Chapter IX: Kant (5)

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.

The antinomy of the teleological judgment--thesis: all production of material things and their forms must be judged to be possible according to merely mechanical laws; antithesis: some products of material nature cannot be judged to be possible according to merely mechanical laws, but to judge them requires the causality of final causes--is insoluble so long as both propositions are taken for constitutive principles; but it is soluble when they are taken as regulative principles or standpoints for judgment. For it is in no wise contradictory, on the one hand, to continue the search for mechanical causes as far as this is in any way possible, and, on the other, clearly to recognize that, at last, this will still leave a remainder which we cannot make intelligible without calling to our aid the concept of ends. Assuming that it were possible to carry the explanation of life from life, from ancestral organisms (for the _generatio aequivoca_ is an absurd theory) so far that the whole organic world should represent one great family descended from one primitive form as the common mother, even then the concept of final causes would only be pushed further back, not eliminated: the origin of the first organization will always resist mechanical explanation. Besides this mission of putting limits to causal derivation and of filling the gap in knowledge by a necessary, although subjective, way of looking at things, the Idea of ends has still another, the direct promotion of knowledge from efficient causes through the discovery of new causal problems. Thus, for example, physiology owes the impulse to the discovery of previously unnoticed mechanical connections (cf. also p. 382 note) to the question concerning the purpose of organs. As doctrines mechanism and teleology are irreconcilable and impossible; as rules or maxims of inquiry they are compatible, and the one as indispensable as the other.

After the problem of life, which is insoluble by means of the mechanical explanation, has necessitated the application of the concept of ends, the teleological principle must, at least by way of experiment, be extended to the whole of nature. This consideration culminates in the position that man, as the subject of morality, must be held to be the final aim of the world, for it is only in regard to a moral being that no further inquiry can be raised as to the purpose of its existence. It also repeats the moral argument for the existence of a supreme reason, thus supplementing physico-theology, which is inadequate to the demonstration of one absolutely perfect Deity; so that the third _Critique_, like the two preceding, concludes with the Idea of God as an object of practical faith.

* * * * *

There are three original and pregnant pairs of thoughts which cause Kant's name to shine in the philosophical sky as a star of the first magnitude: the demand for a critique of knowledge and the proof of _a priori_ forms of knowledge; the moral autonomy and the categorical imperative; the regulative validity of the Ideas of reason and the practical knowledge of the transcendent world. No philosophical theory, no scientific hypothesis can henceforth avoid the duty of examining the value and legitimacy of its conclusions, as to whether they keep within the limits of the competency of human reason; whether Kant's determination of the origin and the limits of knowledge may count on continued favor or not, the fundamental critical idea, that reflection upon the nature and range of our cognitive faculty is indispensable, retains its validity for all cases and makes an end of all philosophizing at random.[1] No ethical system will with impunity pass by the autonomous legislation of reason and the unconditional imperative (the admonition of conscience translated into conceptual language): the nature and worth of moral will will be everywhere sought in vain if they are not recognized where Kant has found them--in the unselfish disposition, in that maxim which is fitted to become a general law for all rational beings. The doctrine of the Ideas, finally, reveals to us, beyond the daylight of phenomenal knowledge, the starlit landscape of another mode of looking at things,[2] in which satisfaction is afforded for the hitherto unmet wishes of the heart and demands of the reason.

[Footnote 1: "_Reason_ consists just in this, that we are able to give account of all our concepts, opinions, and assertions, either on objective or subjective grounds."]

[Footnote 2: Those who regard all future metaphysics as refuted by the Critique of Reason are to be referred to the positive side of the Kantian doctrine of Ideas. Kant admits that the mechanical explanation does not satisfy reason, and that, besides it, a judgment according to Ideas is legitimate. When, therefore, the speculation of the constructive school gives an ideal interpretation of the world, it may be regarded as an extended application of "regulative principles," which exceeds its authority only when it professes to be "objective knowledge."]

