The Project Gutenberg eBook of Kant’s

Critique of Judgement
This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it
away or re-use it under the terms of the Project Gutenberg
License included with this ebook or online at
www.gutenberg.org. If you are not located in the United
States, you’ll have to check the laws of the country where you
are located before using this eBook.
Title: Kant’s Critique of Judgement
Author: Immanuel Kant
Translator: J. H. Bernard
Release date: March 8, 2015 [eBook #48433]
Language: English
Credits: Produced by Charlie Howard and the Online
Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive)
*** START OF THE PROJECT GUTENBERG EBOOK
KANT’S CRITIQUE OF JUDGEMENT ***
Transcriber’s note: Cover created by Transcriber
and placed into the Public Domain.
 KA N T ’ S
C R IT IQU E OF
J U D GE ME N T
 MACMILLAN AND CO., LIMITED
LONDON · BOMBAY · CALCUTTA
MELBOURNE

THE MACMILLAN COMPANY

NEW YORK · BOSTON · CHICAGO
DALLAS · SAN FRANCISCO

THE MACMILLAN CO. OF CANADA, LTD.

TORONTO
 KANT’S CRITIQUE OF
JUDGEMENT
TRANSLATED
WITH INTRODUCTION AND NOTES

BY

J. H. BERNARD, D.D., D.C.L.

BISHOP OF OSSORY
SOMETIME FELLOW OF TRINITY COLLEGE, AND ARCHBISHOP
KING’S PROFESSOR
OF DIVINITY IN THE UNIVERSITY OF DUBLIN
SECOND EDITION, REVISED

