History of Modern Philosophy · Chapter 28%part II. From Kant to the Present Time.% (7)
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The "General Observations" appended to each division add to the four principle discussions as many collateral inquiries concerning Operations of Grace, Miracles, Mysteries, and Means of Grace, objects of transcendent ideas, which do not properly belong in the sphere of religion within pure reason itself, but which yet border on it. (1) We are entirely incapable of calling forth works of grace, nay, even of indicating the marks by which actual divine illuminations are distinguished from imaginary ones; the supposed experience of heavenly influences belongs in the region of superstitious religious illusion. But their impossibility is just as little susceptible of proof as their reality. Nothing further can be said on the question, save that works of grace may exist, and perhaps must exist in order to supplement our imperfect efforts after virtue; and that everyone, instead of waiting for divine assistance, should do for his own amendment all that is in his power. (2) Kant judges more sharply in regard to the belief in miracles, which contradict the laws of experience without in the least furthering the performance of our duties. In practical life no one regards miracles as possible; and their limitation to the past and to rare instances does not make them more credible. (3) In so far as the Christian mysteries actually represent impenetrable secrets they have no bearing on moral conduct; so far as they are morally valuable they admit of rational interpretation and thus cease to be mysteries. The Trinity signifies the three moral qualities or powers united in the head of the moral state: the one God as holy lawgiver, gracious governor, and just judge. (4) The services of the Church have worth as ethical ceremonies, as emblems of the moral disposition (prayer) and of moral fellowship (church attendance, baptism, and the Lord's Supper); but to find in these symbolic ceremonies means of grace and to seek to purchase the favor of God by them, is an error of the same kind as sorcery and fetichism. The right way leads from virtue to grace, not in the opposite direction; piety without morality is worthless.
The Kantian theory of religion is rationalistic and moralistic. The fact that religion is based on morality should never be assailed. But the foundation is not the building, the origin not the content and essence of the thing itself. As far as the nature of religion is concerned, the Kantian view does not exclude completion in the direction of Schleiermacher's theory of feeling, just as by its speculative interpretation of the Christian dogmas and its appreciation of the history of religion as a gradual transformation of historical faith into a faith of reason, it points out the path afterward followed by Hegel. The philosophy of religion of the future must be, as some recent attempts aim to be (O. Pfleiderer, Biedermann, Lipsius), a synthesis of Kant, Schleiermacher, and Hegel.
While the moral law requires rightness not only of the action, but also of the disposition, the law of right is satisfied when the act enjoined is performed, no matter from what motives. Legal right, as the sum of the conditions under which the will of the one can consist with the will of others according to a universal law, relates only to enforceable actions, without concerning itself about motives. Private right includes right in things or property, personal right or right of contract, and real-personal right (marriage right); public right is divided into the right of states, of nations, and of citizens of the world. Kant's theory of punishment is original and important. He bases it not upon prudential regard for the protection of society, or the deterrence or reformation of the criminal, but upon the exalted idea of retaliation (jus talionis), which demands that everyone should meet with what his deeds deserve: Eye for eye, life for life. In politics Kant favors democratic theories, though less decidedly than Rousseau and Fichte. As he followed with interest the efforts after freedom manifested in the American and French Revolutions, so he opposed an hereditary nobility as a hindrance to the natural equality of rights, and demanded freedom for the public expression of opinion as the surest means of guarding against revolutions. The only legitimate form of the state is the republican, i.e., that in which the executive power is separated from the legislative power, in contrast to despotism, where they are united in one hand. The best guaranty for just government and civil liberty is offered by constitutional monarchy, in which the people through its representatives exercises the legislative power, the sovereign the executive power, and judges chosen by the people the judicial power. The contract from which we may conceive the state to have arisen is not to be regarded as an historical fact, but as a rational idea or rule, by which we may judge whether the laws are just or not: that which the people as a whole cannot prescribe for itself, this cannot be prescribed for it by the ruler (cf. p. 235). That there is a constant progress—not only of individuals, but—of the race, not merely in technical and intellectual, but also in moral respects, is supported both by rational grounds (without faith in such progress we could not fulfill our duty as co-laborers in it) and by experiential grounds (above all, the unselfish sympathy which all the world gave to the French Revolution); and the never-ending complaint that the times are growing worse proves only that mankind is continually setting up stricter standards for itself. The beginning of history is to be placed at the point where man passes out of the condition of innocence, in which instinct rules, and begins to subdue nature, which hitherto he has obeyed. The goal of history, again, is the establishment of the perfect form of the state. Nature itself co-operates with freedom in the gradual transformation of the state based on necessity (Notstaat) into a rational state, inasmuch as selfish competition and the commercial spirit require peace, order, and justice for their own security and help to bring them about. And so, further, we need not doubt that humanity will constantly draw nearer to the ideal condition of everlasting peace among the nations (guaranteed by a league of states which shall as a mediator settle disputes between individual states), however impracticable the idea may at present appear.