The effect of the three _Critiques_ upon the public was very varied. The first great work excited alarm by the sharpness of its negations and its destruction of dogmatic metaphysics, which to its earliest readers appeared to be the core of the matter; Kant was for them the universal destroyer. Then the Science of Knowledge brought into prominence the positive, boldly conquering side, the investigation of the conditions of empirical knowledge. In later times the endeavor has been made to do justice to both sides, but, in opposition to the overbold procedure of the constructive thinkers, who had fallen into a revived dogmatism, more in the spirit of caution and resignation. The second great work aroused glowing enthusiasm: "Kant is no mundane luminary," writes Jean Paul in regard to the _Critique of Practical Reason_, "but a whole solar system shining at once." The third, because of its subject and by its purpose of synthetic reconciliation between fields heretofore sharply separated, gained the sympathy of our poet-heroes Schiller and Goethe, and awakened in a young, speculative spirit Ideas for a Philosophy of Nature. Schelling reclaimed the intuitive understanding, which Kant had problematically attributed to the primal spirit, as the property of the philosopher, after Fichte had drawn attention to the fact that the consciousness of the categorical imperative, which Kant had not thoroughly investigated, could be nothing else than intellectual intuition, because in it knowing and doing coincide. Fichte, however, does not derive the material for his system from the _Critique of Judgment_, though he also had a high appreciation of it, but from the two earlier _Critiques_, the fundamental conceptions of which he--following the hint that practical and theoretical reason are only different applications of one and the same reason--brings into the closest connection. He unites the central idea of the practical philosophy, the freedom and autonomous legislation of the will, with the leading principle of the theoretical philosophy, the spontaneity of the understanding, under the original synthesis of the pure ego, in order to deduce from the activity of the ego not only the _a priori_ forms of knowledge, but also, rejecting the thing in itself, the whole content of empirical consciousness. The thought which intervenes between the Kantian Critique of Reason and the development of thoroughgoing idealism by Fichte, with its criticisms of and additions to the former and its preparation for the latter, may be glanced at in a few supplementary pages.

%4. From Kant to Fichte.%

To begin with the works which aided in the extension and recognition of the Kantian philosophy, besides Kant's _Prolegomena_, the following stand in the front rank: _Exposition of the Critique of Pure Reason_, by the Königsberg court preacher, Johannes Schulz, 1784; the flowing _Letters concerning the Kantian Philosophy_, by K.L. Reinhold in Wieland's _Deutscher Merkur_, 1786-87; and the _Allgemeine Litteraturzeitung_, in Jena, founded in 1785, and edited by the philologist Schütz and the jurist Hufeland, which offered itself as the organ of the new doctrine. Jena became the home and principal stronghold of Kantianism; while by the beginning of the nineteenth century almost all German chairs belonged to it, and the non-philosophical sciences as well received from it stimulation and guiding ideas.

In the camp of the enemy there was no less of activity. The Wolffian, Eberhard of Halle, founded a special journal for the purpose of opposing the Kantian philosophy: the _Philosophisches Magazin_, 1789, continued from 1792 as the _Philosophisches Archiv_. The Illumination collected its forces in the _Philosophische Bibliothek_, edited by Feder and Meiners. Nicolai waved the banner of common sense in the _Allgemeine deutsche Bibliothek_, and in satirical romances, and was handled as he deserved by the heroes of poetry and philosophy (cf. the _Xenien_ of Goethe and Schiller, Kant's _Letter on Bookmaking_, and Fichte's cutting disposal of him, _Nicolai's Life and Peculiar Opinions_). The attacks of the faith-philosophers have been already noticed (pp. 310-314).

The advance from Kant to Fichte was preparing alike among friends and enemies, and this in two points. The demand was in part for a formal complement (a first principle from which the Kantian results could be deduced, and by which the dualism of sense and understanding could be overcome), in part for material correction (the removal of the thing in itself) and development (to radical idealism). Karl Leonhard Reinhold (born at Vienna in 1758; fled from a college of the St. Barnabite order, 1783; in 1787-94 professor in Jena, and then as the successor of Tetens in Kiel, where he died in 1823) undertook the former task in his _Attempt at a New Theory of the Human Faculty of Representation_, 1789. Kant's classical theory of the faculty of cognition requires for its foundation a theory of the faculty of representation, or an elementary philosophy, which shall take for its object the deduction of the several functions of reason (intuition, concept, Idea) from the original activity of representation. The Kantian philosophy lacks a first principle, which, as first, cannot be demonstrable, but only a fact immediately evident and admitted by everyone. The primal fact, which we seek, is consciousness. No one can dispute that every representation contains three things: the subject, the object, and, between the two, the activity of representation. Accordingly the principle of consciousness runs: "The representation is distinguished in consciousness from the represented [object] and the representing [subject], and is referred to both." From this first principle Reinhold endeavors to deduce the well-known principles of the material manifold given by the action of objects, and the forms of representation spontaneously produced by the subject, which combine this manifold into unity. When, a few years later, Fichte's Science of Knowledge brilliantly succeeded in bridging the gap between sense and understanding by means of a first principle, thus accomplishing what Reinhold had attempted, the latter became one of his adherents, only to attach himself subsequently to Jacobi, and then to Bardili (_Outlines of Logic_, 1800), and to end with a verbal philosophy lacking both in influence and permanence.

