The Critique of Judgement [87]
a genius. A certain boldness of expression and, in general, many a deviation from the common rule becomes him well, but in no sense is it a thing worthy of imitation. On the contrary it remains all through intrinsically a blemish, which one is bound to try to remove, but for which the genius is, as it were, allowed to plead a privilege, on the ground that a scrupulous carefulness would spoil what is inimitable in the impetuous ardour of his soul. Mannerism is another kind of aping-an aping of peculiarity (originality) in general, for the sake of removing oneself as far as possible from imitators, while the talent requisite to enable one to be at the same time exemplary is absent. There are, in fact, two modes (modi) in general of arranging one's thoughts for utterance. The one is called a manner (modus aestheticus), the other a method (modus logicus). The distinction between them is this: the former possesses no standard other than the feeling of unity in the presentation, whereas the latter here follows definite principles. As a consequence, the former is alone admissible for fine art. It is only, however, where the manner of carrying the idea into execution in a product of art is aimed at singularity, instead of being made appropriate to the idea, that mannerism is properly ascribed to such a product. The ostentatious (precieux), forced, and affected styles, intended to mark one out from the common herd (though soul is wanting), resemble the behaviour of a man who, as we say, hears himself talk, or who stands and moves about as if he were on a stage to be gaped at-action which invariably betrays a tyro.
SS 50. The combination of taste and genius in products of fine art.
To ask whether more stress should be laid in matters of fine art upon the presence of genius or upon that of taste, is equivalent to asking whether more turns upon imagination or upon judgement. Now, imagination rather entitles an art to be called an inspired (geistreiche) than a fine art. It is only in respect of judgement that the name of fine art is deserved. Hence it follows that judgement, being the indispensable condition (conditio sine qua non), is at least what one must look to as of capital importance in forming an estimate of art as fine art. So far as beauty is concerned, to be fertile and original in ideas is not such an imperative requirement as it is that the imagination in its freedom should be in accordance with the understanding's conformity to law. For, in lawless freedom, imagination, with all its wealth, produces nothing but nonsense; the power of judgement, on the other hand, is the faculty that makes it consonant with understanding. Taste, like judgement in general, is the discipline (or corrective) of genius. It severely clips its wings, and makes it orderly or polished; but at the same time it gives it guidance directing and controlling its flight, so that it may preserve its character of finality. It introduces a clearness and order into the plenitude of thought, and in so doing gives stability to the ideas, and qualifies them at once for permanent and universal approval, for being followed by others, and for a continually progressive culture. And so, where the interests of both these qualities clash in a product, and there has to be a sacrifice of something, then it should rather be on the side of genius; and judgement, which in matters of fine art bases its decision on its own proper principles, will more readily endure an abatement of the freedom and wealth of the imagination than that the understanding should be compromised. The requisites for fine art are, therefore, imagination, understanding, soul, and taste.*
*The first three faculties are first brought into union by means of the fourth. Hume, in his history, informs the English that although they are second in their works to no other people in the world in respect the evidences they afford of the three first qualities separately considered, still in what unites them they must yield to their neighbours, the French.
SS 50. The combination of taste and genius in products of fine art.
To ask whether more stress should be laid in matters of fine art upon the presence of genius or upon that of taste, is equivalent to asking whether more turns upon imagination or upon judgement. Now, imagination rather entitles an art to be called an inspired (geistreiche) than a fine art. It is only in respect of judgement that the name of fine art is deserved. Hence it follows that judgement, being the indispensable condition (conditio sine qua non), is at least what one must look to as of capital importance in forming an estimate of art as fine art. So far as beauty is concerned, to be fertile and original in ideas is not such an imperative requirement as it is that the imagination in its freedom should be in accordance with the understanding's conformity to law. For, in lawless freedom, imagination, with all its wealth, produces nothing but nonsense; the power of judgement, on the other hand, is the faculty that makes it consonant with understanding. Taste, like judgement in general, is the discipline (or corrective) of genius. It severely clips its wings, and makes it orderly or polished; but at the same time it gives it guidance directing and controlling its flight, so that it may preserve its character of finality. It introduces a clearness and order into the plenitude of thought, and in so doing gives stability to the ideas, and qualifies them at once for permanent and universal approval, for being followed by others, and for a continually progressive culture. And so, where the interests of both these qualities clash in a product, and there has to be a sacrifice of something, then it should rather be on the side of genius; and judgement, which in matters of fine art bases its decision on its own proper principles, will more readily endure an abatement of the freedom and wealth of the imagination than that the understanding should be compromised. The requisites for fine art are, therefore, imagination, understanding, soul, and taste.*
*The first three faculties are first brought into union by means of the fourth. Hume, in his history, informs the English that although they are second in their works to no other people in the world in respect the evidences they afford of the three first qualities separately considered, still in what unites them they must yield to their neighbours, the French.