MACMILLAN AND CO., LIMITED

ST. MARTIN’S STREET, LONDON
1914
 COPYRIGHT

First Edition 1892

Second Edition 1914
 CONTENTS
PAGE
EDITOR’S INTRODUCTION xi
PREFACE 1
INTRODUCTION 7
I. Of the division of Philosophy 7
II. Of the realm of Philosophy in general 11
III. Of the Critique of Judgement as a means of
combining the two parts of Philosophy into
a whole 14
IV. Of Judgement as a faculty legislating a
priori 17
V. The principle of the formal purposiveness of
nature is a transcendental principle of
Judgement 20
VI. Of the combination of the feeling of pleasure
with the concept of the purposiveness of
nature 27
VII. Of the aesthetical representation of the
purposiveness of nature 30
VIII. Of the logical representation of the
purposiveness of nature 35
IX. Of the connexion of the legislation of
Understanding with that of Reason by
means of the Judgement 39
FIRST PART.—CRITIQUE OF THE AESTHETICAL JUDGEMENT 43
First Division.—Analytic of the Aesthetical Judgement 45
First Book.—Analytic of the Beautiful 45
First Moment of the judgement of taste, according to
quality 45
§ 1. The judgement of taste is aesthetical 45
§ 2. The satisfaction which determines the
judgement of taste is disinterested 46
 § 3. The satisfaction in the pleasant is bound up 48
with interest
§ 4. The satisfaction in the good is bound up with
interest 50
§ 5. Comparison of the three specifically
different kinds of satisfaction 53
Second Moment of the judgement of taste, viz. according
to quantity 55
§ 6. The Beautiful is that which apart from
concepts is represented as the object of a
universal satisfaction 55
§ 7. Comparison of the Beautiful with the
Pleasant and the Good by means of the
above characteristic 57
§ 8. The universality of the satisfaction is
represented in a judgement of Taste only as
subjective 59
§ 9. Investigation of the question whether in a
judgement of taste the feeling of pleasure
precedes or follows the judging of the
object 63
Third Moment of judgements of taste according to the
relation of the purposes which are brought
into consideration therein 67
§ 10. Of purposiveness in general 67
§ 11. The judgement of taste has nothing at its
basis but the form of the purposiveness of
an object (or of its mode of representation) 69
§ 12. The judgement of taste rests on a priori
grounds 70
§ 13. The pure judgement of taste is independent
of charm and emotion 72
§ 14. Elucidation by means of examples 73
§ 15. The judgement of taste is quite independent
of the concept of perfection 77
§ 16. The judgement of taste, by which an object
is declared to be beautiful under the
condition of a definite concept, is not pure 81
 § 17. Of the Ideal of Beauty 84
Fourth Moment of the judgement of taste, according to
the modality of the satisfaction in the object 91
§ 18. What the modality in a judgement of taste is 91
§ 19. The subjective necessity which we ascribe to
the judgement of taste is conditioned 92
§ 20. The condition of necessity which a
judgement of taste asserts is the Idea of a
common sense 92
§ 21. Have we ground for presupposing a common
sense? 93
§ 22. The necessity of the universal agreement that
is thought in a judgement of taste is a
subjective necessity, which is represented
as objective under the presupposition of a
common sense 94
General remark on the first section of the Analytic 96
Second Book.—Analytic of the Sublime 101
§ 23. Transition from the faculty which judges of
the Beautiful to that which judges of the
Sublime 101
§ 24. Of the divisions of an investigation into the
feeling of the Sublime 105
A.—Of the Mathematically Sublime 106
§ 25. Explanation of the term “Sublime” 106
§ 26. Of that estimation of the magnitude of
natural things which is requisite for the Idea
of the Sublime 110
§ 27. Of the quality of the satisfaction in our
judgements upon the Sublime 119
B.—Of the Dynamically Sublime in Nature 123
§ 28. Of Nature regarded as Might 123
§ 29. Of the modality of the judgement upon the
sublime in nature 130
General remark upon the exposition of the aesthetical
reflective Judgement 132
Deduction of [pure] aesthetical judgements 150
§ 30. The Deduction of aesthetical judgements on
the objects of nature must not be directed to
what we call Sublime in nature, but only to
the Beautiful 150
§ 31. Of the method of deduction of judgements of
taste 152
§ 32. First peculiarity of the judgement of taste 154
§ 33. Second peculiarity of the judgement of taste 157
§ 34. There is no objective principle of taste
possible 159
§ 35. The principle of Taste is the subjective
principle of Judgement in general 161
§ 36. Of the problem of a Deduction of
judgements of Taste 162
§ 37. What is properly asserted a priori of an
object in a judgement of taste 164
§ 38. Deduction of judgements of taste 165
§ 39. Of the communicability of a sensation 167
§ 40. Of taste as a kind of sensus communis 169
§ 41. Of the empirical interest in the Beautiful 173
§ 42. Of the intellectual interest in the Beautiful 176
§ 43. Of Art in general 183
§ 44. Of beautiful Art 185
§ 45. Beautiful art is an art in so far as it seems
like nature 187
§ 46. Beautiful art is the art of genius 188
§ 47. Elucidation and confirmation of the above
explanation of Genius 190
§ 48. Of the relation of Genius to Taste 193
§ 49. Of the faculties of the mind that constitute
Genius 197
§ 50. Of the combination of Taste with Genius in
the products of beautiful Art 205
§ 51. Of the division of the beautiful arts 206
§ 52. Of the combination of beautiful arts in one
and the same product 214
§ 53. Comparison of the respective aesthetical 215
 worth of the beautiful arts
§ 54. Remark 220
Second Division.—Dialectic of the Aesthetical
Judgement 229
§ 55. 229
§ 56. Representation of the antinomy of Taste 230
§ 57. Solution of the antinomy of Taste 231
§ 58. Of the Idealism of the purposiveness of both
Nature and Art as the unique principle of
the aesthetical Judgement 241
§ 59. Of Beauty as the symbol of Morality 248
§ 60. Appendix:—Of the method of Taste 253
SECOND PART.—CRITIQUE OF THE TELEOLOGICAL JUDGEMENT 257
§ 61. Of the objective purposiveness of Nature 259
First Division.—Analytic of the Teleological Judgement 262
§ 62. Of the objective purposiveness which is
merely formal as distinguished from that
which is material 262
§ 63. Of the relative, as distinguished from the
inner, purposiveness of nature 268
§ 64. Of the peculiar character of things as natural
purposes 272
§ 65. Things regarded as natural purposes are
organised beings 275
§ 66. Of the principle of judging of internal
purposiveness in organised beings 280
§ 67. Of the principle of the teleological judging
of nature in general as a system of purposes 282
§ 68. Of the principle of Teleology as internal
principle of natural science 287
Second Division.—Dialectic of the Teleological
Judgement 292
§ 69. What is an antinomy of the Judgement? 292
§ 70. Representation of this antinomy 293
§ 71. Preliminary to the solution of the above
antinomy 296
 § 72. Of the different systems which deal with the 298
purposiveness of Nature
§ 73. None of the above systems give what they
pretend 302
§ 74. The reason that we cannot treat the concept
of a Technic of nature dogmatically is the
fact that a natural purpose is inexplicable 306
§ 75. The concept of an objective purposiveness of
nature is a critical principle of Reason for
the reflective Judgement 309
§ 76. Remark 313
§ 77. Of the peculiarity of the human
Understanding, by means of which the
concept of a natural purpose is possible 319
§ 78. Of the union of the principle of the universal
mechanism of matter with the teleological
principle in the Technic of nature 326
Appendix.—Methodology of the Teleological Judgement 334
§ 79. Whether Teleology must be treated as if it
belonged to the doctrine of nature 334
§ 80. Of the necessary subordination of the
mechanical to the teleological principle in
the explanation of a thing as a natural
purpose 336
§ 81. Of the association of mechanism with the
teleological principle in the explanation of
a natural purpose as a natural product 342
§ 82. Of the teleological system in the external
relations of organised beings 346
§ 83. Of the ultimate purpose of nature as a
teleological system 352
§ 84. Of the final purpose of the existence of a
world, i.e. of creation itself 359
§ 85. Of Physico-theology 362
§ 86. Of Ethico-theology 370
§ 87. Of the moral proof of the Being of God 377
§ 88. Limitation of the validity of the moral proof 384
§ 89. Of the use of the moral argument 392
 § 90. Of the kind of belief in a teleological proof 395
of the Being of God
§ 91. Of the kind of belief produced by a practical
faith 403
General remark on Teleology 414
 EDITOR’S INTRODUCTION
There are not wanting indications that public interest in
the Critical Philosophy has been quickened of recent days in
these countries, as well as in America. To lighten the toil of
penetrating through the wilderness of Kant’s long sentences,
the English student has now many aids, which those who
began their studies fifteen or twenty years ago did not enjoy.
Translations, paraphrases, criticisms, have been published in
considerable numbers; so that if it is not yet true that “he who
runs may read,” it may at least be said that a patient student of
ordinary industry and intelligence has his way made plain
before him. And yet the very number of aids is dangerous.
Whatever may be the value of short and easy handbooks in
other departments of science, it is certain that no man will
become a philosopher, no man will even acquire a satisfactory
knowledge of the history of philosophy, without personal and
prolonged study of the ipsissima verba of the great masters of
human thought. “Above all,” said Schopenhauer, “my truth-
seeking young friends, beware of letting our professors tell
you what is contained in the Critique of the Pure Reason”; and
the advice has not become less wholesome with the lapse of
years. The fact, however, that many persons have not
sufficient familiarity with German to enable them to study
German Philosophy in the original with ease, makes
translations an educational necessity; and this translation of
Kant’s Critique of the faculty of Judgement has been
undertaken in the hope that it may promote a more general
study of that masterpiece. If any reader wishes to follow
Schopenhauer’s advice, he has only to omit the whole of this
prefatory matter and proceed at once to the Author’s laborious
Introduction.
It is somewhat surprising that the Critique of Judgement
has never yet been made accessible to the English reader. Dr.
Watson has indeed translated a few selected passages, so also
has Dr. Caird in his valuable account of the Kantian
philosophy, and I have found their renderings of considerable
service; but the space devoted by both writers to the Critique
of Judgement is very small in comparison with that given to
the Critiques of Pure and Practical Reason. And yet the work
is not an unimportant one. Kant himself regarded it as the
coping-stone of his critical edifice; it even formed the point of
departure for his successors, Fichte, Schelling and Hegel, in
the construction of their respective systems. Possibly the
reason of its comparative neglect lies in its repulsive style.
Kant was never careful of style, and in his later years he
became more and more enthralled by those technicalities and
refined distinctions which deter so many from the Critical
Philosophy even in its earlier sections. These “symmetrical
architectonic amusements,” as Schopenhauer called them,
encumber every page of Kant’s later writings, and they are a
constant source of embarrassment to his unhappy translator.
For, as every translator knows, no single word in one language
exactly covers any single word in another; and yet if Kant’s
distinctions are to be preserved it is necessary to select with
more or less arbitrariness English equivalents for German
technical terms, and retain them all through. Instances of this
will be given later on; I only remark here on the fact that
Kant’s besetting sin of over-technicality is especially
conspicuous in this treatise.
Another fault—an old fault of Kant—apparent after
reading even a few pages, is that repetitions are very frequent
of the same thought in but slightly varied language.
Arguments are repeated over and over again until they become
quite wearisome; and then when the reader’s attention has
flagged, and he is glancing cursorily down the page, some
important new point is introduced without emphasis, as if the
author were really anxious to keep his meaning to himself at
all hazards. A book written in such fashion rarely attracts a
wide circle of readers. And yet, not only did Goethe think
highly of it, but it received a large measure of attention in
France as well as in Germany on its first appearance.
Originally published at Berlin in 1790, a Second Edition was
called for in 1793; and a French translation was made by
Imhoff in 1796. Other French versions are those by Keratry
and Weyland in 1823, and by Barni in 1846. This last I have
had before me while performing my task, but I have not found
it of much service; the older French translations I have not
seen. The existence of these French versions, when taken in
connexion with the absence until very recently of any
systematic account of the Critique of Judgement in English,
may be perhaps explained by the lively interest that was taken
on the Continent in the Philosophy of Art in the early part of
the century; whereas scientific studies on this subject received
little attention in England during the same period.
The student of the Critique of Pure Reason will remember
how closely, in his Transcendental Logic, Kant follows the
lines of the ordinary logic of the schools. He finds his whole
plan ready made for him, as it were; and he proceeds to work
out the metaphysical principles which underlie the process of
syllogistic reasoning. And as there are three propositions in
every syllogism, he points out that, in correspondence with
this triplicity, the higher faculties of the soul may be regarded
as threefold. The Understanding or the faculty of concepts
gives us our major premise, as it supplies us in the first
instance with a general notion. By means of the Judgement we
see that a particular case comes under the general rule, and by
the Reason we draw our conclusion. These, as three distinct
movements in the process of reasoning, are regarded by Kant
as indicating three distinct faculties, with which the Analytic
of Concepts, the Analytic of Principles, and the Dialectic are
respectively concerned. The full significance of this important
classification does not seem, however, to have occurred to
Kant at the time, as we may see from the order in which he
1
wrote his great books. The first problem which arrests the
attention of all modern philosophers is, of course, the problem
of knowledge, its conditions and its proper objects. And in the
Critique of Pure Reason this is discussed, and the conclusion is
reached that nature as phenomenon is the only object of which
we can hope to acquire any exact knowledge. But it is
apparent that there are other problems which merit
consideration; a complete philosophy includes practice as well
as theory; it has to do not only with logic, but with life. And
thus the Critique of Practical Reason was written, in which is
unfolded the doctrine of man’s freedom standing in sharp
contrast with the necessity of natural law. Here, then, it seems
at first sight as if we had covered the whole field of human
activity. For we have investigated the sources of knowledge,
and at the same time have pointed out the conditions of
practical life, and have seen that the laws of freedom are just
as true in their own sphere as are the laws of nature.
But as we reflect on our mental states we find that here no
proper account has been given of the phenomena of feeling,
which play so large a part in experience. And this Kant saw
before he had proceeded very far with the Critique of Practical
Reason; and in consequence he adopted a threefold
classification of the higher mental faculties based on that given
by previous psychologists. Knowledge, feeling, desire, these
are the three ultimate modes of consciousness, of which the
second has not yet been described. And when we compare this
with the former triple division which we took up from the
Aristotelian logic, we see that the parallelism is significant.
Understanding is par excellence the faculty of knowledge, and
Reason the faculty of desire (these points are developed in
Kant’s first two Critiques). And this suggests that the
Judgement corresponds to the feeling of pleasure and pain; it
occupies a position intermediate between Understanding and
Reason, just as, roughly speaking, the feeling of pleasure is
intermediate between our perception of an object and our
desire to possess it.
And so the Critique of Judgement completes the whole
undertaking of criticism; its endeavour is to show that there
are a priori principles at the basis of Judgement just as there
are in the case of Understanding and of Reason; that these
principles, like the principles of Reason, are not constitutive
but only regulative of experience, i.e. that they do not teach us
anything positive about the characteristics of objects, but only
indicate the conditions under which we find it necessary to
view them; and lastly, that we are thus furnished with an a
priori philosophy of pleasure.
The fundamental principle underlying the procedure of the
Judgement is seen to be that of the purposiveness of Nature;
nature is everywhere adapted to ends or purposes, and thus
constitutes a κόσμος, a well-ordered whole. By this means,
nature is regarded by us as if its particular empirical laws were
not isolated and disparate, but connected and in relation,
deriving their unity in seeming diversity from an intelligence
which is at the source of nature. It is only by the assumption of
such a principle that we can construe nature to ourselves; and
the principle is then said to be a transcendental condition of
the exercise of our judging faculty, but valid only for the
reflective, not for the determinant Judgement. It gives us
pleasure to view nature in this way; just as the contemplation
of chaos would be painful.
But this purposiveness may be only formal and subjective,
or real and objective. In some cases the purposiveness resides
in the felt harmony and accordance of the form of the object
with the cognitive faculties; in others the form of the object is
judged to harmonise with the purpose in view in its existence.
That is to say, in the one case we judge the form of the object
to be purposive, as in the case of a flower, but could not
explain any purpose served by it; in the other case we have a
definite notion of what it is adapted for. In the former case the
aesthetical Judgement is brought to bear, in the latter the
teleological; and it thus appears that the Critique of Judgement
has two main divisions; it treats first of the philosophy of
Taste, the Beautiful and the Sublime in Nature; and secondly,
of the Teleology of nature’s working. It is a curious literary
parallel that St. Augustine hints (Confessions iv. 15) that he
had written a book, De Pulchro et Ápto, in which these
apparently distinct topics were combined; “pulchrum esse,
quod per se ipsum; aptum, autem, quod ad aliquid
accommodatum deceret.” A beautiful object has no purpose
external to itself and the observer; but a useful object serves
further ends. Both, however, may be brought under the higher
category of things that are reckoned purposive by the
Judgement.
We have here then, in the first place, a basis for an a priori
Philosophy of Taste; and Kant works out its details with great
elaboration. He borrowed little from the writings of his
predecessors, but struck out, as was ever his plan, a line of his
own. He quotes with approval from Burke’s Treatise on the
Sublime and Beautiful, which was accessible to him in a
German translation; but is careful to remark that it is as
psychology, not as philosophy, that Burke’s work has value.
He may have read in addition Hutcheson’s Inquiry which had
also been translated into German; and he was complete master
of Hume’s opinions. Of other writers on Beauty, he only
names Batteux and Lessing. Batteux was a French writer of
repute who had attempted a twofold arrangement of the Arts
as they may be brought under Space and under Time
respectively, a mode of classification which would naturally
appeal to Kant. He does not seem, however, to have read the
ancient text-book on the subject, Aristotle’s Poetics, the
principles of which Lessing declared to be as certain as Euclid.
Following the guiding thread of the categories, he declares
that the aesthetical judgement about Beauty is according to
quality disinterested; a point which had been laid down by
such different writers as Hutcheson and Moses Mendelssohn.
As to quantity, the judgement about beauty gives universal
satisfaction, although it is based on no definite concept. The
universality is only subjective; but still it is there. The maxim
Trahit sua quemque voluptas does not apply to the pleasure
afforded by a pure judgement about beauty. As to relation, the
characteristic of the object called beautiful is that it betrays a
purposiveness without definite purpose. The pleasure is a
priori, independent on the one hand of the charms of sense or
the emotions of mere feeling, as Winckelmann had already
declared; and on the other hand is a pleasure quite distinct
from that taken which we feel when viewing perfection, with
which Wolff and Baumgarten had identified it. By his
distinction between free and dependent beauty, which we also
find in the pages of Hutcheson, Kant further develops his
doctrine of the freedom of the pure judgement of taste from
the thraldom of concepts.
Finally, the satisfaction afforded by the contemplation of a
beautiful object is a necessary satisfaction. This necessity is
not, to be sure, theoretical like the necessity attaching to the
Law of Causality; nor is it a practical necessity as is the need
to assume the Moral Law as the guiding principle of conduct.
But it may be called exemplary; that is, we may set up our
satisfaction in a beautiful picture as setting an example to be
followed by others. It is plain, however, that this can only be
assumed under certain presuppositions. We must presuppose
the idea of a sensus communis or common sense in which all
men share. As knowledge admits of being communicated to
others, so also does the feeling for beauty. For the relation
between the cognitive faculties requisite for Taste is also
requisite for Intelligence or sound Understanding, and as we
always presuppose the latter to be the same in others as in
ourselves, so may we presuppose the former.
The analysis of the Sublime which follows that of the
Beautiful is interesting and profound; indeed Schopenhauer
regarded it as the best part of the Critique of the Aesthetical
Judgement. The general characteristics of our judgements
about the Sublime are similar to those already laid down in the
case of the Beautiful; but there are marked differences in the
two cases. If the pleasure taken in beauty arises from a feeling
of the purposiveness of the object in its relation to the subject,
that in sublimity rather expresses a purposiveness of the
subject in respect of the object. Nothing in nature is sublime;
and the sublimity really resides in the mind and there alone.
Indeed, as true Beauty is found, properly speaking, only in
beauty of form, the idea of sublimity is excited rather by those
objects which are formless and exhibit a violation of purpose.
A distinction not needed in the case of the Beautiful
becomes necessary when we proceed to further analyse the
Sublime. For in aesthetical judgements about the Beautiful the
mind is in restful contemplation; but in the case of the Sublime
a mental movement is excited (pp. 105 and 120). This
movement, as it is pleasing, must involve a purposiveness in
the harmony of the mental powers; and the purposiveness may
be either in reference to the faculty of cognition or to that of
desire. In the former case the sublime is called the
Mathematically Sublime—the sublime of mere magnitude—
the absolutely great; in the latter it is the sublime of power, the
Dynamically Sublime. Gioberti, an Italian writer on the
philosophy of Taste, has pushed this distinction so far as to
find in it an explanation of the relation between Beauty and
Sublimity. “The dynamical Sublime,” he says, “creates the
Beautiful; the mathematical Sublime contains it,” a remark
with which probably Kant would have no quarrel.
 In both cases, however, we find that the feeling of the
Sublime awakens in us a feeling of the supersensible
destination of man. “The very capacity of conceiving the
sublime,” he tells us, “indicates a mental faculty that far
surpasses every standard of sense.” And to explain the
necessity belonging to our judgements about the sublime, Kant
points out that as we find ourselves compelled to postulate a
sensus communis to account for the agreement of men in their
appreciation of beautiful objects, so the principle underlying
their consent in judging of the sublime is “the presupposition
of the moral feeling in man.” The feeling of the sublimity of
our own moral destination is the necessary prerequisite for
forming such judgements. The connexion between Beauty and
Goodness involved to a Greek in the double sense of the word
καλόν is developed by Kant with keen insight. To feel interest
in the beauty of Nature he regards as a mark of a moral
disposition, though he will not admit that the same inference
may be drawn as to the character of the art connoisseur (§ 42).
But it is specially with reference to the connexion between the
capacity for appreciating the Sublime, and the moral feeling,
that the originality of Kant’s treatment becomes apparent.
The objects of nature, he continues, which we call
sublime, inspire us with a feeling of pain rather than of
pleasure; as Lucretius has it—
Me quaedam divina voluptas
Percipit atque horror.
But this “horror” must not inspire actual fear. As no
extraneous charm must mingle with the satisfaction felt in a
beautiful object, if the judgement about beauty is to remain
pure; so in the case of the sublime we must not be afraid of the
object which yet in certain aspects is fearful.
This conception of the feelings of sublimity excited by the
loneliness of an Alpine peak or the grandeur of an earthquake
is now a familiar one; but it was not so in Kant’s day.
Switzerland had not then become the recreation-ground of
Europe; and though natural beauty was a familiar topic with
poets and painters it was not generally recognised that taste
has also to do with the sublime. De Saussure’s Travels,
Haller’s poem Die Alpen, and this work of Kant’s mark the
beginning of a new epoch in our ways of looking at the
sublime and terrible aspects of Nature. And it is not a little
remarkable that the man who could write thus feelingly about
the emotions inspired by grand and savage scenery, had never
seen a mountain in his life. The power and the insight of his
observations here are in marked contrast to the poverty of
some of his remarks about the characteristics of beauty. For
instance, he puts forward the curious doctrine that colour in a
picture is only an extraneous charm, and does not really add to
the beauty of the form delineated, nay rather distracts the mind
from it. His criticisms on this point, if sound, would make
Flaxman a truer artist than Titian or Paolo Veronese. But
indeed his discussion of Painting or Music is not very
appreciative; he was, to the end, a creature of pure Reason.
Upon the analysis he gives of the Arts, little need be said
here. Fine Art is regarded as the Art of Genius, “that innate
mental disposition through which Nature gives the rule to Art”
(§ 46). Art differs from Science in the absence of definite
concepts in the mind of the artist. It thus happens that the great
artist can rarely communicate his methods; indeed he cannot
explain them even to himself. Poeta nascitur, non fit; and the
same is true in every form of fine art. Genius is, in short, the
faculty of presenting aesthetical Ideas; an aesthetical Idea
being an intuition of the Imagination, to which no concept is
adequate. And it is by the excitation of such ineffable Ideas
that a great work of art affects us. As Bacon tells us, “that is
the best part of Beauty which a picture cannot express; no, nor
the first sight of the eye.” This characteristic of the artistic
genius has been noted by all who have thought upon art; more
is present in its productions than can be perfectly expressed in
language. As Pliny said of Timanthus the painter of Iphigenia,
“In omnibus ejus operibus intelligitur plus super quam
pingitur.” But this genius requires to be kept in check by taste;
quite in the spirit of the σωφροσύνη of the best Greek art, Kant
remarks that if in a work of art some feature must be
sacrificed, it is better to lose something of genius than to
violate the canons of taste. It is in this self-mastery that “the
sanity of true genius” expresses itself.
 The main question with which the Critique of Judgement
is concerned is, of course, the question as to the purposiveness,
the Zweckmässigkeit, exhibited by nature. That nature appears
to be full of purpose is mere matter of fact. It displays
purposiveness in respect of our faculties of cognition, in those
of its phenomena which we designate beautiful. And also in its
organic products we observe methods of operation which we
can only explain by describing them as processes in which
means are used to accomplish certain ends, as processes that
are purposive. In our observation of natural phenomena, as
