the critique of judgement-第42节

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pulpit。　For　where　civil　laws；　the　right　of　individual　persons；　or　the　permanent　instruction　and　determination　of　men's　minds　to　a　correct　knowledge　and　a　conscientious　observance　of　their　duty　is　at　stake；　then　it　is　below　the　dignity　of　an　undertaking　of　such　moment　to　exhibit　even　a　trace　of　the　exuberance　of　wit　and　imagination；　and；　still　more；　of　the　art　of　talking　men　round　and　prejudicing　them　in　favour　of　any　one。　For　although　such　art　is　capable　of　being　at　times　directed　to　ends　intrinsically　legitimate　and　praiseworthy；　still　it　becomes　reprehensible　on　account　of　the　subjective　injury　done　in　this　way　to　maxims　and　sentiments；　even　where　objectively　the　action　may　be　lawful。　For　it　is　not　enough　to　do　what　is　right；　but　we　should　practise　it　solely　on　the　ground　of　its　being　right。　Further；　the　simple　lucid　concept　of　human　concerns　of　this　kind；　backed　up　with　lively　illustrations　of　it；　exerts　of　itself；　in　the　absence　of　any　offence　against　the　rules　of　euphony　of　speech　or　of　propriety　in　the　expression　of　ideas　of　reason　（all　which　together　make　up　excellence　of　speech）；　a　sufficient　influence　upon　human　minds　to　obviate　the　necessity　of　having　recourse　here　to　the　machinery　of　persuasion；　which；　being　equally　available　for　the　purpose　of　putting　a　fine　gloss　or　a　cloak　upon　vice…and　error；　fails　to　rid　one　completely　of　the　lurking　suspicion　that　one　is　being　artfully　hoodwinked。　In　poetry　everything　is　straight　and　above　board。　It　shows　its　hand：　it　desires　to　carry　on　a　mere　entertaining　play　with　the　imagination；　and　one　consonant；　in　respect　of　form；　with　the　laws　of　understanding；　and　it　does　not　seek　to　steal　upon　and　ensnare　the　understanding　with　a　sensuous　presentation。*

　　*I　confess　to　the　pure　delight　which　I　have　ever　been　afforded　by　a　beautiful　poem；　whereas　the　reading　of　the　best　speech　of　a　Roman　forensic　orator；　a　modern　parliamentary　debater；　or　a　preacher；　has　invariably　been　mingled　with　an　unpleasant　sense　of　disapproval　of　an　insidious　art　that　knows　how；　in　matters　of　moment；　to　move　men　like　machines　to　a　judgement　that　must　lose　all　its　weight　with　them　upon　calm　reflection。　Force　and　elegance　of　speech　（which　together　constitute　rhetoric）　belong　to　fine　art；　but　oratory　（ars　oratoria）；　being　the　art　of　playing　for　one's　own　purpose　up…the　weaknesses　of　men　（let　this　purpose　be　ever　so　good　in　intention　or　even　in　fact）　merits　no　respect　whatever。　Besides；　both　at　Athens　and　at　Rome；　it　only　attained　its　greatest　height　at　a　time　when　the　state　was　hastening　to　its　decay；　and　genuine　patriotic　sentiment　was　a　thing　of　the　past。　One　who　sees　the　issue　clearly；　and　who　has　a　command　of　language　in　its　wealth　and　its　purity；　and　who　is　possessed　of　an　imagination　that　is　fertile　and　effective　in　presenting　his　ideas；　and　whose　heart；　withal；　turns　with　lively　sympathy　to　what　is　truly　good…he　is　the　vir　bonus　dicendi　peritus；　the　orator　without　art；　but　of　great　impressiveness；　Cicero　would　have　him；　though　he　may　not　himself　always　always　remained　faithful　to　this　ideal。