If the bold declaration of Fortlage, that in Kant the system of absolute truth appeared, is true of any one part of his philosophy, it is true of the practical part, in which Christian morality has found its scientific expression. If we may justly complain that on the basis of his sharp distinction between legality and morality, between legal duty and virtue-duty, Kant took into account only the legal side of the institutions of marriage and of the state, overlooking the fact that besides these they have a moral importance and purpose, if we may demand a social ethic as a supplement to his ethics, which is directed to the duties of the individual alone, yet these and other well-founded desiderata may be attained by slight corrections and by the addition of another story to the Kantian edifice, while the foundations are still retained. The bases are immovable. Autonomy, absolute oughtness, the formal character of the law of reason, and the incomparable worth of the pure, disinterested disposition—these are the corner stones of the Kantian, nay, of all morals.
%3. Theory of the Beautiful and of Ends in Nature.%
We now know the laws which the understanding imposes upon nature and those which reason imposes upon the will. If there is a field in which to be (Sein) and ought to be (Sollen), nature and freedom, which we have thus far been forced to consider antithetical, are reconciled—and that there is such a field is already deducible from the doctrine of the religious postulates (as practical truths or assumptions concerning what is, in behalf of what ought to be), and from the hints concerning a progress in history (in which both powers co-operate toward a common goal)—then the source of its laws is evidently to be sought in that faculty which mediates alike between understanding and reason and between knowing and feeling: in Judgment, as the higher faculty of feeling. Judgment, in the general sense, is the faculty of thinking a particular as contained in a universal, and exercises a twofold function: as "determinant" judgment it subsumes the particular under a given universal (a law), as "reflective" it seeks the universal for a given particular. Since the former coincides with the understanding, we are here concerned only with the reflective judgment, judgment in the narrower sense, which does not cognize objects, but judges them, and this according to the principle of purposiveness.[1]
[Footnote 1: The universal laws springing from the understanding, to which every nature must conform to become an object of experience for us, determine nothing concerning the particular form of the given reality; we cannot deduce the special laws of nature from them. Nevertheless the nature of our cognitive faculty does not allow us to accept the empirical manifoldness of our world as contingent, but impels us to regard it as purposive or adapted to our knowledge, and to look upon these special laws as if an intelligence had given them in order to make a system of experience possible.]
This, in turn, is of two kinds. An object is really or objectively purposive (perfect) when it corresponds to its nature or its determination, formally or subjectively purposive (beautiful) when it is conformed to the nature of our cognitive faculty. The perception of purpose is always accompanied by a feeling of pleasure; in the first case, where the pleasure is based on a concept of the object, it is a logical satisfaction, in the second, where it springs only from the harmony of the object with our cognitive powers, aesthetic satisfaction. The objects of the teleological and the aesthetic judgment, the purposive and the beautiful products of nature and art, constitute the desired intermediate field between nature and freedom; and here again the critical question comes up, How, in relation to these, synthetic judgments a priori are possible?