Kuno Fischer puts it, we judge their forms aesthetically, and
their life teleologically.
As regards the first kind of Zweckmässigkeit, that which is
ohne Zweck—the purposiveness of a beautiful object which
does not seem to be directed to any external end—there are
two ways in which we may account for it. We may either say
that it was actually designed to be beautiful by the Supreme
Force behind Nature, or we may say that purposiveness is not
really resident in nature, but that our perception of it is due to
the subjective needs of our judging faculty. We have to
contemplate beautiful objects as if they were purposive, but
they may not be so in reality. And this latter idealistic doctrine
is what Kant falls back upon. He appeals in support of it, to the
phenomena of crystallisation (pp. 243 sqq.), in which many
very beautiful forms seem to be produced by merely
mechanical processes. The beauty of a rock crystal is
apparently produced without any forethought on the part of
nature, and he urges that we are not justified in asserting
dogmatically that any laws distinct from those of mechanism
are needed to account for beauty in other cases. Mechanism
can do so much; may it not do all? And he brings forward as a
consideration which ought to settle the question, the fact that
in judging of beauty “we invariably seek its gauge in ourselves
a priori”; we do not learn from nature, but from ourselves,
what we are to find beautiful. Mr. Kennedy in his Donnellan
Lectures has here pointed out several weak spots in Kant’s
armour. In the first place, the fact that we seek the gauge of
beauty in our own mind “may be shown from his own
definition to be a necessary result of the very nature of
 2
beauty.” For Kant tells us that the aesthetical judgement about
beauty always involves “a reference of the representation to
the subject”; and this applies equally to judgements about the
beautiful in Art and the beautiful in Nature. But no one could
maintain that from this definition it follows that we are not
compelled to postulate design in the mind of the artist who
paints a beautiful picture. And thus as the fact that “we always
seek the gauge of beauty” in ourselves does not do away with
the belief in a designing mind when we are contemplating
works of art, it cannot be said to exclude the belief in a Master
Hand which moulded the forms of Nature. As Cicero has it,
nature is “non artificiosa solum, sed plane artifex.” But the
cogency of this reasoning, for the details of which I must refer
the reader to Mr. Kennedy’s pages, becomes more apparent
when we reflect on that second form of purposiveness, viz.
adaptation to definite ends, with which we meet in the
phenomena of organic life.
If we watch, e.g. the growth of a tree we perceive that its
various parts are not isolated and unconnected, but that on the
contrary they are only possible by reference to the idea of the
whole. Each limb affects every other, and is reciprocally
affected by it; in short “in such a product of nature every part
not only exists by means of the other parts, but is thought as
existing for the sake of the others and the whole” (p. 277). The
operations of nature in organised bodies seem to be of an
entirely different character from mere mechanical processes;
we cannot construe them to ourselves except under the
hypothesis that nature in them is working towards a designed
end. The distinction between nature’s “Technic” or purposive
operation, and nature’s Mechanism is fundamental for the
explanation of natural law. The language of biology eloquently
shows the impossibility of eliminating at least the idea of
purpose from our investigations into the phenomena of life,
growth, and reproduction. And Kant dismisses with scant
respect that cheap and easy philosophy which would fain deny
the distinctiveness of nature’s purposive operation. A doctrine,
like that of Epicurus, in which every natural phenomenon is
regarded as the result of the blind drifting of atoms in
accordance with purely mechanical laws, really explains
nothing, and least of all explains that illusion in our
teleological judgements which leads us to assume purpose
where really there is none.
It has been urged by Kirchmann and others that this
distinction between Technic and Mechanism, on which Kant
lays so much stress, has been disproved by the progress of
modern science. The doctrines, usually associated with the
name of Darwin, of Natural Selection and Survival of the
Fittest, quite sufficiently explain, it is said, on mechanical
principles the semblance of purpose with which nature mocks
us. The presence of order is not due to any purpose behind the
natural operation, but to the inevitable disappearance of the
disorderly. It would be absurd, of course, to claim for Kant
that he anticipated the Darwinian doctrines of development;
and yet passages are not wanting in his writings in which he
takes a view of the continuity of species with which modern
science would have little fault to find. “Nature organises itself
and its organised products in every species, no doubt after one
general pattern but yet with suitable deviations, which self-
preservation demands according to circumstances” (p. 279).
“The analogy of forms, which with all their differences seem
to have been produced according to a common original type,
strengthens our suspicions of an actual relationship between
them in their production from a common parent, through the
gradual approximation of one animal genus to another—from
those in which the principle of purposes seems to be best
authenticated, i.e. from man, down to the polype and again
from this down to mosses and lichens, and finally to crude
matter. And so the whole Technic of nature, which is so
incomprehensible to us in organised beings that we believe
ourselves compelled to think a different principle for it, seems
to be derived from matter and its powers according to
mechanical laws (like those by which it works in the formation
of crystals)” (p. 337). Such a theory he calls “a daring venture
of reason,” and its coincidences with modern science are real
and striking. But he is careful to add that such a theory, even if
established, would not eliminate purpose from the universe; it
would indeed suggest that certain special processes having the
semblance of purpose may be elucidated on mechanical
principles, but on the whole, purposive operation on the part of
Mother Nature it would still be needful to assume (p. 338).
“No finite Reason can hope to understand the production of
even a blade of grass by mere mechanical causes” (p. 326). “It
is absurd to hope that another Newton will arise in the future
who shall make comprehensible by us the production of a
blade of grass according to natural laws which no design has
ordered” (p. 312).
Crude materialism thus affording no explanation of the
purposiveness in nature, we go on to ask what other theories
are logically possible. We may dismiss at once the doctrine of
Hylozoism, according to which the purposes in nature are
explained in reference to a world-soul, which is the inner
principle of the material universe and constitutes its life. For
such a doctrine is self-contradictory, inasmuch as lifelessness,
inertia, is the essential characteristic of matter, and to talk of
living matter is absurd (p. 304). A much more plausible
system is that of Spinoza, who aimed at establishing the
ideality of the principle of natural purposes. He regarded the
world whole as a complex of manifold determinations inhering
in a single simple substance; and thus reduced our concepts of
the purposive in nature to our own consciousness of existing in
an all-embracing Being. But on reflection we see that this does
not so much explain as explain away the purposiveness of
nature; it gives us an unity of inherence in one Substance, but
not an unity of causal dependence on one Substance (p. 303).
And this latter would be necessary in order to explain the unity
of purpose which nature exhibits in its phenomenal working.
Spinozism, therefore, does not give what it pretends to give; it
puts us off with a vague and unfruitful unity of ground, when
what we seek is a unity that shall itself contain the causes of
the differences manifest in nature.
We have left then as the only remaining possible doctrine,
Theism, which represents natural purposes as produced in
accordance with the Will and Design of an Intelligent Author
and Governor of Nature. This theory is, in the first place,
“superior to all other grounds of explanation” (p. 305), for it
gives a full solution of the problem before us and enables us to
maintain the reality of the Zweckmässigkeit of nature.
“Teleology finds the consummation of its investigations only
in Theology” (p. 311). To represent the world and the natural
purposes therein as produced by an intelligent Cause is
“completely satisfactory from every human point of view for
both the speculative and practical use of our Reason” (p. 312).
Thus the contemplation of natural purposes, i.e. the common
Argument from Design, enables us to reach a highest
Understanding as Cause of the world “in accordance with the
principles of the reflective Judgement, i.e. in accordance with
the constitution of our human faculty of cognition” (p. 416).
It is in this qualifying clause that Kant’s negative attitude
in respect of Theism betrays itself. He regards it as a necessary
assumption for the guidance of scientific investigation, no less
than for the practical needs of morals; but he does not admit
that we can claim for it objective validity. In the language of
the Critique of Pure Reason, the Idea of God furnishes a
regulative, not a constitutive principle of Reason; or as he
prefers to put it in the present work, it is valid only for the
reflective, not for the determinant Judgement. We are not
justified, Kant maintains, in asserting dogmatically that God
exists; there is only permitted to us the limited formula “We
cannot otherwise conceive the purposiveness which must lie at
the basis of our cognition of the internal possibility of many
natural things, than by representing it and the world in general
as produced by an intelligent cause, i.e. a God” (p. 312).
We ask then, whence arises this impossibility of objective
statement? It is in the true Kantian spirit to assert that no
synthetical proposition can be made with reference to what lies
above and behind the world of sense; but there is a difficulty
in carrying out this principle into details. Kant’s refusal to
infer a designing Hand behind the apparent order of nature is
based, he tells us, on the fact that the concept of a “natural
purpose” is one that cannot be justified to the speculative
Reason. For all we know it may only indicate our way of
looking at things, and may point to no corresponding objective
reality. That we are forced by the limited nature of our
faculties to view nature as working towards ends, as
purposive, does not prove that it is really so. We cannot justify
such pretended insight into what is behind the veil.
 It is to be observed, however, that precisely similar
arguments might be urged against our affirmation of purpose,
design, will, as the spring of the actions of other human
3
beings. For let us consider why it is that, mind being assumed
as the basis of our own individual consciousness, we go on to
attribute minds of like character to other men. We see that the
external behaviour of other men is similar to our own, and that
the most reasonable way of accounting for such behaviour is
to suppose that they have minds like ourselves, that they are
possessed of an active and spontaneously energising faculty,
which is the seat of their personality. But it is instructive to
observe that neither on Kantian principles nor on any other can
we demonstrate this; to cross the chasm which separates one
man’s personality from another’s requires a venture of faith
just as emphatically as any theological formula. I can by no
means prove to the determinant Judgement that the complex of
sensations which I constantly experience, and which I call the
Prime Minister, is anything more than a well-ordered machine.
It is improbable that this is the case—highly improbable; but
the falsity of such an hypothesis cannot be proved in the same
way that we would prove the falsity of the assertion that two
and two make five. But then though the hypothesis cannot be
thus ruled out of court by demonstration of its absurdity, it is
not the simplest hypothesis, nor is it that one which best
accounts for the facts. The assumption, on the other hand, that
the men whom I meet every day have minds like my own,
perfectly accounts for all the facts, and is a very simple
assumption. It merely extends by induction the sphere of a
force which I already know to exist. Or in other words, crude
materialism not giving me an intelligent account of my own
individual consciousness, I recognise mind, νοῦς, as a vera
causa, as something which really does produce effects in the
field of experience, and which therefore I may legitimately put
forward as the cause of those actions of other men which
externally so much resemble my own. But, as has been said
before, this argument, though entirely convincing to any sane
person, is not demonstrative; in Kantian language and on
Kantian principles the reasoning here used would seem to be
valid only for the reflective and not for the determinant
Judgement. If the principle of design or conscious adaptation
of means to ends be not a constitutive principle of experience,
but only a regulative principle introduced to account for the
facts, what right have we to put it forward dogmatically as
affording an explanation of the actions of other human beings?
It cannot be said that Kant’s attempted answer to such a
defence of the Design Argument is quite conclusive. In § 90 of
the Methodology (p. 399) he pleads that though it is perfectly
legitimate to argue by analogy from our own minds to the
minds of other men,—nay further, although we may conclude
from those actions of the lower animals which display plan,
that they are not, as Descartes alleged, mere machines—yet it
is not legitimate to conclude from the apparent presence of
design in the operations of nature that a conscious mind directs
those operations. For, he argues, that in comparing the actions
of men and the lower animals, or in comparing the actions of
one man with those of another, we are not pressing our
analogy beyond the limits of experience. Men and beasts alike
are finite living beings, subject to the limitations of finite
existence; and hence the law which governs the one series of
operations may be regarded by analogy as sufficiently
explaining the other series. But the power at the basis of
Nature is utterly above definition or comprehension, and we
are going beyond our legitimate province if we venture to
ascribe to it a mode of operation with which we are only
conversant in the case of beings subject to the conditions of
space and time. He urges in short that when speaking about
man and his mind we thoroughly understand what we are
talking about; but in speaking of the Mind of Deity we are
dealing with something of which we have no experience, and
of which therefore we have no right to predicate anything.
But it is apparent that, as has been pointed out, even when
we infer the existence of another finite mind from certain
observed operations, we are making an inference about
something which is as mysterious an x as anything can be.
Mind is not a thing that is subject to the laws and conditions of
the world of sense; it is “in the world but not of the world.”
And so to infer the existence of the mind of any individual
except myself is a quite different kind of inference from that
by which, for example, we infer the presence of an electro-
magnet in a given field. The action of the latter we understand
to a large extent; but we do not understand the action of mind,
which yet we know from daily experience of ourselves does
produce effects in the phenomenal world, often permanent and
important effects. Briefly, the action of mind upon matter (to
use the ordinary phraseology for the sake of clearness) is—we
may assume for our present purpose—an established fact.
Hence the causality of mind is a vera causa; we bring it in to
account for the actions of other human beings, and by
precisely the same process of reasoning we invoke it to
explain the operations of nature.
And it is altogether beside the point to urge, as Kant does
incessantly, that in the latter case the intelligence inferred is
infinite; in the former only finite. All that the Design Argument
undertakes to prove is that mind lies at the basis of nature. It is
quite beyond its province to say whether this mind is finite or
infinite; and thus Kant’s criticisms on p. 364 are somewhat
wide of the mark. There is always a difficulty in any argument
which tries to establish the operation of mind anywhere, for
mind cannot be seen or touched or felt; but the difficulty is not
peculiar to that particular form of argument with which
theological interests are involved.
The real plausibility of this objection arises from a vague
idea, often present to us when we speak of infinite wisdom or
infinite intelligence, namely that the epithet infinite in some
way alters the meaning of the attributes to which it is applied.
But the truth is that the word infinite, when applied to wisdom
or knowledge or any other intellectual or moral quality, can
only properly have reference to the number of acts of wisdom
or knowledge that we suppose to have been performed. The
only sense in which we have any right to speak of infinite
wisdom is that it is that which performs an infinite number of
wise acts. And so when we speak of infinite intelligence, we
have not the slightest warrant, either in logic or in common
sense, for supposing that such intelligence is not similar in
kind to that finite intelligence which we know in man.
To understand Kant’s attitude fully, we must also take into
consideration the great weight that he attaches to the Moral
Argument for the existence of God. The positive side of his
teaching on Theism is summed up in the following sentence
(p. 388): “For the theoretical reflective Judgement physical
Teleology sufficiently proves from the purposes of Nature an
intelligent world-cause; for the practical Judgement moral
Teleology establishes it by the concept of a final purpose,
which it is forced to ascribe to creation.” That side of his
system which is akin to Agnosticism finds expression in his
determined refusal to admit anything more than this. The
existence of God is for him a “thing of faith”; and is not a fact
of knowledge, strictly so called. “Faith” he holds (p. 409) “is
the moral attitude of Reason as to belief in that which is
unattainable by theoretical cognition. It is therefore the
constant principle of the mind to assume as true that which it
is necessary to presuppose as condition of the possibility of the
highest moral final purpose.” As he says elsewhere
(Introduction to Logic, ix. p. 60), “That man is morally
unbelieving who does not accept that which, though
impossible to know, is morally necessary to suppose.” And as
far as he goes a Theist may agree with him, and he has done
yeoman’s service to Theism by his insistence on the absolute
impossibility of any other working hypothesis as an
explanation of the phenomena of nature. But I have
endeavoured to indicate at what points he does not seem to me
to have gone as far as even his own declared principles would
justify him in going. If the existence of a Supreme Mind be a
“thing of faith,” this may with equal justice be said of the
finite minds of the men all around us; and his attempt to show
that the argument from analogy is here without foundation is
not convincing.
Kant, however, in the Critique of Judgement is sadly
fettered by the chains that he himself had forged, and
frequently chafes under the restraints they impose. He
indicates more than once a point of view higher than that of
the Critique of Pure Reason, from which the phenomena of life
and mind may be contemplated. He had already hinted in that
work that the supersensible substrate of the ego and the non-
ego might be identical. “Both kinds of objects differ from each
other, not internally, but only so far as the one appears
external to the other; possibly what is at the basis of
phenomenal matter as a thing in itself may not be so
4
heterogeneous after all as we imagine.” This hypothesis
which remains a bare undeveloped possibility in the earlier
work is put forward as a positive doctrine in the Critique of
Judgement. “There must,” says Kant, “be a ground of the unity
of the supersensible, which lies at the basis of nature, with that
which the concept of freedom practically contains”
(Introduction, p. 13). That is to say, he maintains that to
explain the phenomena of organic life and the purposiveness
of nature we must hold that the world of sense is not disparate
from and opposed to the world of thought, but that nature is
the development of freedom. The connexion of nature and
freedom is suggested by, nay is involved in, the notion of
natural adaptation; and although we can arrive at no
knowledge of the supersensible substrate of both, yet such a
common ground there must be. This principle is the starting-
point of the systems which followed that of Kant; and the
philosophy of later Idealism is little more than a development
of the principle in its consequences.
He approaches the same doctrine by a different path in the
Critique of the Teleological Judgement (§ 77), where he argues
that the distinction between the mechanical and the
teleological working of nature, upon which so much stress has
been justly laid, depends for its validity upon the peculiar
character of our Understanding. When we give what may be
called a mechanical elucidation of any natural phenomenon,
we begin with its parts, and from what we know of them we
explain the whole. But in the case of certain objects, e.g.
organised bodies, this cannot be done. In their case we can
only account for the parts by a reference to the whole. Now,
were it possible for us to perceive a whole before its parts and
5
derive the latter from the former, then an organism would be
capable of being understood and would be an object of
knowledge in the strictest sense. But our Understanding is not
able to do this, and its inadequacy for such a task leads us to
conceive the possibility of an Understanding, not discursive
like ours, but intuitive, for which knowledge of the whole
would precede that of the parts. “It is at least possible to
consider the material world as mere phenomenon, and to think
as its substrate something like a thing in itself (which is not
phenomenon), and to attach to this a corresponding intellectual
intuition. Thus there would be, although incognisable by us, a
supersensible real ground for nature, to which we ourselves
belong” (p. 325). Hence, although Mechanism and Technic
must not be confused and must ever stand side by side in our
scientific investigation of natural law, yet must they be
regarded as coalescing in a single higher principle
incognisable by us. The ground of union is “the supersensible
substrate of nature of which we can determine nothing
positively, except that it is the being in itself of which we
merely know the phenomenon.” Thus, then, it appears that the
whole force of Kant’s main argument has proceeded upon an
assumption, viz. the permanent opposition between Sense and
Understanding, which the progress of the argument has shown
6
to be unsound. “Kant seems,” says Goethe, “to have woven a
certain element of irony into his method. For, while at one
time he seemed to be bent on limiting our faculties of
knowledge in the narrowest way, at another time he pointed, as
it were with a side gesture, beyond the limits which he himself
had drawn.” The fact of adaptation of means to ends
observable in nature seems to break down the barrier between
Nature and Freedom; and if we once relinquish the distinction
between Mechanism and Technic in the operations of nature
we are led to the Idea of an absolute Being, who manifests
Himself by action which, though necessary, is yet the outcome
of perfect freedom.
Kant, however, though he approaches such a position
more than once, can never be said to have risen to it. He
deprecates unceasingly the attempt to combine principles of
nature with the principles of freedom as a task beyond the
modest capacity of human reason; and while strenuously
insisting on the practical force of the Moral Argument for the
Being of God, which is found in the witness of man’s
conscience, will not admit that it can in any way be regarded
as strengthening the theoretical arguments adduced by
Teleology. The two lines of proof, he holds, are quite distinct;
and nothing but confusion and intellectual disaster can result
from the effort to combine them. The moral proof stands by
itself, and it needs no such crutches as the argument from
Design can offer. But, as Mr. Kennedy has pointed out in his
7
acute criticism of the Kantian doctrine of Theism, it would
not be possible to combine a theoretical disbelief in God with a
frank acceptance of the practical belief of His existence borne
in upon us by the Moral Law. Kant himself admits this: “A
dogmatical unbelief,” he says (p. 411), “cannot subsist
together with a moral maxim dominant in the mental attitude.”
That is, though the theoretical argument be incomplete, we
cannot reject the conclusion to which it leads, for this is
confirmed by the moral necessities of conscience.
Kant’s position, then, seems to come to this, that though
he never doubts the existence of God, he has very grave
doubts that He can be theoretically known by man. That He is,
is certain; what He is, we cannot determine. It is a position not
dissimilar to current Agnostic doctrines; and as long as the
antithesis between Sense and Understanding, between Matter
and Mind, is insisted upon as expressing a real and abiding
truth, Kant’s reasoning can hardly be refuted with
completeness. No doubt it may be urged that since the
practical and theoretical arguments both arrive at the same
conclusion, the cogency of our reasoning in the latter should
confirm our trust in the former. But true conclusions may
sometimes seem to follow from quite insufficient premises;
and Kant is thus justified in demanding that each argument
shall be submitted to independent tests. I have endeavoured to
show above that he has not treated the theoretical line of
reasoning quite fairly, and that he has underestimated its force;
but its value as an argument is not increased by showing that
another entirely different process of thought leads to the same
result. And that the witness of conscience affords the most
powerful and convincing argument for the existence of a
Supreme Being, the source of law as of love, is a simple
matter of experience. Induction, syllogism, analogy, do not
really generate belief in God, though they may serve to justify
to reason a faith that we already possess. The poet has the truth
of it:
 Wer Gott nicht fühlt in sich und allen Lebenskreisen,
Dem werdet Ihr Ihn nicht beweisen mit Beweisen.
* * * * *
I give at the end of this Introduction a Glossary of the
chief philosophical terms used by Kant; I have tried to render
them by the same English equivalents all through the work, in
order to preserve, as far as may be, the exactness of expression
in the original. I am conscious that this makes the translation
clumsy in many places, but have thought it best to sacrifice
elegance to precision. This course is the more necessary to
adopt, as Kant cannot be understood unless his nice verbal
distinctions be attended to. Thus real means quite a different
thing from wirklich; Hang from Neigung; Rührung from Affekt
or Leidenschaft; Anschauung from Empfindung or
Wahrnehmung; Endzweck from letzter Zweck; Idee from
Vorstellung; Eigenschaft from Attribut or Beschaffenheit;
Schranke from Grenze; überreden from überzeugen, etc. I am
not satisfied with “gratification” and “grief” as the English
equivalents for Vergnügen and Schmerz; but it is necessary to
distinguish these words from Lust and Unlust, and “mental
pleasure,” “mental pain,” which would nearly hit the sense, are
awkward. Again, the constant rendering of schön by beautiful
involves the expression “beautiful art” instead of the more
usual phrase “fine art.” Purposive is an ugly word, but it has
come into use lately; and its employment enables us to
preserve the connexion between Zweck and zweckmässig. I
have printed Judgement with a capital letter when it signifies
the faculty, with a small initial when it signifies the act, of
judging. And in like manner I distinguish Objekt from
Gegenstand, by printing the word “Object,” when it represents
the former, with a large initial.
The text I have followed is, in the main, that printed by
Hartenstein; but occasionally Rosenkranz preserves the better
reading. All important variants between the First and Second
Editions have been indicated at the foot of the page. A few
notes have been added, which are enclosed in square brackets,
to distinguish them from those which formed part of the
original work. I have in general quoted Kant’s Introduction to
Logic and Critique of Practical Reason in Dr. Abbott’s
translations.
My best thanks are due to Rev. J. H. Kennedy and Mr. F.
Purser for much valuable aid during the passage of this
translation through the press. And I am under even greater
obligations to Mr. Mahaffy, who was good enough to read
through the whole of the proof; by his acute and learned
criticisms many errors have been avoided. Others I have no
doubt still remain, but for these I must be accounted alone
responsible.

