is characteristic in this way, i.e., exaggeration violating the normal idea (the finality of the race), is called caricature. Also experience shows that these quite regular faces indicate as a rule internally only a mediocre type of man; presumably-if one may assume that nature in its external form expresses the proportions of the internal -because, where none of the mental qualities exceed the proportion requisite to constitute a man free from faults, nothing can be expected in the way of what is called genius, in which nature seems to make a departure from its wonted relations of the mental powers in favour of some special one.
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.*
*As telling against this explanation, the instance may be adduced that there are things in which we see a form suggesting adaptation to an end, without any end being cognized in them-as, for example, the stone implements frequently obtained from sepulchral tumuli and supplied with a hole, as if for [inserting] a handle; and although these by their shape manifestly indicate a finality, the end of which is unknown, they are not on that account described as beautiful. But the very fact of their being regarded as art-products involves an immediate recognition that their shape is attributed to some purpose or other and to a definite