　　After　poetry；　if　we　take　charm　and　mental　stimulation　into　account；　I　would　give　the　next　place　to　that　art　which　comes　nearer　to　it　than　to　any　other　art　of　speech；　and　admits　of　very　natural　union　with　it；　namely　the　art　of　tone。　For　though　it　speaks　by　means　of　mere　sensations　without　concepts；　and　so　does　not；　like　poetry；　leave　behind　it　any　food　for　reflection；　still　it　moves　the　mind　more　diversely；　and；　although　with　transient；　still　with　intenser　effect。　It　is　certainly；　however；　more　a　matter　of　enjoyment　than　of　culture…the　play　of　thought　incidentally　excited　by　it　being　merely　the　effect　of　a　more　or　less　mechanical　association…and　it　possesses　less　worth　in　the　eyes　of　reason　than　any　other　of　the　fine　arts。　Hence；　like　all　enjoyment；　it　calls　for　constant　change；　and　does　not　stand　frequent　repetition　without　inducing　weariness。　Its　charm；　which　admits　of　such　universal　communication；　appears　to　rest　on　the　following　facts。　Every　expression　in　language　has　an　associated　tone　suited　to　its　sense。　This　tone　indicates；　more　or　less；　a　mode　in　which　the　speaker　is　affected；　and　in　turn　evokes　it　in　the　hearer　also；　in　whom　conversely　it　then　also　excites　the　idea　which　in　language　is　expressed　with　such　a　tone。　Further；　just　as　modulation　is；　as　it　were；　a　universal　language　of　sensations　intelligible　to　every　man；　so　the　art　of　tone　wields　the　full　force　of　this　language　wholly　on　its　own　account；　namely；　as　a　language　of　the　affections；　and　in　this　way；　according　to　the　law　of　association；　universally　communicates　the　aesthetic　ideas　that　are　naturally　combined　therewith。　But；　further；　inasmuch　as　those　aesthetic　ideas　are　not　concepts　or　determinate　thoughts；　the　form　of　the　arrangement　of　these　sensations　（harmony　and　melody）；　taking　the　place　of　the　place　of　the　form　of　a　language；　only　serves　the　purpose　of　giving　an　expression　to　the　aesthetic　idea　of　an　integral　whole　of　an　unutterable　wealth　of　thought　that　fills　the　measure　of　a　certain　theme　forming　the　dominant　affection　in　the　piece。　This　purpose　is　effectuated　by　means　of　a　proposition　in　the　accord　of　the　sensations　（an　accord　which　may　be　brought　mathematically　under　certain　rules；　since　it　rests；　in　the　case　of　tones；　upon　the　numerical　relation　of　the　vibrations　of　the　air　in　the　same　time；　so　far　as　there　is　a　combination　of　the　tones　simultaneously　or　in　succession）。　Although　this　mathematical　form　is　not　represented　by　means　of　determinate　concepts；　to　it　alone　belongs　the　delight　which　the　mere　reflection　upon　such　a　number　of　concomitant　or　consecutive　sensations　couples　with　this　their　play；　as　the　universally　valid　condition　of　its　beauty；　and　it　is　with　reference　to　it　alone　that　taste　can　lay　claim　to　a　right　to　anticipate　the　judgement　of　every　man。　　　But　mathematics；　certainly；　does　not　play　the　smallest　part　in　the　charm　and　movement　of　the　mind　produced　by　music。　Rather　is　it　only　the　indispensable　condition　（conditio　sine　qua　non）　of　that　proportion　of　the　combining　as　well　as　changing　impressions　which　makes　it　possible　to　grasp　them　all　in　one　and　prevent　them　from　destroying　one　another；　and　to　let　them；　rather；　conspire　towards　the　production　of　a　continuous　movement　and　quickening　of　the　mind　by　affections　that　are　in　unison　with　it；　and　thus　towards　a　serene　self…enjoyment。　　　If；　on　the　other　hand；　we　estimate　the　worth　of　the　fine　arts　by　the　culture　they　supply　to　the　mind；　and　adopt　for　our　standard　the　expansion　of　the　faculties　whose　confluence；　in　judgement；　is　necessary　for　cognition；　music；　then；　since　it　plays　merely　with　sensations；　'has　the　lowest　place　among　the　fine　arts…just　as　it　has　perhaps　the　highest　among　those　valued　at　the　same　time　for　their　agreeableness。　Looked　at　in　this　light；　it　is　far　excelled　by　the　formative　arts。　For；　in　putting　the　imagination　into　a　play　which　is　at　once　free　and　adapted　to　the　understanding；　they　all　the　while　carry　on　a　serious　business；　since　they　execute　a　product　which　serves　the　Concepts　of　understanding　as　a　vehicle；　permanent　and　appealing　to　us　on　its　own　account；　for　effectuating　their　union　with　sensibility；　and　thus　for　promoting；　as　it　were；　the　urbanity　of　the　higher　powers　of　cognition。　The　two　kinds　of　art　pursue　completely　different　courses。　Music　advances　from　sensations　to　indefinite　ideas：　formative　art　from　definite　ideas　to　sensations。　The　latter　gives　a　lasting　impression；　the　former　one　that　is　only　fleeting。　The　former　sensations　imagination　can　recall　and　agreeably　entertain　itself　with；　while　the　latter　either　vanish　entirely；　or　else；　if　involuntarily　repeated　by　the　imagination；　are　more　annoying　to　us　than　agreeable。　Over　and　above　all　this；　music　has　a　certain　lack　of　urbanity　about　it。　For　owing　chiefly　to　the　character　of　its　instruments；　it　scatters　its　influence　abroad　to　an　uncalled…for　extent　（through　the　neighbourhood）；　and　thus；　as　it　were；　becomes　obtrusive　and　deprives　others；　outside　the　musical　circle；　of　their　freedom。　This　is　a　thing　that　the　arts　that　address　themselves　to　the　eye　do　not　do；　for　if　one　is　not　disposed　to　give　admittance　to　their　impressions；　one　has　only　to　look　the　other　way。　The　case　is　almost　on　a　par　with　the　practice　of　regaling　oneself　with　a　perfume　that　exhales　its　odours　far　and　wide。　The　man　who　pulls　his　perfumed　handkerchief　from　his　pocket　gives　a　treat　to　all　around　whether　they　like　it　or　not；　and　compels　them；　if　they　want　to　breathe　at　all；　to　be　parties　to　the　enjoyment；　and　so　the　habit　has　gone　out　of　fashion。*

　　*Those　who　have　recommended　the　singing　of　hymns　at　family　prayers　have　forgotten　the　amount　of　annoyance　which　they　give　to　the　general　public　by　such　noisy　（and；　as　a　rule；　for　that　very　reason；　pharisaical）　worship；　for　they　compel　their　neighbours　either　to　join　in　the　singing　or　else　abandon　their　meditations。

　　Among　the　formative　arts　I　would　give　the　palm　to　painting：　partly　because　it　is　the　art　of　design　and；　as　such；　the　groundwork　of　all　the　other　formative　arts；　partly　because　it　can　penetrate　much　further　into　the　region　of　ideas；　and　in　conformity　with　them　give　a　greater　extension　to　the　field　of　intuition　than　it　is　open　to　the　others　to　do。