J. H. BERNARD.
TRINITY COLLEGE, DUBLIN,
May 24, 1892.

* * * * *
More than twenty-one years have passed since the first
edition of this Translation was published, and during that time
much has been written, both in Germany and in England, on
the subject of Kant’s Critique of Judgement. In particular, the
German text has been critically determined by the labours of
Professor Windelband, whose fine edition forms the fifth
volume of Kant’s Collected Works as issued by the Royal
Prussian Academy of Sciences (Berlin, 1908). It will be
indispensable to future students. An excellent account of the
significance, in the Kantian system, of the Urtheilskraft, by
Mr. R. A. C. Macmillan, appeared in 1912; and Mr. J. C.
Meredith has published recently an English edition of the
Critique of Aesthetical Judgement, with notes and essays,
dealing with the philosophy of art, which goes over the ground
very fully.
Some critics of my first edition took exception to the
clumsiness of the word “representation” as the equivalent of
Vorstellung, but I have made no change in this respect, as it
seems to me (and so far as I have observed to others who have
worked on the Critique of Judgement), that it is necessary to
preserve in English the relation between the noun Vorstellung
and the verb vorstellen, if Kant’s reasoning is to be exhibited
clearly. I have, however, abandoned the attempt to preserve the
word Kritik in English, and have replaced it by Critique or
criticism, throughout. The other changes that have been made
are mere corrections or emendations of faulty or obscure
renderings, with a few additional notes. I have left my original
Introduction as it was written in 1892, without attempting any
fresh examination of the problems that Kant set himself.

JOHN OSSORY.
THE PALACE, KILKENNY,
January 6, 1914.
 GLOSSARY OF KANT’S
PHILOSOPHICAL TERMS
Absicht; design.
Achtung; respect.
Affekt; affection.
Angenehm; pleasant.
Anschauung; intuition.
Attribut; attribute.
Aufklärung; enlightenment.
Begehr; desire.
Begriff; concept.
Beschaffenheit; constitution or characteristic.
Bestimmen; to determine.
Darstellen; to present.
Dasein; presence or being.
Eigenschaft; property.
Empfindung; sensation.
Endzweck; final purpose.
Erkenntniss; cognition or knowledge.
Erklärung; explanation.
Erscheinung; phenomenon.
Existenz; existence.
Fürwahrhalten; belief.
Gebiet; realm.
Gefühl; feeling.
Gegenstand; object.
Geist; spirit.
Geniessen; enjoyment.
Geschicklichkeit; skill.
Geschmack; Taste.
Gesetzmässigkeit; conformity to law.
Gewalt; dominion or authority.
Glaube; faith.
Grenze; bound.
Grundsatz; fundamental proposition or principle.
Hang; propension.
Idee; Idea.
Leidenschaft; passion.
Letzter Zweck; ultimate purpose.
Lust; pleasure.
Meinen; opinion.
Neigung; inclination.
Objekt; Object.
Prinzip; principle.
Real; real.
Reich; kingdom.
Reiz; charm.
Rührung; emotion.
Schein; illusion.
Schmerz; grief.
Schön; beautiful.
Schranke; limit.
Schwärmerei; fanaticism.
Seele; soul.
Ueberreden; to persuade.
Ueberschwänglich; transcendent.
Ueberzeugen; to convince.
Unlust; pain.
Urtheil; judgement.
Urtheilskraft; Judgement.
Verbindung; combination.
Vergnügen; gratification.
Verknüpfung; connexion.
Vermögen; faculty.
Vernunft; Reason.
Vernünftelei; sophistry or subtlety.
Verstand; Understanding.
Vorstellung; representation.
Wahrnehmung; perception.
Wesen; being.
Willkühr; elective will.
Wirklich; actual.
Wohlgefallen; satisfaction.
Zufriedenheit; contentment.
Zweck; purpose.
Zweckmässig; purposive.
Zweckverbindung; purposive combination, etc.
 PREFACE
We may call the faculty of cognition from principles a
priori, pure Reason, and the inquiry into its possibility and
bounds generally the Critique of pure Reason, although by this
faculty we only understand Reason in its theoretical
employment, as it appears under that name in the former work;
without wishing to inquire into its faculty, as practical Reason,
according to its special principles. That [Critique] goes merely
into our faculty of knowing things a priori, and busies itself
therefore only with the cognitive faculty to the exclusion of the
feeling of pleasure and pain and the faculty of desire; and of
the cognitive faculties it only concerns itself with
Understanding, according to its principles a priori, to the
exclusion of Judgement and Reason (as faculties alike
belonging to theoretical cognition), because it is found in the
sequel that no other cognitive faculty but the Understanding
can furnish constitutive principles of cognition a priori. The
Critique, then, which sifts them all, as regards the share which
each of the other faculties might pretend to have in the clear
possession of knowledge from its own peculiar root, leaves
nothing but what the Understanding prescribes a priori as law
for nature as the complex of phenomena (whose form also is
given a priori). It relegates all other pure concepts under
Ideas, which are transcendent for our theoretical faculty of
cognition, but are not therefore useless or to be dispensed
with. For they serve as regulative principles; partly to check
the dangerous pretensions of Understanding, as if (because it
can furnish a priori the conditions of the possibility of all
things which it can know) it had thereby confined within these
bounds the possibility of all things in general; and partly to
lead it to the consideration of nature according to a principle of
completeness, although it can never attain to this, and thus to
further the final design of all knowledge.
It was then properly the Understanding which has its
special realm in the cognitive faculty, so far as it contains
constitutive principles of cognition a priori, which by the
Critique, comprehensively called the Critique of pure Reason,
 8
was to be placed in certain and sole possession against all
other competitors. And so also to Reason, which contains
constitutive principles a priori nowhere except simply in
respect of the faculty of desire, should be assigned its place in
the Critique of practical Reason.
Whether now the Judgement, which in the order of our
cognitive faculties forms a mediating link between
Understanding and Reason, has also principles a priori for
itself; whether these are constitutive or merely regulative (thus
indicating no special realm); and whether they give a rule a
priori to the feeling of pleasure and pain, as the mediating link
between the cognitive faculty and the faculty of desire (just as
the Understanding prescribes laws a priori to the first, Reason
to the second); these are the questions with which the present
Critique of Judgement is concerned.
A Critique of pure Reason, i.e. of our faculty of judging a
priori according to principles, would be incomplete, if the
Judgement, which as a cognitive faculty also makes claim to
such principles, were not treated as a particular part of it;
although its principles in a system of pure Philosophy need
form no particular part between the theoretical and the
practical, but can be annexed when needful to one or both as
occasion requires. For if such a system is one day to be
completed under the general name of Metaphysic (which it is
possible to achieve quite completely, and which is supremely
important for the use of Reason in every reference), the soil
for the edifice must be explored by Criticism as deep down as
the foundation of the faculty of principles independent of
experience, in order that it may sink in no part, for this would
inevitably bring about the downfall of the whole.
We can easily infer from the nature of the Judgement
(whose right use is so necessarily and so universally requisite,
that by the name of sound Understanding nothing else but this
faculty is meant), that it must be attended with great
difficulties to find a principle peculiar to it; (some such it must
contain a priori in itself, for otherwise it would not be set apart
by the commonest Criticism as a special cognitive faculty).
This principle must not be derived a priori from concepts, for
these belong to the Understanding, and Judgement is only
concerned with their application. It must, therefore, furnish of
itself a concept, through which, properly speaking, no thing is
cognised, but which only serves as a rule, though not an
objective one to which it can adapt its judgement; because for
this latter another faculty of Judgement would be requisite, in
order to be able to distinguish whether [any given case] is or is
not the case for the rule.
This perplexity about a principle (whether it is subjective
or objective) presents itself mainly in those judgements that
we call aesthetical, which concern the Beautiful and the
Sublime of Nature or of Art. And, nevertheless, the critical
investigation of a principle of Judgement in these is the most
important part in a Critique of this faculty. For although they
do not by themselves contribute to the knowledge of things,
yet they belong to the cognitive faculty alone, and point to an
immediate reference of this faculty to the feeling of pleasure
or pain according to some principle a priori; without
confusing this with what may be the determining ground of the
faculty of desire, which has its principles a priori in concepts
of Reason.—In the logical judging of nature, experience
exhibits a conformity to law in things, to the understanding or
to the explanation of which the general concept of the sensible
does not attain; here the Judgement can only derive from itself
a principle of the reference of the natural thing to the
unknowable supersensible (a principle which it must only use
from its own point of view for the cognition of nature). And
so, though in this case such a principle a priori can and must
be applied to the cognition of the beings of the world, and
opens out at the same time prospects which are advantageous
for the practical Reason, yet it has no immediate reference to
the feeling of pleasure and pain. But this reference is precisely
the puzzle in the principle of Judgement, which renders a
special section for this faculty necessary in the Critique; since
the logical judging according to concepts (from which an
immediate inference can never be drawn to the feeling of
pleasure and pain) along with their critical limitation, has at all
events been capable of being appended to the theoretical part
of Philosophy.
 The examination of the faculty of taste, as the aesthetical
Judgement, is not here planned in reference to the formation or
the culture of taste (for this will take its course in the future as
in the past without any such investigations), but merely in a
transcendental point of view. Hence, I trust that as regards the
deficiency of the former purpose it will be judged with
indulgence, though in the latter point of view it must be
prepared for the severest scrutiny. But I hope that the great
difficulty of solving a problem so involved by nature may
serve as excuse for some hardly avoidable obscurity in its
solution, if only it be clearly established that the principle is
correctly stated. I grant that the mode of deriving the
phenomena of the Judgement from it has not all the clearness
which might be rightly demanded elsewhere, viz. in the case
of cognition according to concepts; but I believe that I have
attained to it in the second part of this work.
Here then I end my whole critical undertaking. I shall
proceed without delay to the doctrinal [part] in order to profit,
as far as is possible, by the more favourable moments of my
increasing years. It is obvious that in this [part] there will be
no special section for the Judgement, because in respect of this
faculty Criticism serves instead of Theory; but, according to
the division of Philosophy (and also of pure Philosophy) into
theoretical and practical, the Metaphysic of Nature and of
Morals will complete the undertaking.
 INTRODUCTION

I. OF THE DIVISION OF
PHILOSOPHY
We proceed quite correctly if, as usual, we divide
Philosophy, as containing the principles of the rational
cognition of things by means of concepts (not merely, as logic
does, principles of the form of thought in general without
distinction of Objects), into theoretical and practical. But then
the concepts, which furnish their Object to the principles of
this rational cognition, must be specifically distinct; otherwise
they would not justify a division, which always presupposes a
contrast between the principles of the rational cognition
belonging to the different parts of a science.
Now there are only two kinds of concepts, and these admit
as many distinct principles of the possibility of their objects,
viz. natural concepts and the concept of freedom. The former
render possible theoretical cognition according to principles a
priori; the latter in respect of this theoretical cognition only
supplies in itself a negative principle (that of mere contrast),
but on the other hand it furnishes fundamental propositions
which extend the sphere of the determination of the will and
are therefore called practical. Thus Philosophy is correctly
divided into two parts, quite distinct in their principles; the
theoretical part or Natural Philosophy, and the practical part or
Moral Philosophy (for that is the name given to the practical
legislation of Reason in accordance with the concept of
freedom). But up to the present a gross misuse of these
expressions has prevailed, both in the division of the different
principles and consequently also of Philosophy itself. For what
is practical according to natural concepts has been identified
with the practical according to the concept of freedom; and so
with the like titles, ‘theoretical’ and ‘practical’ Philosophy, a
division has been made, by which in fact nothing has been
divided (for both parts might in such case have principles of
the same kind).
The will, regarded as the faculty of desire, is (in this view)
one of the many natural causes in the world, viz. that cause
which acts in accordance with concepts. All that is represented
as possible (or necessary) by means of a will is called
practically possible (or necessary); as distinguished from the
physical possibility or necessity of an effect, whose cause is
not determined to causality by concepts (but in lifeless matter
by mechanism and in animals by instinct). Here, in respect of
the practical, it is left undetermined whether the concept which
gives the rule to the causality of the will, is a natural concept
or a concept of freedom.
But the last distinction is essential. For if the concept
which determines the causality is a natural concept, then the
principles are technically practical; whereas, if it is a concept
of freedom they are morally practical. And as the division of a
rational science depends on the distinction between objects
whose cognition needs distinct principles, the former will
belong to theoretical Philosophy (doctrine of Nature), but the
latter alone will constitute the second part, viz. practical
Philosophy (doctrine of Morals).
All technically practical rules (i.e. the rules of art and skill
generally, or of prudence regarded as skill in exercising an
influence over men and their wills), so far as their principles
rest on concepts, must be reckoned only as corollaries to
theoretical Philosophy. For they concern only the possibility of
things according to natural concepts, to which belong not only
the means which are to be met with in nature, but also the will
itself (as a faculty of desire and consequently a natural
faculty), so far as it can be determined conformably to these
rules by natural motives. However, practical rules of this kind
are not called laws (like physical laws), but only precepts;
because the will does not stand merely under the natural
concept, but also under the concept of freedom, in relation to
which its principles are called laws. These with their
consequences alone constitute the second or practical part of
Philosophy.
 The solution of the problems of pure geometry does not
belong to a particular part of the science; mensuration does not
deserve the name of practical, in contrast to pure, geometry, as
a second part of geometry in general; and just as little ought
the mechanical or chemical art of experiment or observation to
be reckoned as a practical part of the doctrine of Nature. Just
as little, in fine, ought housekeeping, farming, statesmanship,
the art of conversation, the prescribing of diet, the universal
doctrine of happiness itself, or the curbing of the inclinations
and checking of the affections for the sake of happiness, to be
reckoned as practical Philosophy, or taken to constitute the
second part of Philosophy in general. For all these contain
only rules of skill (and are consequently only technically
practical) for bringing about an effect that is possible
according to the natural concepts of causes and effects, which,
since they belong to theoretical Philosophy, are subject to
those precepts as mere corollaries from it (viz. natural
science), and can therefore claim no place in a special
Philosophy called practical. On the other hand, the morally
practical precepts, which are altogether based on the concept
of freedom to the complete exclusion of the natural
determining grounds of the will, constitute a quite special
class. These, like the rules which nature obeys, are called
simply laws, but they do not, like them, rest on sensuous
conditions but on a supersensible principle; and accordingly
they require for themselves a quite different part of
Philosophy, called practical, corresponding to its theoretical
part.
We hence see that a complex of practical precepts given
by Philosophy does not constitute a distinct part of Philosophy,
as opposed to the theoretical part, because these precepts are
practical; for they might be that, even if their principles were
derived altogether from the theoretical cognition of nature (as
technically practical rules). [A distinct branch of Philosophy is
constituted only] if their principle, as it is not borrowed from
the natural concept, which is always sensuously conditioned,
rests on the supersensible, which alone makes the concept of
freedom cognisable by formal laws. These precepts are then
morally practical, i.e. not merely precepts or rules in this or
that aspect, but, without any preceding reference to purposes
and designs, are laws.