%(a) Esthetic Judgment.%—The formula holds of Kant's aesthetics as well as of his theoretical and practical philosophy, that his aim is to overcome the opposition between the empirical and the rationalistic theories, and to find a middle course of his own between the two extremes. Neither Burke nor Baumgarten satisfied him. The English aesthetics was sensational, the German, i.e., that of the Wolffian school, rationalistic. The former identified the beautiful with the agreeable, the latter identified it with the perfect or with the conformity of the object to its concept; in the one case, aesthetic appreciation is treated as sensuous pleasure, in the other, it is treated as a lower, confused kind of knowledge, its peculiar nature being in both cases overlooked. In opposition to the sensualization of aesthetic appreciation, its character as judgment must be maintained; and in opposition to its rationalization, its character as feeling. This relation of the Kantian aesthetics to that of his predecessors explains both its fundamental tendency and the elements in it which appear defective and erroneous. In any case, Kant shows himself in this field also an unapproachable master of careful analysis.
The first task of aesthetics is the careful distinction of its object from related phenomena. The beautiful has points of contact with the agreeable, the good, the perfect, the useful, and the true. It is distinguished from the true by the fact that it is not an object of knowledge, but of satisfaction. If we inquire further into the difference between the satisfaction in the beautiful and the satisfaction in the agreeable, in the good (in itself), and in the (good for something, as a means, or in the) useful, which latter three have this in common, that they are objects of appetition—of sensuous want, of moral will, of prudential desire—it becomes evident that the beautiful pleases through its mere representation (that is, independently of the real existence of the object), and that the delight in the beautiful is a contemplative pleasure. It is for contemplation only, not to be sensuously enjoyed nor put to practical use; and, further, its production is not a universal duty. Sensuous, prudential, or moral appetition has always an "interest" in the actual existence of the object; the beautiful, on the other hand, calls forth a disinterested satisfaction.
According to quality the beautiful is the object of a disinterested, free (bound by no interest), and sportive satisfaction. According to quantity and modality the judgment of taste claims universal and necessary validity, without this being based upon concepts. This posits further differences between the beautiful and the agreeable and the good. The good also pleases universally, but it pleases through concepts; the agreeable as well as the beautiful pleases without a concept, but it does not please universally.
That which pleases the reason through the concept is good; that which pleases the senses in sensation is agreeable. That which pleases universally and necessarily without a concept is beautiful. Moral judgment demands the assent of all, and its universal validity is demonstrable. The judgment concerning the agreeable is not capable of demonstration, but neither does it pretend to possess universal validity; we readily acknowledge that what is pleasant to one need not be so to every other man. In regard to the beautiful, on the contrary, we do not content ourselves with saying that tastes differ, but we expect it to please all. We expect everyone to assent to our judgment of taste, although it is able to support itself by no proofs.
Here there is a difficulty: since the judgment of taste does not express a characteristic of the object, but a state of mind in the observer, a feeling, a satisfaction, it is purely subjective; and yet it puts forth a claim to be universally communicable. The difficulty can be removed only on the assumption of a common aesthetic sense, of a corresponding organization of the powers of representation in all men, which yields the common standard for the pleasurableness of the impression. The agreeable appeals to that in man which is different in different individuals, the beautiful to that which functions alike in all; the former addresses itself to the passive sensibility, the latter to the active judgment. The agreeable—because of the non-calculable differences in our sensuous inclinations, which are in part conditioned by bodily states—possesses no universality whatever, the good possesses an objective, and the beautiful a subjective universality. The judgment concerning the agreeable has an empirical, that concerning the beautiful an a priori, determining ground: in the former case, the judgment follows the feeling, in the latter, it precedes it.
