the critique of judgement-第41节

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arious　flowers；　a　room　with　a　variety　of　ornaments　（including　even　the　ladies'　attire）；　go　to　make　at　a　festal　gathering　a　sort　of　picture　which；　like　pictures　in　the　true　sense　of　the　word　（those　which　are　not　intended　to　teach　history　or　natural　science）；　has　no　business　beyond　appealing　to　the　eye；　in　order　to　entertain　the　imagination　in　free　play　with　ideas；　and　to　engage　actively　the　aesthetic　judgement　independently　of　any　definite　end。　No　matter　how　heterogeneous；　on　the　mechanical　side；　may　be　the　craft　involved　in　all　this　decoration；　and　no　matter　what　a　variety　of　artists　may　be　required；　still　the　judgement　of　taste；　so　far　as　it　is　one　upon　what　is　beautiful　in　this　art；　is　determined　in　one　and　the　same　way：　namely；　as　a　judgement　only　upon　the　forms　（without　regard　to　any　end）　as　they　present　themselves　to　the　eye；　singly　or　in　combination；　according　to　their　effect　upon　the　imagination。　The　justification；　however；　of　bringing　formative　art　（by　analogy）　under　a　common　head　with　gesture　in　a　speech；　lies　in　the　fact　that　through　these　figures　the　soul　of　the　artists　furnishes　a　bodily　expression　for　the　substance　and　character　of　his　thought；　and　makes　the　thing　itself　speak；　as　it　were；　in　mimic　language…a　very　common　play　of　our　fancy；　that　attributes　to　lifeless　things　a　soul　suitable　to　their　form；　and　that　uses　them　as　its　mouthpiece。

　　*It　seems　strange　that　landscape　gardening　may　be　regarded　as　a　kind　of　painting；　notwithstanding　that　it　presents　its　forms　corporeally。　But；　as　it　takes　its　forms　bodily　from　nature　（the　trees；　shrubs；　grasses；　and　flowers　taken；　originally　at　least；　from　wood　and　field）　it　is　to　that　extent　not　an　art　such　as；　let　us　say；　plastic　art。　Further；　the　arrangement　which　it　makes　is　not　conditioned　by　any　concept　of　the　object　or　of　its　end　（as　is　the　case　in　sculpture）；　but　by　the　mere　free　play　of　the　imagination　in　the　act　of　contemplation。　Hence　it　bears　a　degree　of　resemblance　to　simple　aesthetic　painting　that　has　no　definite　theme　（but　by　means　of　light　and　shade　makes　a　pleasing　composition　of　atmosphere；　land；　and　water。）

　　（3）　The　art　of　the　beautiful　play　of　sensations　（sensations　that　arise　from　external　stimulation）；　which　is　a　play　of　sensations　that　has　nevertheless　to　permit　of　universal　communication；　can　only　be　concerned　with　the　proportion　of　the　different　degrees　of　tension　in　the　sense　to　which　the　sensation　belongs；　i。e。；　with　its　tone。　In　this　comprehensive　sense　of　the　word；　it　may　be　divided　into　the　artificial　play　of　sensations　of　hearing　and　of　sight；　consequently　into　music　and　the　art　of　colour。　It　is　of　note　that　these　two　senses；　over　and　above　such　susceptibility　for　impressions　as　is　required　to　obtain　concepts　of　external　objects　by　means　of　these　impressions；　also　admit　of　a　peculiar　associated　sensation　of　which　we　cannot　well　determine　whether　it　is　based　on　sense　or　reflection；　and　that　this　sensibility　may　at　times　be　wanting；　although　the　sense；　in　other　respects；　and　in　what　concerns　its　employment　for　the　cognition　of　objects；　is　by　no　means　deficient　but　particularly　keen。　In　other　words；　we　cannot　confidently　assert　whether　a　colour　or　a　tone　（sound）　is　merely　an　agreeable　sensation；　or　whether　they　are　in　themselves　a　beautiful　play　of　sensations；　and　in　being　estimated　aesthetically；　convey；　as　such；　a　delight　in　their　form。　If　we　consider　the　velocity　of　the　vibrations　of　light；　or；　in　the　second　case；　of　the　air；　which　in　all　probability　far　outstrips　any　capacity　on　our　part　for　forming　an　immediate　estimate　in　perception　of　the　time　interval　between　them；　we　should　be　led　to　believe　that　it　is　only　the　effect　of　those　vibrating　movements　upon　the　elastic　parts　of　our　body；　that　can　be　evident　to　sense；　but　that　the　time…interval　between　them　is　not　noticed　nor　involved　in　our　estimate；　and　that；　consequently；　all　that　enters　into　combination　with　colours　and　tones　is　agreeableness；　and　not　beauty；　of　their　composition。　But；　let　us　consider；　on　the　other　hand；　first；　the　mathematical　character　both　of　the　proportion　of　those　vibrations　in　music；　and　of　our　judgement　upon　it；　and；　as　is　reasonable；　form　an　estimate　of　colour　contrasts　on　the　analogy　of　the　latter。　Secondly；　let　us　consult　the　instances；　albeit　rare；　of　men　who；　with　the　best　of　sight；　have　failed　to　distinguish　colours；　and；　with　the　sharpest　hearing；　to　distinguish　tones；　while　for　men　who　have　this　ability　the　perception　of　an　altered　quality　（not　merely　of　the　degree　of　the　sensation）　in　the　case　of　the　different　intensities　in　the　scale　of　colours　or　tones　is　definite；　as　is　also　the　number　of　those　which　may　be　intelligibly　distinguished。　Bearing　all　this　in　mind；　we　may　feel　compelled　to　look　upon　the　sensations　afforded　by　both；　not　as　mere　sense…impressions；　but　as　the　effect　of　an　estimate　of　form　in　the　play　of　a　number　of　sensations。　The　difference　which　the　one　opinion　or　the　other　occasions　in　the　estimate　of　the　basis　of　music　would；　however；　only　give　rise　to　this　much　change　in　its　definition；　that　either　it　is　to　be　interpreted；　as　we　have　done；　as　the　beautiful　play　of　sensations　（through　bearing）；　or　else　as　one　of　agreeable　sensations。　According　to　the　former　interpretation；　alone；　would　music　be　represented　out　and　out　as　a　fine　art；　whereas　according　to　the　latter　it　would　be　represented　as　（in　part　at　least）　an　agreeable　art。