II. OF THE REALM OF PHILOSOPHY

IN GENERAL
So far as our concepts have a priori application, so far
extends the use of our cognitive faculty according to
principles, and with it Philosophy.
But the complex of all objects, to which those concepts
are referred, in order to bring about a knowledge of them
where it is possible, may be subdivided according to the
adequacy or inadequacy of our [cognitive] faculty to this
design.
Concepts, so far as they are referred to objects,
independently of the possibility or impossibility of the
cognition of these objects, have their field which is determined
merely according to the relation that their Object has to our
cognitive faculty in general. The part of this field in which
knowledge is possible for us is a ground or territory
(territorium) for these concepts and the requisite cognitive
faculty. The part of this territory, where they are legislative, is
the realm (ditio) of these concepts and of the corresponding
cognitive faculties. Empirical concepts have, therefore, their
territory in nature, as the complex of all objects of sense, but
no realm, only a dwelling-place (domicilium); for though they
are produced in conformity to law they are not legislative, but
the rules based on them are empirical and consequently
contingent.
Our whole cognitive faculty has two realms, that of
natural concepts and that of the concept of freedom; for
through both it is legislative a priori. In accordance with this,
Philosophy is divided into theoretical and practical. But the
territory to which its realm extends and in which its legislation
is exercised, is always only the complex of objects of all
possible experience, so long as they are taken for nothing more
than mere phenomena; for otherwise no legislation of the
Understanding in respect of them is conceivable.
Legislation through natural concepts is carried on by
means of the Understanding and is theoretical. Legislation
through the concept of freedom is carried on by the Reason
and is merely practical. It is only in the practical [sphere] that
the Reason can be legislative; in respect of theoretical
cognition (of nature) it can merely (as acquainted with law by
the Understanding) deduce from given laws consequences
which always remain within [the limits of] nature. But on the
other hand, Reason is not always therefore legislative, where
there are practical rules, for they may be only technically
practical.
Understanding and Reason exercise, therefore, two
distinct legislations in regard to one and the same territory of
experience, without prejudice to each other. The concept of
freedom as little disturbs the legislation of nature, as the
natural concept influences the legislation through the former.
—The possibility of at least thinking without contradiction the
co-existence of both legislations, and of the corresponding
faculties in the same subject, has been shown in the Critique of
pure Reason; for it annulled the objections on the other side by
exposing the dialectical illusion which they contain.
These two different realms then do not limit each other in
their legislation, though they perpetually do so in the world of
sense. That they do not constitute one realm, arises from this,
that the natural concept represents its objects in intuition, not
as things in themselves, but as mere phenomena; the concept
of freedom, on the other hand, represents in its Object a thing
in itself, but not in intuition. Hence, neither of them can
furnish a theoretical knowledge of its Object (or even of the
thinking subject) as a thing in itself; this would be the
supersensible, the Idea of which we must indeed make the
basis of the possibility of all these objects of experience, but
which we can never extend or elevate into a cognition.
There is, then, an unbounded but also inaccessible field
for our whole cognitive faculty—the field of the supersensible
—wherein we find no territory, and, therefore, can have in it,
for theoretical cognition, no realm either for concepts of
Understanding or Reason. This field we must indeed occupy
with Ideas on behalf of the theoretical as well as the practical
use of Reason, but we can supply to them in reference to the
laws [arising] from the concept of freedom no other than
practical reality, by which our theoretical cognition is not
extended in the slightest degree towards the supersensible.
Now even if an immeasurable gulf is fixed between the
sensible realm of the concept of nature and the supersensible
realm of the concept of freedom, so that no transition is
possible from the first to the second (by means of the
theoretical use of Reason), just as if they were two different
worlds of which the first could have no influence upon the
second, yet the second is meant to have an influence upon the
first. The concept of freedom is meant to actualise in the world
of sense the purpose proposed by its laws, and consequently
nature must be so thought that the conformity to law of its
form, at least harmonises with the possibility of the purposes
to be effected in it according to laws of freedom.—There must,
therefore, be a ground of the unity of the supersensible, which
lies at the basis of nature, with that which the concept of
freedom practically contains; and the concept of this ground,
although it does not attain either theoretically or practically to
a knowledge of the same, and hence has no peculiar realm,
nevertheless makes possible the transition from the mode of
thought according to the principles of the one to that according
to the principles of the other.

III. OF THE CRITIQUE OF

JUDGEMENT AS A MEANS OF
COMBINING THE TWO PARTS OF
PHILOSOPHY INTO A WHOLE.
The Critique of the cognitive faculties, as regards what
they can furnish a priori, has properly speaking no realm in
respect of Objects, because it is not a doctrine, but only has to
investigate whether and how, in accordance with the state of
these faculties, a doctrine is possible by their means. Its field
extends to all their pretensions, in order to confine them within
their legitimate bounds. But what cannot enter into the
division of Philosophy may yet enter, as a chief part, into the
Critique of the pure faculty of cognition in general, viz. if it
contains principles which are available neither for theoretical
nor for practical use.
The natural concepts, which contain the ground of all
theoretical knowledge a priori, rest on the legislation of the
Understanding.—The concept of freedom, which contains the
ground of all sensuously-unconditioned practical precepts a
priori, rests on the legislation of the Reason. Both faculties,
therefore, besides being capable of application as regards their
logical form to principles of whatever origin, have also as
regards their content, their special legislations above which
there is no other (a priori); and hence the division of
Philosophy into theoretical and practical is justified.
But in the family of the higher cognitive faculties there is
a middle term between the Understanding and the Reason.
This is the Judgement, of which we have cause for supposing
according to analogy that it may contain in itself, if not a
special legislation, yet a special principle of its own to be
sought according to laws, though merely subjective a priori.
This principle, even if it have no field of objects as its realm,
yet may have somewhere a territory with a certain character,
for which no other principle can be valid.
But besides (to judge by analogy) there is a new ground
for bringing the Judgement into connexion with another
arrangement of our representative faculties, which seems to be
of even greater importance than that of its relationship with the
family of the cognitive faculties. For all faculties or capacities
of the soul can be reduced to three, which cannot be any
further derived from one common ground: the faculty of
knowledge, the feeling of pleasure and pain, and the faculty of
9
desire. For the faculty of knowledge the Understanding is
alone legislative, if (as must happen when it is considered by
itself without confusion with the faculty of desire) this faculty
is referred to nature as the faculty of theoretical knowledge;
for in respect of nature (as phenomenon) it is alone possible
for us to give laws by means of natural concepts a priori, i.e.
by pure concepts of Understanding.—For the faculty of desire,
as a higher faculty according to the concept of freedom, the
Reason (in which alone this concept has a place) is alone a
priori legislative.—Now between the faculties of knowledge
and desire there is the feeling of pleasure, just as the
Judgement is intermediate between the Understanding and the
Reason. We may therefore suppose provisionally that the
Judgement likewise contains in itself an a priori principle.
And as pleasure or pain is necessarily combined with the
faculty of desire (either preceding this principle as in the lower
desires, or following it as in the higher, when the desire is
determined by the moral law), we may also suppose that the
Judgement will bring about a transition from the pure faculty
of knowledge, the realm of natural concepts, to the realm of
the concept of freedom, just as in its logical use it makes
possible the transition from Understanding to Reason.
Although, then, Philosophy can be divided only into two
main parts, the theoretical and the practical, and although all
that we may be able to say of the special principles of
Judgement must be counted as belonging in it to the
theoretical part, i.e. to rational cognition in accordance with
natural concepts; yet the Critique of pure Reason, which must
decide all this, as regards the possibility of the system before
undertaking it, consists of three parts; the Critique of pure
Understanding, of pure Judgement, and of pure Reason, which
faculties are called pure because they are legislative a priori.

IV. OF JUDGEMENT AS A FACULTY

LEGISLATING A PRIORI
Judgement in general is the faculty of thinking the
particular as contained under the Universal. If the universal
(the rule, the principle, the law) be given, the Judgement
which subsumes the particular under it (even if, as
transcendental Judgement, it furnishes a priori, the conditions
in conformity with which subsumption under that universal is
alone possible) is determinant. But if only the particular be
given for which the universal has to be found, the Judgement
is merely reflective.
The determinant Judgement only subsumes under
universal transcendental laws given by the Understanding; the
law is marked out for it, a priori, and it has therefore no need
to seek a law for itself in order to be able to subordinate the
particular in nature to the universal.—But the forms of nature
are so manifold, and there are so many modifications of the
universal transcendental natural concepts left undetermined by
the laws given, a priori, by the pure Understanding,—because
these only concern the possibility of a nature in general (as an
object of sense),—that there must be laws for these [forms]
also. These, as empirical, may be contingent from the point of
view of our Understanding, and yet, if they are to be called
laws (as the concept of a nature requires), they must be
regarded as necessary in virtue of a principle of the unity of
the manifold, though it be unknown to us.—The reflective
Judgement, which is obliged to ascend from the particular in
nature to the universal, requires on that account a principle that
it cannot borrow from experience, because its function is to
establish the unity of all empirical principles under higher
ones, and hence to establish the possibility of their systematic
subordination. Such a transcendental principle, then, the
reflective Judgement can only give as a law from and to itself.
It cannot derive it from outside (because then it would be the
determinant Judgement); nor can it prescribe it to nature,
because reflection upon the laws of nature adjusts itself by
nature, and not nature by the conditions according to which we
attempt to arrive at a concept of it which is quite contingent in
respect of these.
This principle can be no other than the following: As
universal laws of nature have their ground in our
Understanding, which prescribes them to nature (although
only according to the universal concept of it as nature); so
particular empirical laws, in respect of what is in them left
undetermined by these universal laws, must be considered in
accordance with such a unity as they would have if an
Understanding (although not our Understanding) had
furnished them to our cognitive faculties, so as to make
possible a system of experience according to particular laws of
nature. Not as if, in this way, such an Understanding must be
assumed as actual (for it is only our reflective Judgement to
which this Idea serves as a principle—for reflecting, not for
determining); but this faculty thus gives a law only to itself
and not to nature.
Now the concept of an Object, so far as it contains the
ground of the actuality of this Object, is the purpose; and the
agreement of a thing with that constitution of things, which is
only possible according to purposes, is called the
purposiveness of its form. Thus the principle of Judgement, in
respect of the form of things of nature under empirical laws
generally, is the purposiveness of nature in its manifoldness.
That is, nature is represented by means of this concept, as if an
Understanding contained the ground of the unity of the
manifold of its empirical laws.
The purposiveness of nature is therefore a particular
concept, a priori, which has its origin solely in the reflective
Judgement. For we cannot ascribe to natural products anything
like a reference of nature in them to purposes; we can only use
this concept to reflect upon such products in respect of the
connexion of phenomena which is given in nature according to
empirical laws. This concept is also quite different from
practical purposiveness (in human art or in morals), though it
is certainly thought according to the analogy of these last.

V. THE PRINCIPLE OF THE FORMAL

PURPOSIVENESS OF NATURE IS A
TRANSCENDENTAL PRINCIPLE OF
JUDGEMENT.
A transcendental principle is one by means of which is
represented, a priori, the universal condition under which
alone things can be in general Objects of our cognition. On the
other hand, a principle is called metaphysical if it represents
the a priori condition under which alone Objects, whose
concept must be empirically given, can be further determined
a priori. Thus the principle of the cognition of bodies as
substances, and as changeable substances, is transcendental, if
thereby it is asserted that their changes must have a cause; it is
metaphysical if it asserts that their changes must have an
external cause. For in the former case bodies need only be
thought by means of ontological predicates (pure concepts of
Understanding), e.g. substance, in order to cognise the
proposition a priori; but in the latter case the empirical
concept of a body (as a movable thing in space) must lie at the
basis of the proposition, although once this basis has been laid
down, it may be seen completely a priori that this latter
predicate (motion only by external causes) belongs to body.—
Thus, as I shall presently show, the principle of the
purposiveness of nature (in the manifoldness of its empirical
laws) is a transcendental principle. For the concept of Objects,
so far as they are thought as standing under this principle, is
only the pure concept of objects of possible empirical
cognition in general and contains nothing empirical. On the
other hand, the principle of practical purposiveness, which
must be thought in the Idea of the determination of a free will,
is a metaphysical principle; because the concept of a faculty of
desire as a will must be given empirically (i.e. does not belong
to transcendental predicates). Both principles are, however, not
empirical, but a priori; because for the combination of the
predicate with the empirical concept of the subject of their
judgements no further experience is needed, but it can be
apprehended completely a priori.
That the concept of a purposiveness of nature belongs to
transcendental principles can be sufficiently seen from the
maxims of the Judgement, which lie at the basis of the
investigation of nature a priori, and yet do not go further than
the possibility of experience, and consequently of the
cognition of nature—not indeed nature in general, but nature
as determined through a variety of particular laws. These
maxims present themselves in the course of this science often
enough, though in a scattered way, as sentences of
metaphysical wisdom, whose necessity we cannot demonstrate
from concepts. “Nature takes the shortest way (lex
parsimoniae); at the same time it makes no leaps, either in the
course of its changes or in the juxtaposition of specifically
different forms (lex continui in natura); its great variety in
empirical laws is yet unity under a few principles (principia
praeter necessitatem non sunt multiplicanda),” etc.
If we propose to set forth the origin of these fundamental
propositions and try to do so by the psychological method, we
violate their sense. For they do not tell us what happens, i.e. by
what rule our cognitive powers actually operate, and how we
judge, but how we ought to judge; and this logical objective
necessity does not emerge if the principles are merely
empirical. Hence that purposiveness of nature for our
cognitive faculties and their use, which is plainly apparent
from them, is a transcendental principle of judgements, and
needs therefore also a Transcendental Deduction, by means of
which the ground for so judging must be sought in the sources
of cognition a priori.
We find in the grounds of the possibility of an experience
in the very first place something necessary, viz. the universal
laws without which nature in general (as an object of sense)
cannot be thought; and these rest upon the Categories, applied
to the formal conditions of all intuition possible for us, so far
as it is also given a priori. Now under these laws the
Judgement is determinant, for it has nothing to do but to
subsume under given laws. For example, the Understanding
says that every change has its cause (universal law of nature);
the transcendental Judgement has nothing further to do than to
supply a priori the condition of subsumption under the
concept of the Understanding placed before it, i.e. the
succession [in time] of the determinations of one and the same
thing. For nature in general (as an object of possible
experience) that law is cognised as absolutely necessary.—But
now the objects of empirical cognition are determined in many
other ways than by that formal time-condition, or, at least as
far as we can judge a priori, are determinable. Hence
specifically different natures can be causes in an infinite
variety of ways, as well as in virtue of what they have in
common as belonging to nature in general; and each of these
modes must (in accordance with the concept of a cause in
general) have its rule, which is a law and therefore brings
necessity with it, although we do not at all comprehend this
necessity, in virtue of the constitution and the limitations of
our cognitive faculties. We must therefore think in nature, in
respect of its merely empirical laws, a possibility of infinitely
various empirical laws, which are, as far as our insight goes,
contingent (cannot be cognised a priori), and in respect of
which we judge nature, according to empirical laws and the
possibility of the unity of experience (as a system according to
empirical laws), to be contingent. But such a unity must be
necessarily presupposed and assumed, for otherwise there
would be no thoroughgoing connexion of empirical cognitions
in a whole of experience. The universal laws of nature no
doubt furnish such a connexion of things according to their
kind as things of nature in general, but not specifically, as such
particular beings of nature. Hence the Judgement must assume
for its special use this principle a priori, that what in the
particular (empirical) laws of nature is from the human point
of view contingent, yet contains a unity of law in the
combination of its manifold into an experience possible in
itself—a unity not indeed to be fathomed by us, but yet
thinkable. Consequently as the unity of law in a combination,
which we cognise as contingent in itself, although in
conformity with a necessary design (a need) of Understanding,
is represented as the purposiveness of Objects (here of nature);
so must the Judgement, which in respect of things under
possible (not yet discovered) empirical laws is merely
reflection, think of nature in respect of the latter according to a
principle of purposiveness for our cognitive faculty, which
then is expressed in the above maxims of the Judgement. This
transcendental concept of a purposiveness of nature is neither
a natural concept nor a concept of freedom, because it ascribes
nothing to the Object (of nature), but only represents the
peculiar way in which we must proceed in reflection upon the
objects of nature in reference to a thoroughly connected
experience, and is consequently a subjective principle (maxim)
of the Judgement. Hence, as if it were a lucky chance
favouring our design, we are rejoiced (properly speaking,
relieved of a want), if we meet with such systematic unity
under merely empirical laws; although we must necessarily
assume that there is such a unity without our comprehending it
or being able to prove it.
In order to convince ourselves of the correctness of this
Deduction of the concept before us, and the necessity of
assuming it as a transcendental principle of cognition, just
consider the magnitude of the problem. The problem, which
lies a priori in our Understanding, is to make a connected
experience out of given perceptions of a nature containing at
all events an infinite variety of empirical laws. The
Understanding is, no doubt, in possession a priori of universal
laws of nature, without which nature could not be an object of
experience; but it needs in addition a certain order of nature in
its particular rules, which can only be empirically known and
which are, as regards the Understanding, contingent. These
rules, without which we could not proceed from the universal
analogy of a possible experience in general to the particular,
must be thought by it as laws (i.e. as necessary), for otherwise
they would not constitute an order of nature; although their
necessity can never be cognised or comprehended by it.
Although, therefore, the Understanding can determine nothing
a priori in respect of Objects, it must, in order to trace out
these empirical so-called laws, place at the basis of all
reflection upon Objects an a priori principle, viz. that a
cognisable order of nature is possible in accordance with these
laws. The following propositions express some such principle.
There is in nature a subordination of genera and species
comprehensible by us. Each one approximates to some other
according to a common principle, so that a transition from one
to another and so on to a higher genus may be possible.
Though it seems at the outset unavoidable for our
Understanding to assume different kinds of causality for the
specific differences of natural operations, yet these different
kinds may stand under a small number of principles, with the
investigation of which we have to busy ourselves. This
harmony of nature with our cognitive faculty is presupposed a
priori by the Judgement, on behalf of its reflection upon nature
in accordance with its empirical laws; whilst the
Understanding at the same time cognises it objectively as
contingent, and it is only the Judgement that ascribes it to
nature as a trancendental purposiveness (in relation to the
cognitive faculty of the subject). For without this
presupposition we should have no order of nature in
accordance with empirical laws, and consequently no guiding
thread for an experience ordered by these in all their variety, or
for an investigation of them.
For it might easily be thought that, in spite of all the
uniformity of natural things according to the universal laws,
without which we should not have the form of an empirical
cognition in general, the specific variety of the empirical laws
of nature including their effects might yet be so great, that it
would be impossible for our Understanding, to detect in nature
a comprehensible order; to divide its products into genera and
species, so as to use the principles which explain and make
intelligible one for the explanation and comprehension of
another; or out of such confused material (strictly we should
say, so infinitely various and not to be measured by our faculty
of comprehension) to make a connected experience.
The Judgement has therefore also in itself a principle a
priori of the possibility of nature, but only in a subjective
aspect; by which it prescribes, not to nature (autonomy), but to
itself (heautonomy) a law for its reflection upon nature. This
we might call the law of the specification of nature in respect
of its empirical laws. The Judgement does not cognise this a
priori in nature, but assumes it on behalf of a natural order
cognisable by our Understanding in the division which it
makes of the universal laws of nature when it wishes to
subordinate to these the variety of particular laws. If then we
say that nature specifies its universal laws according to the
principles of purposiveness for our cognitive faculty, i.e. in
accordance with the necessary business of the human
Understanding of finding the universal for the particular which
perception offers it, and again of finding connexion for the
diverse (which however is a universal for each species) in the
unity of a principle,—we thus neither prescribe to nature a
law, nor do we learn one from it by observation (although such
a principle may be confirmed by this means). For it is not a
principle of the determinant but merely of the reflective
Judgement. We only require that, be nature disposed as it may
as regards its universal laws, investigation into its empirical
laws may be carried on in accordance with that principle and
the maxims founded thereon, because it is only so far as that
holds that we can make any progress with the use of our
Understanding in experience, or gain knowledge.

