The Critique of Judgement [63]
But this principle we would presumably resent, and appeal to our natural right of submitting a judgement to our own sense, where it rests upon the immediate feeling of personal well-being, instead of submitting it to that of others. Hence if the import of the judgement of taste, where we appraise it as a judgement entitled to require the concurrence of every one, cannot be egoistic, but must necessarily, from its inner nature, be allowed a pluralistic validity, i.e., on account of what taste itself is, and not on account of the examples which others give of their taste, then it must found upon some a priori principle (be it subjective or objective), and no amount of prying into the empirical laws of the changes that go on within the mind can succeed in establishing such a principle. For these laws only yield a knowledge of how we do judge, but they do not give us a command as to how we ought to judge, and, what is more, such a command as is unconditioned-and commands of this kind are presupposed by judgements of taste, inasmuch as they require delight to be taken as immediately connected with a representation. Accordingly, though the empirical exposition of aesthetic judgements may be a first step towards accumulating the material for a higher investigation, yet a transcendental examination of this faculty is possible, and forms an essential part of the Critique of Taste. For, were not taste in possession of a priori principles, it could not possibly sit in judgement upon the judgements of others and pass sentence of commendation or condemnation upon them, with even the least semblance of authority. The remaining part of the Analytic of the aesthetic judgement contains first of all the:
Deduction of Pure Aesthetic Judgements. SS 30. The deduction of aesthetic judgements upon objects of nature must not be directed to what we call sublime in nature, but only to the beautiful.
The claim of an aesthetic judgement to universal validity for every subject, being a judgement which must rely on some a priori principle, stands in need of a deduction (i.e., a derivation of its title). Further, where the delight or aversion turns on the form of the object this has to be something over and above the exposition of the judgement. Such is the case with judgements of taste upon the beautiful in nature. For there the finality has its foundation in the object and its outward form-although it does not signify the reference of this to other objects according to concepts (for the purpose of cognitive judgements), but is merely concerned in general with the apprehension of this form so far as it proves accordant in the mind with the faculty of concepts as well as with that of their presentation (which is identical with that of apprehension). With regard to the beautiful in nature, therefore, we may start a number of questions touching the cause of this finality of their forms e.g., how we are to explain why nature has scattered beauty abroad with so lavish a hand even in the depth of the ocean where it can but seldom be reached by the eye of man-for which alone it is. final? But the sublime in nature-if we pass upon it a pure aesthetic judgement unmixed with concepts of perfection, as objective finality, which would make the judgement teleological-may be regarded as completely wanting in form or figure, and none the less be looked upon as an object of pure delight, and indicate a subjective finality of the given representation. So, now, the question suggests itself, whether in addition to the exposition of what is thought in an aesthetic judgement of this kind, we may be called upon to give a deduction of its claim to some (subjective) a priori principle. This we may meet with the reply that the sublime in nature is improperly so called, and that sublimity should, in strictness, be attributed merely to the attitude of thought, or, rather, to that which serves as basis for this in human nature. The apprehension of an object otherwise formless and in conflict with ends supplies the mere occasion
Deduction of Pure Aesthetic Judgements. SS 30. The deduction of aesthetic judgements upon objects of nature must not be directed to what we call sublime in nature, but only to the beautiful.
The claim of an aesthetic judgement to universal validity for every subject, being a judgement which must rely on some a priori principle, stands in need of a deduction (i.e., a derivation of its title). Further, where the delight or aversion turns on the form of the object this has to be something over and above the exposition of the judgement. Such is the case with judgements of taste upon the beautiful in nature. For there the finality has its foundation in the object and its outward form-although it does not signify the reference of this to other objects according to concepts (for the purpose of cognitive judgements), but is merely concerned in general with the apprehension of this form so far as it proves accordant in the mind with the faculty of concepts as well as with that of their presentation (which is identical with that of apprehension). With regard to the beautiful in nature, therefore, we may start a number of questions touching the cause of this finality of their forms e.g., how we are to explain why nature has scattered beauty abroad with so lavish a hand even in the depth of the ocean where it can but seldom be reached by the eye of man-for which alone it is. final? But the sublime in nature-if we pass upon it a pure aesthetic judgement unmixed with concepts of perfection, as objective finality, which would make the judgement teleological-may be regarded as completely wanting in form or figure, and none the less be looked upon as an object of pure delight, and indicate a subjective finality of the given representation. So, now, the question suggests itself, whether in addition to the exposition of what is thought in an aesthetic judgement of this kind, we may be called upon to give a deduction of its claim to some (subjective) a priori principle. This we may meet with the reply that the sublime in nature is improperly so called, and that sublimity should, in strictness, be attributed merely to the attitude of thought, or, rather, to that which serves as basis for this in human nature. The apprehension of an object otherwise formless and in conflict with ends supplies the mere occasion