　　　　　　　SS　52。　The　combination　of　the　fine　arts　in　one　and　　　　　　　　　　　　　　　　　　　　　　　the　same　product。

　　Rhetoric　may　in　a　drama　be　combined　with　a　pictorial　presentation　as　well　of　its　subjects　as　of　objects；　as　may　poetry　with　music　in　a　song；　and　this　again　with　a　pictorial　（theatrical）　presentation　in　an　opera；　and　so　may　the　play　of　sensations　in　a　piece　of　music　with　the　play　of　figures　in　a　dance；　and　so　on。　Even　the　presentation　of　the　sublime；　so　far　as　it　belongs　to　fine　art；　may　be　brought　into　union　with　beauty　in　a　tragedy　in　verse；　a　didactic　poem　or　an　oratorio；　and　in　this　combination　fine　art　is　even　more　artistic。　Whether　it　is　also　more　beautiful　（having　regard　to　the　multiplicity　of　different　kinds　of　delight　which　cross　one　another）　may　in　some　of　these　instances　be　doubted。　Still　in　all　fine　art　the　essential　element　consists　in　the　form　which　is　final　for　observation　and　for　estimating。　Here　the　pleasure　is　at　the　same　time　culture；　and　disposes　the　soul　to　ideas；　making　it　thus　susceptible　of　such　pleasure　and　entertainment　in　greater　abundance。　The　matter　of　sensation　（charm　or　emotion）　is　not　essential。　Here　the　aim　is　merely　enjoyment；　which　leaves　nothing　behind　it　in　the　idea；　and　renders　the　soul　dull；　the　object　in　the　course　of　time　distasteful；　and　the　mind　dissatisfied　with　itself　and　ill…humoured；　owing　to　a　consciousness　that　in　the　judgement　of　reason　its　disposition　is　perverse。　　　Where　fine　arts　are　not；　either　proximately　or　remotely；　brought　into　combination　with　moral　ideas；　which　alone　are　attended　with　a　selfsufficing　delight；　the　above　is　the　fate　that　ultimately　awaits　them。　They　then　only　serve　for　a　diversion；　of　which　one　continually　feels　an　increasing　need　in　proportion　as　one　has　availed　oneself　of　it　as　a　means　of　dispelling　the　discontent　of　one's　mind；　with　the　result　that　one　makes　oneself　ever　more…and　more　unprofitable　and　dissatisfied　with　oneself。　With　a　view　to　the　purpose　first　named；　the　beauties　of　nature　are　in　general　the　most　beneficial；　if　one　is　early　habituated　to　observe；　estimate；　and　admire　them。

　　　　　　　　　SS　53。　Comparative　estimate　of　the　aesthetic　worth　　　　　　　　　　　　　　　　　　　　　　　　　　of　the　fine　arts。

　　Poetry　（which　owes　its　origin　almost　entirely　to　genius　and　is　least　willing　to　be　led　by　precepts　or　example）　holds　the　first　rank　among　all　the　arts。　It　expands　the　mind　by　giving　freedom　to　the　imagination　and　by　offering；　from　among　the　boundless　multiplicity　of　possible　forms　accordant　with　a　given　concept；　to　whose　bounds　it　is　restricted；　that　one　which　couples　with　the　presentation　of　the　concept　a　wealth　of　thought　to　which　no　verbal　expression　is　completely　adequate；　and　by　thus　rising　aesthetically　to　ideas。　It　invigorates　the　mind　by　letting　it　feel　its　faculty…free；　spontaneous；　and　independent　of　determination　by　nature　of　regarding　and　estimating　nature　as　phenomenon　in　the　light　of　aspects　which　nature　of　itself　does　not　afford　us　in　experience；　either　for　sense　or　understanding；　and　of　employing　it　accordingly　in　behalf　of；　and　as　a　sort　of　schema　for；　the　supersensible。　It　plays　with　semblance；　which　it　produces　at　will；　but　not　as　an　instrument　of　deception；　for　its　avowed　pursuit　is　merely　one　of　play；　which；　however；　understanding　may　turn　to　good　account　and　employ　for　its　own　purpose。　Rhetoric；　so　far　as　this　is　taken　to　mean　the　art　of　persuasion；　i。e。；　the　art　of　deluding　by　means　of　a　fair　semblance　（as　ars　oratoria）；　and　not　merely　excellence　of　speech　（eloquence　and　style）；　is　a　dialectic；　which　borrows　from　poetry　only　so　much　as　is　necessary　to　win　over　men's　minds　to　the　side　of　the　speaker　before　they　have　weighed　the　matter；　and　to　rob　their　verdict　of　its　freedom。　Hence　it　can　be　recommended　neither　for　the　bar　nor　the　pulpit。　For　where　civil　laws；　the　right　of　individual　persons；　or　the　permanent　instruction　and　dete