VI. OF THE COMBINATION OF THE

FEELING OF PLEASURE WITH THE
CONCEPT OF THE PURPOSIVENESS
OF NATURE.
The thought harmony of nature in the variety of its
particular laws with our need of finding universality of
principles for it, must be judged as contingent in respect of our
insight, but yet at the same time as indispensable for the needs
of our Understanding, and consequently as a purposiveness by
which nature is harmonised with our design, which, however,
has only knowledge for its aim. The universal laws of the
Understanding, which are at the same time laws of nature, are
just as necessary (although arising from spontaneity) as the
material laws of motion. Their production presupposes no
design on the part of our cognitive faculty, because it is only
by means of them that we, in the first place, attain a concept of
what the cognition of things (of nature) is, and attribute them
necessarily to nature as Object of our cognition in general.
But, so far as we can see, it is contingent that the order of
nature according to its particular laws, in all its variety and
heterogeneity possibly at least transcending our
comprehension, should be actually conformable to these
[laws]. The discovery of this [order] is the business of the
Understanding which is designedly borne towards a necessary
purpose, viz. the bringing of unity of principles into nature,
which purpose then the Judgement must ascribe to nature,
because the Understanding cannot here prescribe any law to it.
The attainment of that design is bound up with the feeling
of pleasure, and since the condition of this attainment is a
representation a priori,—as here a principle for the reflective
Judgement in general,—therefore the feeling of pleasure is
determined by a ground a priori and valid for every man, and
that merely by the reference of the Object to the cognitive
faculty, the concept of purposiveness here not having the least
reference to the faculty of desire. It is thus quite distinguished
from all practical purposiveness of nature.
In fact, although from the agreement of perceptions with
laws in accordance with universal natural concepts (the
categories), we do not and cannot find in ourselves the
slightest effect upon the feeling of pleasure, because the
Understanding necessarily proceeds according to its nature
without any design; yet, on the other hand, the discovery that
two or more empirical heterogeneous laws of nature may be
combined under one principle comprehending them both, is
the ground of a very marked pleasure, often even of an
admiration, which does not cease, though we may be already
quite familiar with the objects of it. We no longer find, it is
true, any marked pleasure in the comprehensibility of nature
and in the unity of its divisions into genera and species,
whereby are possible all empirical concepts, through which we
cognise it according to its particular laws. But this pleasure has
certainly been present at one time, and it is only because the
commonest experience would be impossible without it that it
is gradually confounded with mere cognition and no longer
arrests particular attention. There is then something in our
judgements upon nature which makes us attentive to its
purposiveness for our Understanding—an endeavour to bring,
where possible, its dissimilar laws under higher ones, though
still always empirical—and thus, if successful, makes us feel
pleasure in that harmony of these with our cognitive faculty,
which harmony we regard as merely contingent. On the other
hand, a representation of nature would altogether displease, by
which it should be foretold to us that in the smallest
investigation beyond the commonest experience we should
meet with a heterogeneity of its laws, which would make the
union of its particular laws under universal empirical laws
impossible for our Understanding. For this would contradict
the principle of the subjectively-purposive specification of
nature in its genera, and also of our reflective Judgement in
respect of such principle.
 This presupposition of the Judgement is, however, at the
same time so indeterminate as to how far that ideal
purposiveness of nature for our cognitive faculty should be
extended, that if we were told that a deeper or wider
knowledge of nature derived from observation must lead at
last to a variety of laws, which no human Understanding could
reduce to a principle, we should at once acquiesce. But still we
more gladly listen to one who offers hope that the more we
know nature internally, and can compare it with external
members now unknown to us, the more simple shall we find it
in its principles, and that the further our experience reaches the
more uniform shall we find it amid the apparent heterogeneity
of its empirical laws. For it is a mandate of our Judgement to
proceed according to the principle of the harmony of nature
with our cognitive faculty so far as that reaches, without
deciding (because it is not the determinant Judgement which
gives us this rule) whether or not it is bounded anywhere. For
although in respect of the rational use of our cognitive faculty
we can determine such bounds, this is not possible in the
empirical field.

VII. OF THE AESTHETICAL

REPRESENTATION OF THE
PURPOSIVENESS OF NATURE.
That which in the representation of an Object is merely
subjective, i.e. which decides its reference to the subject, not
to the object, is its aesthetical character; but that which serves
or can be used for the determination of the object (for
cognition), is its logical validity. In the cognition of an object
of sense both references present themselves. In the sense-
representation of external things the quality of space wherein
we intuite them is the merely subjective [element] of my
representation (by which it remains undecided what they may
be in themselves as Objects), on account of which reference
the object is thought thereby merely as phenomenon. But
space, notwithstanding its merely subjective quality, is at the
same time an ingredient in the cognition of things as
phenomena. Sensation, again (i.e. external sensation),
expresses the merely subjective [element] of our
representations of external things, but it is also the proper
material (reale) of them (by which something existing is
given), just as space is the mere form a priori of the possibility
of their intuition. Nevertheless, however, sensation is also
employed in the cognition of external Objects.
But the subjective [element] in a representation which
cannot be an ingredient of cognition, is the pleasure or pain
which is bound up with it; for through it I cognise nothing in
the object of the representation, although it may be the effect
of some cognition. Now the purposiveness of a thing, so far as
it is represented in perception, is no characteristic of the
Object itself (for such cannot be perceived), although it may
be inferred from a cognition of things. The purposiveness,
therefore, which precedes the cognition of an Object, and
which, even without our wishing to use the representation of it
for cognition, is, at the same time, immediately bound up with
it, is that subjective [element] which cannot be an ingredient in
cognition. Hence the object is only called purposive, when its
representation is immediately combined with the feeling of
pleasure; and this very representation is an aesthetical
representation of purposiveness.—The only question is
whether there is, in general, such a representation of
purposiveness.
If pleasure is bound up with the mere apprehension
(apprehensio) of the form of an object of intuition, without
reference to a concept for a definite cognition, then the
representation is thereby not referred to the Object, but simply
to the subject; and the pleasure can express nothing else than
its harmony with the cognitive faculties which come into play
in the reflective Judgement, and so far as they are in play; and
hence can only express a subjective formal purposiveness of
the Object. For that apprehension of forms in the Imagination
can never take place without the reflective Judgement, though
undesignedly, at least comparing them with its faculty of
referring intuitions to concepts. If now in this comparison the
Imagination (as the faculty of a priori intuitions) is placed by
means of a given representation undesignedly in agreement
with the Understanding, as the faculty of concepts, and thus a
feeling of pleasure is aroused, the object must then be regarded
as purposive for the reflective Judgement. Such a judgement is
an aesthetical judgement upon the purposiveness of the Object,
which does not base itself upon any present concept of the
object, nor does it furnish any such. In the case of an object
whose form (not the matter of its representation, as sensation),
in the mere reflection upon it (without reference to any
concept to be obtained of it), is judged as the ground of a
pleasure in the representation of such an Object, this pleasure
is judged as bound up with the representation necessarily; and,
consequently, not only for the subject which apprehends this
form, but for every judging being in general. The object is then
called beautiful; and the faculty of judging by means of such a
pleasure (and, consequently, with universal validity) is called
Taste. For since the ground of the pleasure is placed merely in
the form of the object for reflection in general—and,
consequently, in no sensation of the object, and also without
reference to any concept which anywhere involves design—it
is only the conformity to law in the empirical use of the
Judgement in general (unity of the Imagination with the
Understanding) in the subject, with which the representation of
the Object in reflection, whose conditions are universally valid
a priori, harmonises. And since this harmony of the object
with the faculties of the subject is contingent, it brings about
the representation of its purposiveness in respect of the
cognitive faculties of the subject.
Here now is a pleasure, which, like all pleasure or pain
that is not produced through the concept of freedom (i.e.
through the preceding determination of the higher faculties of
desire by pure Reason), can never be comprehended from
concepts, as necessarily bound up with the representation of an
object. It must always be cognised as combined with this only
by means of reflective perception; and, consequently, like all
empirical judgements, it can declare no objective necessity and
lay claim to no a priori validity. But the judgement of taste
also claims, as every other empirical judgement does, to be
valid for every one; and in spite of its inner contingency this is
always possible. The strange and irregular thing is that it is not
an empirical concept, but a feeling of pleasure (consequently
not a concept at all), which by the judgement of taste is
attributed to every one,—just as if it were a predicate bound
up with the cognition of the Object—and which is connected
with the representation thereof.
A singular judgement of experience, e.g., when we
perceive a moveable drop of water in an ice-crystal, may justly
claim that every one else should find it the same; because we
have formed this judgement, according to the universal
conditions of the determinant faculty of Judgement, under the
laws of a possible experience in general. Just in the same way
he who feels pleasure in the mere reflection upon the form of
an object without respect to any concept, although this
judgement be empirical and singular, justly claims the
agreement of every one; because the ground of this pleasure is
found in the universal, although subjective, condition of
reflective judgements, viz., the purposive harmony of an
object (whether a product of nature or of art) with the mutual
relations of the cognitive faculties (the Imagination and the
Understanding), a harmony which is requisite for every
empirical cognition. The pleasure, therefore, in the judgement
of taste is dependent on an empirical representation, and
cannot be bound up a priori with any concept (we cannot
determine a priori what object is or is not according to taste;
that we must find out by experiment). But the pleasure is the
determining ground of this judgement only because we are
conscious that it rests merely on reflection and on the
universal though only subjective conditions of the harmony of
that reflection with the cognition of Objects in general, for
which the form of the Object is purposive.
Thus the reason why judgements of taste according to
their possibility are subjected to a Critique is that they
presuppose a principle a priori, although this principle is
neither one of cognition for the Understanding nor of practice
for the Will, and therefore is not in any way determinant a
priori.
Susceptibility to pleasure from reflection upon the forms
of things (of Nature as well as of Art), indicates not only a
purposiveness of the Objects in relation to the reflective
Judgement, conformably to the concept of nature in the
subject; but also conversely a purposiveness of the subject in
respect of the objects according to their form or even their
formlessness, in virtue of the concept of freedom. Hence the
aesthetical judgement is not only related as a judgement of
taste to the beautiful, but also as springing from a spiritual
feeling is related to the sublime; and thus the Critique of the
aesthetical Judgement must be divided into two corresponding
sections.