An object is considered beautiful (for, strictly speaking, we may say only this, not that it is beautiful) when its form puts the powers of the human mind in a state of harmony, brings the intuitive and rational faculties into concordant activity, and produces an agreeable proportion between the imagination and the understanding. In giving the occasion for an harmonious play of the cognitive activities (that is, for an easy combination of the manifold into unity) the beautiful object is purposive for us, for our function of apprehension; it is—here we obtain a determination of the judgment of taste from the standpoint of relation—purposive without a definite purpose. We know perfectly well that a landscape which attracts us has not been specially arranged for the purpose of delighting us, and we do not wish to find in a work of art anything of an intention to please. An object is perfect when it is purposive for itself (corresponds to its concept); useful when it is purposive for our desire (corresponds to a practical intention of man); beautiful when the arrangement of its parts is purposive for the relation between the fancy and understanding of the beholder (corresponds in an unusual degree to the conditions of our apprehension). Perfection is internal (real, objective) purposiveness, and utility is external purposiveness, both for a definite purpose; beauty, on the other hand, is purposiveness without a purpose, formal, subjective purposiveness. The beautiful pleases by its mere form. The satisfaction in the perfect is of a conceptual or intellectual kind, the satisfaction in the beautiful, emotional or aesthetic in character.
The combination of these four determinations yields an exhaustive definition of the beautiful: The beautiful is that which universally and necessarily arouses disinterested satisfaction by its mere form (purposiveness without the representation of a purpose).
Since the pleasurableness of the beautiful rests on the fact that it establishes a pleasing harmony between the imagination and the understanding, hence between sensuous and intellectual apprehension, the aesthetic attitude is possible only in sensuous-rational beings. The agreeable exists for the animal as well, and the good is an object of approval for pure spirits; but the beautiful exists for humanity alone. Kant succeeded in giving very delicate and felicitous verbal expression to these distinctions: the agreeable gratifies (vergnügt) and excites inclination (Neigung); the good is approved (gebilligt) and arouses respect (Achtung); the beautiful "pleases" (gefällt) and finds "favor" (Gunst).
In the progress of the investigation the principle that beauty depends on the form alone, and that the concept, the purpose, the nature of the object is not taken into account at all in aesthetic judgment, experiences limitation. In its full strictness this applies only to a definite and, in fact, a subordinate division of the beautiful, which Kant marks off under the name of pure or free beauty. With this he contrasts adherent beauty, as that which presupposes a generic concept to which its form must correspond and which it must adequately present. Too much a purist not to mark the coming in of an intellectual pleasure as a beclouding of the "purity" of the aesthetic satisfaction, he is still just enough to admit the higher worth of adherent beauty. For almost the whole of artificial beauty and a considerable part of natural beauty belong to this latter division, which we to-day term ideal and characteristic beauty. Examples of free or purely formal beauty are tapestry patterns, arabesques, fountains, flowers, and landscapes, the pleasurableness of which rests simply on the proportion of their form and relations, and not upon their conformity to a presupposed significance and determination of the thing. A building, on the contrary—a dwelling, a summer-house, a temple—is considered beautiful only when we perceive in it not merely harmonious relations of the parts one to another, but also an agreement between the form and the purpose or generic concept: a church must not look like a chalet. Here the external form is compared with an inner nature, and harmony is required between form and content. Adherent beauty is significant and expressive beauty, which, although the satisfaction in it is not "purely" aesthetic, nevertheless stands higher than pure beauty, because it gives to the understanding also something to think, and hence busies the whole spirit.
The analytical investigations concerning the nature of the beautiful receive a valuable supplement in the classical definition of genius. Kant gives two definitions of productive talent, one formal and one genetic.
Natural beauty is a beautiful thing; artificial beauty, a beautiful representation of a thing. The gift of agreeably presenting a thing which in itself, perhaps, is ugly, is called taste. To judge of the beautiful it is sufficient to possess taste, but for its production there is still another talent needed, spirit or genius. For an art product can fulfill the demands of taste and yet not aesthetically satisfy; while formally faultless, it may be spiritless.
While beautiful nature looks as though it were art (as though it were calculated for our enjoyment), beautiful art should resemble nature, must not appear to be intentional though, no doubt, it is so, must show a careful but not an overnice adherence to rules (i.e., not one which fetters the powers of the artist). This is the case when the artist bears the rule in himself, that is, when he is gifted. Genius is the innate disposition (through) which (nature) gives rules to art; its characteristics are originality, exemplariness, and unreflectiveness. It does not produce according to definite rules which can be learned, but it is a law in itself, it is original. It creates instinctively without consciousness of the rule, and cannot describe how it produces its results. It creates typical works which impel others to follow, not to imitate. It is only in art that there are geniuses, i.e., spirits who produce that which absolutely cannot be learned, while the great men of science differ only in degree, not in kind, from their imitators and pupils, and that which they discover can be learned by rule.