In Reinhold's elementary philosophy the thing in itself was changed from a problematical, negative, merely limiting concept into a positive element of doctrine. Objections were raised against Kantianism, as thus dogmatically modified in the direction of realism, by Schulze, Maimon, and Beck--by the first for purposes of attack, by the second in order to further development, and by the third with an exegetical purpose. Gottlob Ernst Schulze, professor in Helmstädt, and from 1810 in Göttingen, in his _Aenesidemus_ (1792, published anonymously), which was followed later by psychological works, defended the skeptical position in opposition to the Critique of Reason. Hume's skepticism remains unrefuted by Kant and Reinhold. The thing in itself, which is to produce the material of representation by affecting the senses, is a self-contradictory idea. The application of the category of cause to things in themselves violates the doctrine that the latter are unknowable and that the use of the pure concepts of the understanding beyond the sphere of experience is inadmissible. The transcendental philosophy has never proved that the ground of the material of representation cannot, just as the form thereof, reside in the subject itself.

Side by side with the anti-critical skepticism of Aenesidemus-Schulze, Salomon Maimon (died 1800; cf. Witte, 1876), who was highly esteemed by the greatest philosophers of his time, represents critical skepticism. With Reinhold he holds consciousness (as the combination of a manifold into objective unity) to be the common root of sensibility and understanding, and with Schulze, the concept of the thing in itself to be an imaginary or irrational quantity, a thought that cannot be carried out; it is not only unknowable, but unthinkable. That alone is knowable which we ourselves produce, hence only the form of representation. The matter of representation is "given," but this does not mean that it arises from the action of the thing in itself, but only that we do not know its origin. Understanding and sense, or spontaneity and receptivity, do not differ generically, but only in degree, viz., as complete and incomplete consciousness. Sensation is an incomplete consciousness, because we do not know how its object arises.

By the removal of the thing in itself Aenesidemus-Schulze sought to refute the Kantian theory and Maimon to improve it. Sigismund Beck (1761-1840), in his _Only Possible Standpoint from which the Critical Philosophy must be Judged_, 1796,[1] seeks by it to elucidate the Kantian theory, holding up idealism as its true meaning. In opposition to the usual opinion that a representation is true when it agrees with its object, he points to the impossibility of comparing the one with the other. Of objects out of consciousness we can know nothing; after the removal of all that is subjective there is nothing positive left of the representation. Everything in it is produced by us; the matter arises together with the form through the "original synthesis."

[Footnote 1: This book forms the third volume of his _Expository Abridgment of the Critical Writings of Professor Kant_; in the same year appeared the _Outlines of the Critical Philosophy_. Cf. on Beck, Dilthey in the _Archiv für Geschichte der Philosophie_, vol. ii., 1889, pp. 592-650.]

The last mentioned attempts to develop the Kantian philosophy were so far surpassed by Fichte's great achievement that they have received from their own age and from posterity a less grateful appreciation and remembrance than was essentially their due. A phenomenon of a different sort, which is also to be placed at the threshold between Kant and Fichte, but which forms rather a supplement to the noëtics and ethics of the latter than a link in the transition to them, has, on the contrary, gained an honorable position in the memory of the German people, viz., Schiller's aesthetics.[1] In its center stand the Kantian antithesis of sensibility and reason and the reconciliation of the two sides of human nature brought about by its occupation with the beautiful. Artistic activity or the play-impulse mediates between the lower, sensuous matter-impulse and the higher, rational form-impulse, and unites the, two in harmonious co-operation. Where appetite seeks after satisfaction, and where the strict idea of duty rules, there only half the man is occupied; neither lust nor moral worth is beautiful. In order that beauty and grace may arise, the matter-impulse and the form-impulse, or sensibility and reason, must manifest themselves uniformly and in harmony. Only when he "plays" is man wholly and entirely man; only through art is the development of humanity possible. The discernment of the fact that the beautiful brings into equilibrium the two fundamental impulses, one or the other of which preponderates in sensuous desire and in moral volition, does not of itself decide the relative rank of artistic and moral activity. The recognition of this mediating position of art may be connected with the view that it forms a transitional stage toward and a means of education for morality, as well as with the other, that in it human nature attains its completion. Evidence of both views can be found in Schiller's writings. At first he favors the Kantian moralism, which admits nothing higher than the good will, and sets art the task of educating men up to morality by ennobling their natural impulses. Gradually, however, aesthetic activity changes in his view from a preparation for morality into the ultimate goal of human endeavor. Peaceful reconciliation is of more worth than the spirit's hardly gained victory in the conflict with the sensibility; fine feeling is more than rational volition; the highest ideal is the beautiful soul, in which inclination not merely obeys the command of duty, but anticipates it.

[Footnote 1: The most important of Schiller's aesthetic essays are those _On Grace and Dignity_, 1793; _On Naïve and Sentimental Poetry_, 1795-96; and the _Letters on Aesthetic Education_, intermediate between them. Cf. Kuno Fischer, _Schiller als Philosoph_, 1858, 2d ed. (_Schillerschriften_, iii., iv.) 1891-92.]