VIII. OF THE LOGICAL

REPRESENTATION OF THE
PURPOSIVENESS OF NATURE
Purposiveness may be represented in an object given in
experience on a merely subjective ground, as the harmony of
its form,—in the apprehension (apprehensio) of it prior to any
concept,—with the cognitive faculties, in order to unite the
intuition with concepts for a cognition generally. Or it may be
represented objectively as the harmony of the form of the
object with the possibility of the thing itself, according to a
concept of it which precedes and contains the ground of this
form. We have seen that the representation of purposiveness of
the first kind rests on the immediate pleasure in the form of the
object in the mere reflection upon it. But the representation of
purposiveness of the second kind, since it refers the form of
the Object, not to the cognitive faculties of the subject in the
apprehension of it, but to a definite cognition of the object
under a given concept, has nothing to do with a feeling of
pleasure in things, but only with the Understanding in its
judgement upon them. If the concept of an object is given, the
business of the Judgement in the use of the concept for
cognition consists in presentation (exhibitio), i.e. in setting a
corresponding intuition beside the concept. This may take
place either through our own Imagination, as in Art when we
realise a preconceived concept of an object which is a purpose
of ours; or through Nature in its Technic (as in organised
bodies) when we supply to it our concept of its purpose in
order to judge of its products. In the latter case it is not merely
the purposiveness of nature in the form of the thing that is
represented, but this its product is represented as a natural
purpose.—Although our concept of a subjective purposiveness
of nature in its forms according to empirical laws is not a
concept of the Object, but only a principle of the Judgement
for furnishing itself with concepts amid the immense variety of
nature (and thus being able to ascertain its own position), yet
we thus ascribe to nature as it were a regard to our cognitive
faculty according to the analogy of purpose. Thus we can
regard natural beauty as the presentation of the concept of the
formal (merely subjective) purposiveness, and natural
purposes as the presentation of the concept of a real
(objective) purposiveness. The former of these we judge of by
Taste (aesthetically, by the medium of the feeling of pleasure),
the latter by Understanding and Reason (logically, according
to concepts).
On this is based the division of the Critique of Judgement
into the Critique of aesthetical and of teleological Judgement.
By the first we understand the faculty of judging of the formal
purposiveness (otherwise called subjective) of Nature by
means of the feeling of pleasure or pain; by the second the
faculty of judging its real (objective) purposiveness by means
of Understanding and Reason.
In a Critique of Judgement the part containing the
aesthetical Judgement is essential, because this alone contains
a principle which the Judgement places quite a priori at the
basis of its reflection upon nature; viz., the principle of a
formal purposiveness of nature, according to its particular
(empirical) laws, for our cognitive faculty, without which the
Understanding could not find itself in nature. On the other
hand no reason a priori could be specified,—and even the
possibility of a reason would not be apparent from the concept
of nature as an object of experience whether general or
particular,—why there should be objective purposes of nature,
i.e. things which are only possible as natural purposes; but the
Judgement, without containing such a principle a priori in
itself, in given cases (of certain products), in order to make use
of the concept of purposes on behalf of Reason, would only
contain the rule according to which that transcendental
principle has already prepared the Understanding to apply to
nature the concept of a purpose (at least as regards its form).
But the transcendental principle which represents a
purposiveness of nature (in subjective reference to our
cognitive faculty) in the form of a thing as a principle by
which we judge of nature, leaves it quite undetermined where
and in what cases I have to judge of a product according to a
principle of purposiveness, and not rather according to
universal natural laws. It leaves it to the aesthetical Judgement
to decide by taste the harmony of this product (of its form)
with our cognitive faculty (so far as this decision rests not on
any agreement with concepts but on feeling). On the other
hand, the Judgement teleologically employed furnishes
conditions determinately under which something (e.g. an
organised body) is to be judged according to the Idea of a
purpose of nature; but it can adduce no fundamental
proposition from the concept of nature as an object of
experience authorising it to ascribe to nature a priori a
reference to purposes, or even indeterminately to assume this
of such products in actual experience. The reason of this is that
we must have many particular experiences, and consider them
under the unity of their principle, in order to be able to
cognise, even empirically, objective purposiveness in a certain
object.—The aesthetical Judgement is therefore a special
faculty for judging of things according to a rule, but not
according to concepts. The teleological Judgement is not a
special faculty, but only the reflective Judgement in general, so
far as it proceeds, as it always does in theoretical cognition,
according to concepts; but in respect of certain objects of
nature according to special principles, viz., of a merely
reflective Judgement, and not of a Judgement that determines
Objects. Thus as regards its application it belongs to the
theoretical part of Philosophy; and on account of its special
principles which are not determinant, as they must be in
Doctrine, it must constitute a special part of the Critique. On
the other hand, the aesthetical Judgement contributes nothing
towards the knowledge of its objects, and thus must be
reckoned as belonging to the criticism of the judging subject
and its cognitive faculties, only so far as they are susceptible
of a priori principles, of whatever other use (theoretical or
practical) they may be. This is the propaedeutic of all
Philosophy.

IX. OF THE CONNEXION OF THE

LEGISLATION OF UNDERSTANDING
WITH THAT OF REASON BY MEANS
OF THE JUDGEMENT
The Understanding legislates a priori for nature as an
Object of sense—for a theoretical knowledge of it in a
possible experience. Reason legislates a priori for freedom
and its peculiar casuality; as the supersensible in the subject,
for an unconditioned practical knowledge. The realm of the
natural concept under the one legislation and that of the
concept of freedom under the other are entirely removed from
all mutual influence which they might have on one another
(each according to its fundamental laws) by the great gulf that
separates the supersensible from phenomena. The concept of
freedom determines nothing in respect of the theoretical
cognition of nature; and the natural concept determines
nothing in respect of the practical laws of freedom. So far then
it is not possible to throw a bridge from the one realm to the
other. But although the determining grounds of causality
according to the concept of freedom (and the practical rules
which it contains) are not resident in nature, and the sensible
cannot determine the supersensible in the subject, yet this is
possible conversely (not, to be sure, in respect of the cognition
of nature, but as regards the effects of the supersensible upon
the sensible). This in fact is involved in the concept of a
causality through freedom, the effect of which is to take place
in the world according to its formal laws. The word cause, of
course, when used of the supersensible only signifies the
ground which determines the causality of natural things to an
effect in accordance with their proper natural laws, although
harmoniously with the formal principle of the laws of Reason.
Although the possibility of this cannot be comprehended, yet
the objection of a contradiction alleged to be found in it can be
 10
sufficiently answered. —The effect in accordance with the
concept of freedom is the final purpose which (or its
phenomenon in the world of sense) ought to exist; and the
condition of the possibility of this is presupposed in nature (in
the nature of the subject as a sensible being, that is, as man).
The Judgement presupposes this a priori and without
reference to the practical; and thus furnishes the mediating
concept between the concepts of nature and that of freedom. It
makes possible the transition from the conformity to law in
accordance with the former to the final purpose in accordance
with the latter, and this by the concept of a purposiveness of
nature. For thus is cognised the possibility of the final purpose
which alone can be actualised in nature in harmony with its
laws.
The Understanding by the possibility of its a priori laws
for nature, gives a proof that nature is only cognised by us as
phenomenon; and implies at the same time that it has a
supersensible substrate, though it leaves this quite
undetermined. The Judgement by its a priori principle for the
judging of nature according to its possible particular laws,
makes the supersensible substrate (both in us and without us)
determinable by means of the intellectual faculty. But the
Reason by its practical a priori law determines it; and thus the
Judgement makes possible the transition from the realm of the
concept of nature to that of the concept of freedom.
As regards the faculties of the soul in general, in their
higher aspect, as containing an autonomy; the Understanding
is that which contains the constitutive principles a priori for
the cognitive faculty (the theoretical cognition of nature). For
the feeling of pleasure and pain there is the Judgement,
independently of concepts and sensations which relate to the
determination of the faculty of desire and can thus be
immediately practical. For the faculty of desire there is the
Reason which is practical without the mediation of any
pleasure whatever. It determines for the faculty of desire, as a
superior faculty, the final purpose which carries with it the
pure intellectual satisfaction in the Object.—The concept
formed by Judgement of a purposiveness of nature belongs to
natural concepts, but only as a regulative principle of the
cognitive faculty; although the aesthetical judgement upon
certain objects (of Nature or Art) which occasions it is, in
respect of the feeling of pleasure or pain, a constitutive
principle. The spontaneity in the play of the cognitive
faculties, the harmony of which contains the ground of this
pleasure, makes the above concept [of the purposiveness of
nature] fit to be the mediating link between the realm of the
natural concept and that of the concept of freedom in its
effects; whilst at the same time it promotes the sensibility of
the mind for moral feeling.—The following table may
facilitate the review of all the higher faculties according to
11
their systematic unity.

All the faculties of the mind

Cognitive faculties. Faculties of desire.
Feeling of pleasure and pain.
Cognitive faculties
Understanding. Judgement. Reason.
A priori principles
Conformity to law. Purposiveness. Final purpose.
Application to
Nature. Art. Freedom.
THE CRITIQUE OF
JUDGEMENT
 PART I

CRITIQUE OF THE AESTHETICAL

JUDGEMENT
 FIRST DIVISION
ANALYTIC OF THE AESTHETICAL
JUDGEMENT

FIRST BOOK
ANALYTIC OF THE BEAUTIFUL
 FIRST MOMENT
12
OF THE JUDGEMENT OF TASTE ACCORDING TO
QUALITY

§ 1. The judgement of taste is aesthetical

In order to decide whether anything is beautiful or not, we

refer the representation, not by the Understanding to the
Object for cognition but, by the Imagination (perhaps in
conjunction with the Understanding) to the subject, and its
feeling of pleasure or pain. The judgement of taste is therefore
not a judgement of cognition, and is consequently not logical
but aesthetical, by which we understand that whose
determining ground can be no other than subjective. Every
reference of representations, even that of sensations, may be
objective (and then it signifies the real in an empirical
representation); save only the reference to the feeling of
pleasure and pain, by which nothing in the Object is signified,
but through which there is a feeling in the subject, as it is
affected by the representation.
To apprehend a regular, purposive building by means of
one’s cognitive faculty (whether in a clear or a confused way
of representation) is something quite different from being
conscious of this representation as connected with the
sensation of satisfaction. Here the representation is altogether
referred to the subject and to its feeling of life, under the name
of the feeling of pleasure or pain. This establishes a quite
separate faculty of distinction and of judgement, adding
nothing to cognition, but only comparing the given
representation in the subject with the whole faculty of
representations, of which the mind is conscious in the feeling
of its state. Given representations in a judgement can be
empirical (consequently, aesthetical); but the judgement which
is formed by means of them is logical, provided they are
referred in the judgement to the Object. Conversely, if the
given representations are rational, but are referred in a
judgement simply to the subject (to its feeling), the judgement
is so far always aesthetical.

§ 2. The satisfaction which determines the judgement of taste

is disinterested

The satisfaction which we combine with the

representation of the existence of an object is called interest.
Such satisfaction always has reference to the faculty of desire,
either as its determining ground or as necessarily connected
with its determining ground. Now when the question is if a
thing is beautiful, we do not want to know whether anything
depends or can depend on the existence of the thing either for
myself or for any one else, but how we judge it by mere
observation (intuition or reflection). If any one asks me if I
find that palace beautiful which I see before me, I may answer:
I do not like things of that kind which are made merely to be
stared at. Or I can answer like that Iroquois sachem who was
pleased in Paris by nothing more than by the cook-shops. Or
again after the manner of Rousseau I may rebuke the vanity of
the great who waste the sweat of the people on such
superfluous things. In fine I could easily convince myself that
if I found myself on an uninhabited island without the hope of
ever again coming among men, and could conjure up just such
a splendid building by my mere wish, I should not even give
myself the trouble if I had a sufficiently comfortable hut. This
may all be admitted and approved; but we are not now talking
of this. We wish only to know if this mere representation of
the object is accompanied in me with satisfaction, however
indifferent I may be as regards the existence of the object of
this representation. We easily see that in saying it is beautiful
and in showing that I have taste, I am concerned, not with that
in which I depend on the existence of the object, but with that
which I make out of this representation in myself. Every one
must admit that a judgement about beauty, in which the least
interest mingles, is very partial and is not a pure judgement of
taste. We must not be in the least prejudiced in favour of the
existence of the things, but be quite indifferent in this respect,
in order to play the judge in things of taste.
 We cannot, however, better elucidate this proposition,
which is of capital importance, than by contrasting the pure
13
disinterested satisfaction in judgements of taste, with that
which is bound up with an interest, especially if we can at the
same time be certain that there are no other kinds of interest
than those which are now to be specified.

§ 3. The satisfaction in the PLEASANT is bound up with

interest

That which pleases the senses in sensation is PLEASANT.

Here the opportunity presents itself of censuring a very
common confusion of the double sense which the word
sensation can have, and of calling attention to it. All
satisfaction (it is said or thought) is itself sensation (of a
pleasure). Consequently everything that pleases is pleasant
because it pleases (and according to its different degrees or its
relations to other pleasant sensations it is agreeable, lovely,
delightful, enjoyable, etc.). But if this be admitted, then
impressions of Sense which determine the inclination,
fundamental propositions of Reason which determine the Will,
mere reflective forms of intuition which determine the
Judgement, are quite the same, as regards the effect upon the
feeling of pleasure. For this would be pleasantness in the
sensation of one’s state, and since in the end all the operations
of our faculties must issue in the practical and unite in it as
their goal, we could suppose no other way of estimating things
and their worth than that which consists in the gratification
that they promise. It is of no consequence at all how this is
attained, and since then the choice of means alone could make
a difference, men could indeed blame one another for stupidity
and indiscretion, but never for baseness and wickedness. For
all, each according to his own way of seeing things, seek one
goal, that is, gratification.
If a determination of the feeling of pleasure or pain is
called sensation, this expression signifies something quite
different from what I mean when I call the representation of a
thing (by sense, as a receptivity belonging to the cognitive
faculty) sensation. For in the latter case the representation is
referred to the Object, in the former simply to the subject, and
is available for no cognition whatever, not even for that by
which the subject cognises itself.
In the above elucidation we understand by the word
sensation, an objective representation of sense; and in order to
avoid misinterpretation, we shall call that, which must always
remain merely subjective and can constitute absolutely no
representation of an object, by the ordinary term “feeling.”
The green colour of the meadows belongs to objective
sensation, as a perception of an object of sense; the
pleasantness of this belongs to subjective sensation by which
no object is represented, i.e. to feeling, by which the object is
considered as an Object of satisfaction (which does not furnish
a cognition of it).
Now that a judgement about an object, by which I
describe it as pleasant, expresses an interest in it, is plain from
the fact that by sensation it excites a desire for objects of that
kind; consequently the satisfaction presupposes not the mere
judgement about it, but the relation of its existence to my state,
so far as this is affected by such an Object. Hence we do not
merely say of the pleasant, it pleases; but, it gratifies. I give to
it no mere approval, but inclination is aroused by it; and in the
case of what is pleasant in the most lively fashion, there is no
judgement at all upon the character of the Object, for those
who always lay themselves out only for enjoyment (for that is
the word describing intense gratification) would fain dispense
with all judgement.

§ 4. The satisfaction in the GOOD is bound up with interest

Whatever by means of Reason pleases through the mere

concept is GOOD. That which pleases only as a means we call
good for something (the useful); but that which pleases for
itself is good in itself. In both there is always involved the
concept of a purpose, and consequently the relation of Reason
to the (at least possible) volition, and thus a satisfaction in the
presence of an Object or an action, i.e. some kind of interest.
 In order to find anything good, I must always know what
sort of a thing the object ought to be, i.e. I must have a concept
of it. But there is no need of this, to find a thing beautiful.
Flowers, free delineations, outlines intertwined with one
another without design and called foliage, have no meaning,
depend on no definite concept, and yet they please. The
satisfaction in the beautiful must depend on the reflection upon
an object, leading to any concept (however indefinite); and it
is thus distinguished from the pleasant which rests entirely
upon sensation.
It is true, the Pleasant seems in many cases to be the same
as the Good. Thus people are accustomed to say that all
gratification (especially if it lasts) is good in itself; which is
very much the same as to say that lasting pleasure and the
good are the same. But we can soon see that this is merely a
confusion of words; for the concepts which properly belong to
these expressions can in no way be interchanged. The pleasant,
which, as such, represents the object simply in relation to
Sense, must first be brought by the concept of a purpose under
principles of Reason, in order to call it good, as an object of
the Will. But that there is [involved] a quite different relation
to satisfaction in calling that which gratifies at the same time
good, may be seen from the fact that in the case of the good
the question always is, whether it is mediately or immediately
good (useful or good in itself); but on the contrary in the case
of the pleasant there can be no question about this at all, for
the word always signifies something which pleases
immediately. (The same is applicable to what I call beautiful.)
Even in common speech men distinguish the Pleasant
from the Good. Of a dish which stimulates the taste by spices
and other condiments we say unhesitatingly that it is pleasant,
though it is at the same time admitted not to be good; for
though it immediately delights the senses, yet mediately, i.e.
considered by Reason which looks to the after results, it
displeases. Even in the judging of health we may notice this
distinction. It is immediately pleasant to every one possessing
it (at least negatively, i.e. as the absence of all bodily pains).
But in order to say that it is good, it must be considered by
Reason with reference to purposes; viz. that it is a state which
makes us fit for all our business. Finally in respect of
happiness every one believes himself entitled to describe the
greatest sum of the pleasantnesses of life (as regards both their
number and their duration) as a true, even as the highest, good.
However Reason is opposed to this. Pleasantness is
enjoyment. And if we were concerned with this alone, it would
be foolish to be scrupulous as regards the means which
procure it for us, or [to care] whether it is obtained passively
by the bounty of nature or by our own activity and work. But
Reason can never be persuaded that the existence of a man
who merely lives for enjoyment (however busy he may be in
this point of view), has a worth in itself; even if he at the same
time is conducive as a means to the best enjoyment of others,
and shares in all their gratifications by sympathy. Only what
he does, without reference to enjoyment, in full freedom and
independently of what nature can procure for him passively,
14
gives an [absolute ] worth to his being, as the existence of a
person; and happiness, with the whole abundance of its
15
pleasures, is far from being an unconditioned good.
However, notwithstanding all this difference between the
pleasant and the good, they both agree in this that they are
always bound up with an interest in their object. [This is true]
not only of the pleasant(§ 3), and the mediate good (the useful)
which is pleasing as a means towards pleasantness somewhere,
but also of that which is good absolutely and in every aspect,
viz. moral good, which brings with it the highest interest. For
the good is the Object of will (i.e. of a faculty of desire
determined by Reason). But to will something, and to have a
satisfaction in its existence, i.e. to take an interest in it, are
identical.