This establishes the criteria by which genius may be recognized. If we ask by what psychological factors it is produced the answer is as follows: Genius presupposes a certain favorable relation between imagination and reason. Genius is the faculty of aesthetic Ideas, but an aesthetic Idea is a representation of the imagination which animates the mind, which adds to a concept of the understanding much of ineffable thought, much that belongs to the concept but which cannot be comprehended in a definite concept. With the aid of this idea Kant solves the antinomy of the aesthetic judgment. The thesis is: The judgment of taste is not based upon concepts; for otherwise it would admit of controversy (would be determinable by proofs). The antithesis is: It is based upon concepts; for otherwise we could not contend about it (endeavor to obtain assent). The two principles are reconcilable, for "concept" is understood differently in the two cases. That which the thesis rightly seeks to exclude from the judgment of beauty is the determinate concept of the understanding; that which the antithesis with equal justice pronounces indispensable is the indeterminate concept, the aesthetic Idea.
The freest play is afforded the imagination by poetry, the highest of all arts, which, with rhetoric ("insidious," on account of its earnest intention to deceive), forms the group termed arts of speech. To the class of formative arts belong architecture, sculpture, and painting as the art of design. A third group, the art of the beautiful play of sensations, includes painting as the art of color, and music, which as a "fine" art is placed immediately after poetry, as an "agreeable" art at the very foot of the list, and as the play of tone in the vicinity of the entertaining play of fortune [games of chance] and the witty play of thought. The explanation of the comic (the ludicrous is based, according to Kant, on a sudden transformation of strained expectation into nothing) lays great (indeed exaggerated) weight on the resulting physiological phenomena, the bodily shock which heightens vital feeling and favors health, and which accompanies the alternating tension and relaxation of the mind.
Besides free and adherent beauty, there is still a third kind of aesthetic effect, the Sublime. The beautiful pleases by its bounded form. But also the boundless and formless can exert aesthetic effect: that which is great beyond all comparison we judge sublime. Now this magnitude is either extensive in space and time or intensive greatness of force or power; accordingly there are two forms of the sublime. That phenomenon which mocks the power of comprehension possessed by the human imagination or surpasses every measure of our intuition, as the ocean and the starry heavens, is mathematically sublime. That which overcomes all conceivable resistance, as the terrible forces of nature, conflagrations, floods, earthquakes, hurricanes, thunderstorms, is dynamically sublime or mighty. The former is relative to the cognitive, the latter to the appetitive faculty. The beautiful brings the imagination and the understanding into accord; by the sublime the fancy is brought into a certain favorable relation, not directly to be termed harmony, with reason. In the one case there arose a restful, positively pleasurable mood; here a shock is produced, an indirect and negative pleasure proceeding from pain. Since the sublime exceeds the functional capability of our sensuous representations and does violence to the imagination, we first feel small at the sight of the absolutely great, and incapable of compassing it with our sensuous glance. The sensibility is not equal to the impression; this at first seems contrary to purpose and violent. This humiliating impression, however, is quickly followed by a reaction, and the vital forces, which were at first checked, are stimulated to the more lively activity. Moreover, it is the sensuous part of man which is humbled and the spiritual part that is exalted: the overthrow of sensibility becomes a triumph for reason. The sight of the sublime, that is, awakens the Idea of the unconditioned, of the infinite. This Idea can never be adequately presented by an intuition, but can be aroused only by the inadequacy of all that is sensuous to present it; the infinite is presented through the impossibility of presenting it. We cannot intuit the infinite, but we can think it. In comparison with reason (as the faculty of Ideas, the faculty of thinking the infinite) even the greatest thing that can be given in the sense-world appears small; reason is the absolutely great. "That is sublime the mere ability to think which proves a faculty of the mind surpassing every standard of sense." "That is sublime which pleases immediately through its opposition to the interest of the senses." The conflict between phantasy and reason, the insufficiency of the former for the attainment of the rational Idea, makes us conscious of the superiority of reason. Just because we feel small as sensuous beings we feel great as rational beings. The pleasure (related to the moral feeling of respect and, like this, mingled with a certain pain) which accompanies this consciousness of inner greatness is explained by the fact that the imagination, in acknowledging reason superior, places itself in the appropriate and purposive relation of subordination. It is evident from the foregoing that the truly sublime is reason, the moral nature of man, his predisposition and destination, which point beyond the present world. Schiller declares that "in space the sublime does not dwell," and Kant says, "Sublimity is contained in none of the things of nature, but only in our mind, in so far as we are conscious of being superior to nature within us and without us." Nevertheless, since in this contemplation we fix our thoughts entirely on the object without reflecting on ourselves, we transfer the admiration of right due to the reason and its Idea of the infinite by subreption to the object by which the Idea is occasioned, and call the object itself sublime, instead of the mood which it wakes in us.
If the sublime marks the point where the aesthetic touches on the boundary of the moral, the beautiful is also not without some relation to the good. By showing the agreement of sensibility and reason, which is demanded by the moral law, realized in aesthetic intuition (as a voluntary yielding of the imagination to the legitimacy of the understanding), it gives us the inspiring consciousness that the antithesis is reconcilable, that the rational can be presented in the sensuous, and so becomes a "symbol of the good."
%(b) Teleological Judgment.%—Teleological judgment is not knowledge, but a way of looking at things which comes into play where the causal or mechanical explanation fails us. This is not the case if the purposiveness is external, relative to its utility for something else. The fact that the sand of the sea-shore furnishes a good soil for the pine neither furthers nor prevents a causal knowledge of it. Only inner purposiveness, as it is manifested in the products of organic nature, brings the mechanical explanation to a halt. Organisms are distinguished above inorganic forms by the fact that of themselves they are at once cause and effect, that they are self-productive and this both as a species (the oak springs from the acorn, and in its turn bears acorns) and as individuals (self-preservation, growth, and the replacement of dying parts by new ones), and also by the fact that the reciprocally productive parts are in their form and their existence all conditioned by the whole. This latter fact, that the whole is the determining ground for the parts, is perfectly obvious in the products of human art. For here it is the representation of the whole (the idea of the work desired) which as the ground precedes the existence and the form of the parts (of the machine). But where is the subject to construct organisms according to its representations of ends? We may neither conceive nature itself as endowed with forces acting in view of ends, nor a praetermundane intelligence interfering in the course of nature. Either of these suppositions would be the death of natural philosophy: the hylozoist endows matter with a property which conflicts with its nature, and the theist oversteps the boundary of possible experience. Above all, the analogy of the products of organic nature with the products of human technique is destroyed by the fact that machines do not reproduce themselves and their parts cannot produce one another, while the organism organizes itself.
For our discursive understanding an interaction between the whole and the parts is completely incomprehensible. We understand when the parts precede the whole (mechanically) or the representation of the whole precedes the parts (teleologically); but to think the whole itself (not the Idea thereof) as the ground of the parts, which is demanded by organic life, is impossible for us. It would have been otherwise if an intuitive understanding had been bestowed upon us. For a being possessing intellectual intuition the antithesis between possibility and actuality, between necessity and contingency, between mechanism and teleology, would disappear along with that between thought and intuition. For such a being everything possible (all that it thinks) would be at the same time actual (present for intuition), and all that appears to us contingent—intentionally selected from several possibilities and in order to an end—would be necessary as well; with the whole would be given the parts corresponding thereto, and consequently natural mechanism and purposive connection would be identical, while for us, to whom the intuitive understanding is denied, the two divide. Hence the teleological view is a mere form of human representation, a subjective principle. We may not say that a mechanical origin of living beings is impossible, but only that we are unable to understand it. If we knew how a blade of grass or a frog sprang from mechanical forces, we would also be in a position to produce them.