§ 5. Comparison of the three specifically different kinds of

satisfaction

The pleasant and the good have both a reference to the

faculty of desire; and they bring with them—the former a
satisfaction pathologically conditioned (by impulses, stimuli)
—the latter a pure practical satisfaction, which is determined
not merely by the representation of the object, but also by the
represented connexion of the subject with the existence of the
object. [It is not merely the object that pleases, but also its
16
existence. ] On the other hand, the judgement of taste is
merely contemplative; i.e. it is a judgement which, indifferent
as regards the being of an object, compares its character with
the feeling of pleasure and pain. But this contemplation itself
is not directed to concepts; for the judgement of taste is not a
cognitive judgement (either theoretical or practical), and thus
is not based on concepts, nor has it concepts as its purpose.
The Pleasant, the Beautiful, and the Good, designate then,
three different relations of representations to the feeling of
pleasure and pain, in reference to which we distinguish from
each other objects or methods of representing them. And the
expressions corresponding to each, by which we mark our
complacency in them, are not the same. That which GRATIFIES
a man is called pleasant; that which merely PLEASES him is
17
beautiful; that which is ESTEEMED [or approved ] by him, i.e.
that to which he accords an objective worth, is good.
Pleasantness concerns irrational animals also; but Beauty only
concerns men, i.e. animal, but still rational, beings—not
merely quâ rational (e.g. spirits), but quâ animal also; and the
Good concerns every rational being in general. This is a
proposition which can only be completely established and
explained in the sequel. We may say that of all these three
kinds of satisfaction, that of taste in the Beautiful is alone a
disinterested and free satisfaction; for no interest, either of
Sense or of Reason, here forces our assent. Hence we may say
of satisfaction that it is related in the three aforesaid cases to
inclination, to favour, or to respect. Now favour is the only
free satisfaction. An object of inclination, and one that is
proposed to our desire by a law of Reason, leave us no
freedom in forming for ourselves anywhere an object of
pleasure. All interest presupposes or generates a want; and, as
the determining ground of assent, it leaves the judgement
about the object no longer free.
As regards the interest of inclination in the case of the
Pleasant, every one says that hunger is the best sauce, and
everything that is eatable is relished by people with a healthy
appetite; and thus a satisfaction of this sort does not indicate
choice directed by taste. It is only when the want is appeased
that we can distinguish which of many men has or has not
taste. In the same way there may be manners (conduct)
without virtue, politeness without goodwill, decorum without
modesty, etc. For where the moral law speaks there is no
longer, objectively, a free choice as regards what is to be done;
and to display taste in its fulfilment (or in judging of another’s
fulfilment of it) is something quite different from manifesting
the moral attitude of thought. For this involves a command and
generates a want, whilst moral taste only plays with the objects
of satisfaction, without attaching itself to one of them.

EXPLANATION OF THE BEAUTIFUL RESULTING

FROM THE FIRST MOMENT

Taste is the faculty of judging of an object or a method of

representing it by an entirely disinterested satisfaction or
dissatisfaction. The object of such satisfaction is called
18
beautiful.
 SECOND MOMENT
OF THE JUDGEMENT OF TASTE, VIZ. ACCORDING
TO QUANTITY

§ 6. The beautiful is that which apart from concepts is

represented as the object of a universal satisfaction

This explanation of the beautiful can be derived from the

preceding explanation of it as the object of an entirely
disinterested satisfaction. For the fact of which every one is
conscious, that the satisfaction is for him quite disinterested,
implies in his judgement a ground of satisfaction for every
one. For since it does not rest on any inclination of the subject
(nor upon any other premeditated interest), but since he who
judges feels himself quite free as regards the satisfaction
which he attaches to the object, he cannot find the ground of
this satisfaction in any private conditions connected with his
own subject; and hence it must be regarded as grounded on
what he can presuppose in every other man. Consequently he
must believe that he has reason for attributing a similar
satisfaction to every one. He will therefore speak of the
beautiful, as if beauty were a characteristic of the object and
the judgement logical (constituting a cognition of the Object
by means of concepts of it); although it is only aesthetical and
involves merely a reference of the representation of the object
to the subject. For it has this similarity to a logical judgement
that we can presuppose its validity for every one. But this
universality cannot arise from concepts; for from concepts
there is no transition to the feeling of pleasure or pain (except
in pure practical laws, which bring an interest with them such
as is not bound up with the pure judgement of taste).
Consequently the judgement of taste, accompanied with the
consciousness of separation from all interest, must claim
validity for every one, without this universality depending on
Objects. That is, there must be bound up with it a title to
subjective universality.
 § 7. Comparison of the Beautiful with the Pleasant and the
Good by means of the above characteristic

As regards the Pleasant every one is content that his

judgement, which he bases upon private feeling, and by which
he says of an object that it pleases him, should be limited
merely to his own person. Thus he is quite contented that if he
says “Canary wine is pleasant,” another man may correct his
expression and remind him that he ought to say “It is pleasant
to me.” And this is the case not only as regards the taste of the
tongue, the palate, and the throat, but for whatever is pleasant
to any one’s eyes and ears. To one violet colour is soft and
lovely, to another it is faded and dead. One man likes the tone
of wind instruments, another that of strings. To strive here
with the design of reproving as incorrect another man’s
judgement which is different from our own, as if the
judgements were logically opposed, would be folly. As regards
the pleasant therefore the fundamental proposition is valid,
every one has his own taste (the taste of Sense).
The case is quite different with the Beautiful. It would (on
the contrary) be laughable if a man who imagined anything to
his own taste, thought to justify himself by saying: “This
object (the house we see, the coat that person wears, the
concert we hear, the poem submitted to our judgement) is
beautiful for me.” For he must not call it beautiful if it merely
pleases himself. Many things may have for him charm and
pleasantness; no one troubles himself at that; but if he gives
out anything as beautiful, he supposes in others the same
satisfaction—he judges not merely for himself, but for every
one, and speaks of beauty as if it were a property of things.
Hence he says “the thing is beautiful”; and he does not count
on the agreement of others with this his judgement of
satisfaction, because he has found this agreement several times
before, but he demands it of them. He blames them if they
judge otherwise and he denies them taste, which he
nevertheless requires from them. Here then we cannot say that
each man has his own particular taste. For this would be as
much as to say that there is no taste whatever; i.e. no
aesthetical judgement, which can make a rightful claim upon
every one’s assent.
 At the same time we find as regards the Pleasant that there
is an agreement among men in their judgements upon it, in
regard to which we deny Taste to some and attribute it to
others; by this not meaning one of our organic senses, but a
faculty of judging in respect of the pleasant generally. Thus we
say of a man who knows how to entertain his guests with
pleasures (of enjoyment for all the senses), so that they are all
pleased, “he has taste.” But here the universality is only taken
comparatively; and there emerge rules which are only general
(like all empirical ones), and not universal; which latter the
judgement of Taste upon the beautiful undertakes or lays claim
to. It is a judgement in reference to sociability, so far as this
rests on empirical rules. In respect of the Good it is true that
judgements make rightful claim to validity for every one; but
the Good is represented only by means of a concept as the
Object of a universal satisfaction, which is the case neither
with the Pleasant nor with the Beautiful.

§ 8. The universality of the satisfaction is represented in a

judgement of Taste only as subjective

This particular determination of the universality of an

aesthetical judgement, which is to be met with in a judgement
of taste, is noteworthy, not indeed for the logician, but for the
transcendental philosopher. It requires no small trouble to
discover its origin, but we thus detect a property of our
cognitive faculty which without this analysis would remain
unknown.
First, we must be fully convinced of the fact that in a
judgement of taste (about the Beautiful) the satisfaction in the
object is imputed to every one, without being based on a
concept (for then it would be the Good). Further, this claim to
universal validity so essentially belongs to a judgement by
which we describe anything as beautiful, that if this were not
thought in it, it would never come into our thoughts to use the
expression at all, but everything which pleases without a
concept would be counted as pleasant. In respect of the latter
every one has his own opinion; and no one assumes, in
another, agreement with his judgement of taste, which is
always the case in a judgement of taste about beauty. I may
call the first the taste of Sense, the second the taste of
Reflection; so far as the first lays down mere private
judgements, and the second judgements supposed to be
generally valid (public), but in both cases aesthetical (not
practical) judgements about an object merely in respect of the
relation of its representation to the feeling of pleasure and
pain. Now here is something strange. As regards the taste of
Sense not only does experience show that its judgement (of
pleasure or pain connected with anything) is not valid
universally, but every one is content not to impute agreement
with it to others (although actually there is often found a very
extended concurrence in these judgements). On the other hand,
the taste of Reflection has its claim to the universal validity of
its judgements (about the beautiful) rejected often enough, as
experience teaches; although it may find it possible (as it
actually does) to represent judgements which can demand this
universal agreement. In fact for each of its judgements of taste
it imputes this to every one, without the persons that judge
disputing as to the possibility of such a claim; although in
particular cases they cannot agree as to the correct application
of this faculty.
Here we must, in the first place, remark that a universality
which does not rest on concepts of Objects (not even on
empirical ones) is not logical but aesthetical, i.e. it involves no
objective quantity of the judgement but only that which is
subjective. For this I use the expression general validity which
signifies the validity of the reference of a representation, not to
the cognitive faculty but, to the feeling of pleasure and pain
for every subject. (We can avail ourselves also of the same
expression for the logical quantity of the judgement, if only we
prefix objective to “universal validity,” to distinguish it from
that which is merely subjective and aesthetical.)
A judgement with objective universal validity is also
always valid subjectively; i.e. if the judgement holds for
everything contained under a given concept, it holds also for
every one who represents an object by means of this concept.
But from a subjective universal validity, i.e. aesthetical and
resting on no concept, we cannot infer that which is logical;
because that kind of judgement does not extend to the Object.
Hence the aesthetical universality which is ascribed to a
judgement must be of a particular kind, because it does not
unite the predicate of beauty with the concept of the Object,
considered in its whole logical sphere, and yet extends it to the
whole sphere of judging persons.
In respect of logical quantity all judgements of taste are
singular judgements. For because I must refer the object
immediately to my feeling of pleasure and pain, and that not
by means of concepts, they cannot have the quantity of
objective generally valid judgements. Nevertheless if the
singular representation of the Object of the judgement of taste
in accordance with the conditions determining the latter, were
transformed by comparison into a concept, a logically
universal judgement could result therefrom. E.g. I describe by
a judgement of taste the rose, that I see, as beautiful. But the
judgement which results from the comparison of several
singular judgements, “Roses in general are beautiful” is no
longer described simply as aesthetical, but as a logical
judgement based on an aesthetical one. Again the judgement
“The rose is pleasant” (to smell) is, although aesthetical and
singular, not a judgement of Taste but of Sense. It is
distinguished from the former by the fact that the judgement of
Taste carries with it an aesthetical quantity of universality, i.e.
of validity for every one; which cannot be found in a
judgement about the Pleasant. It is only judgements about the
Good which—although they also determine satisfaction in an
object,—have logical and not merely aesthetical universality;
for they are valid of the Object, as cognitive of it, and thus are
valid for every one.
If we judge Objects merely according to concepts, then all
representation of beauty is lost. Thus there can be no rule
according to which any one is to be forced to recognise
anything as beautiful. We cannot press [upon others] by the aid
of any reasons or fundamental propositions our judgement that
a coat, a house, or a flower is beautiful. We wish to submit the
Object to our own eyes, as if the satisfaction in it depended on
sensation; and yet if we then call the object beautiful, we
believe that we speak with a universal voice, and we claim the
assent of every one, although on the contrary all private
sensation can only decide for the observer himself and his
satisfaction.
We may see now that in the judgement of taste nothing is
postulated but such a universal voice, in respect of the
satisfaction without the intervention of concepts; and thus the
possibility of an aesthetical judgement that can, at the same
time, be regarded as valid for every one. The judgement of
taste itself does not postulate the agreement of every one (for
that can only be done by a logically universal judgement
because it can adduce reasons); it only imputes this agreement
to every one, as a case of the rule in respect of which it
expects, not confirmation by concepts, but assent from others.
The universal voice is, therefore, only an Idea (we do not yet
inquire upon what it rests). It may be uncertain whether or not
the man, who believes that he is laying down a judgement of
taste, is, as a matter of fact, judging in conformity with that
Idea; but that he refers his judgement thereto, and,
consequently, that it is intended to be a judgement of taste, he
announces by the expression “beauty.” He can be quite certain
of this for himself by the mere consciousness of the separation
of everything belonging to the Pleasant and the Good from the
satisfaction which is left; and this is all for which he promises
himself the agreement of every one—a claim which would be
justifiable under these conditions, provided only he did not
often make mistakes, and thus lay down an erroneous
judgement of taste.

§ 9. Investigation of the question whether in the judgement

of taste the feeling of pleasure precedes or follows the
judging of the object

The solution of this question is the key to the Critique of

Taste, and so is worthy of all attention.
If the pleasure in the given object precedes, and it is only
its universal communicability that is to be acknowledged in
the judgement of taste about the representation of the object,
there would be a contradiction. For such pleasure would be
nothing different from the mere pleasantness in the sensation,
and so in accordance with its nature could have only private
validity, because it is immediately dependent on the
representation through which the object is given.
Hence, it is the universal capability of communication of
the mental state in the given representation which, as the
subjective condition of the judgement of taste, must be
fundamental, and must have the pleasure in the object as its
consequent. But nothing can be universally communicated
except cognition and representation, so far as it belongs to
cognition. For it is only thus that this latter can be objective;
and only through this has it a universal point of reference, with
which the representative power of every one is compelled to
harmonise. If the determining ground of our judgement as to
this universal communicability of the representation is to be
merely subjective, i.e. is conceived independently of any
concept of the object, it can be nothing else than the state of
mind, which is to be met with in the relation of our
representative powers to each other, so far as they refer a given
representation to cognition in general.
The cognitive powers, which are involved by this
representation, are here in free play, because no definite
19
concept limits them to a particular rule of cognition. Hence,
the state of mind in this representation must be a feeling of the
free play of the representative powers in a given representation
with reference to a cognition in general. Now a representation
by which an object is given, that is to become a cognition in
general, requires Imagination, for the gathering together the
manifold of intuition, and Understanding, for the unity of the
concept uniting the representations. This state of free play of
the cognitive faculties in a representation by which an object is
given, must be universally communicable; because cognition,
as the determination of the Object with which given
representations (in whatever subject) are to agree, is the only
kind of representation which is valid for every one.
The subjective universal communicability of the mode of
representation in a judgement of taste, since it is to be possible
without presupposing a definite concept, can refer to nothing
else than the state of mind in the free play of the Imagination
and the Understanding (so far as they agree with each other, as
is requisite for cognition in general). We are conscious that
this subjective relation, suitable for cognition in general, must
be valid for every one, and thus must be universally
communicable, just as if it were a definite cognition, resting
always on that relation as its subjective condition.
This merely subjective (aesthetical) judging of the object,
or of the representation by which it is given, precedes the
pleasure in it, and is the ground of this pleasure in the harmony
of the cognitive faculties; but on the universality of the
subjective conditions for judging of objects is alone based the
universal subjective validity of the satisfaction bound up by us
with the representation of the object that we call beautiful.
The power of communicating one’s state of mind, even
though only in respect of the cognitive faculties, carries a
pleasure with it, as we can easily show from the natural
propension of man towards sociability (empirical and
psychological). But this is not enough for our design. The
pleasure that we feel is, in a judgement of taste, necessarily
imputed by us to every one else; as if, when we call a thing
beautiful, it is to be regarded as a characteristic of the object
which is determined in it according to concepts; though
beauty, without a reference to the feeling of the subject, is
nothing by itself. But we must reserve the examination of this
question until we have answered another, viz. “If and how
aesthetical judgements are possible a priori?”
We now occupy ourselves with the easier question, in
what way we are conscious of a mutual subjective harmony of
the cognitive powers with one another in the judgement of
taste; is it aesthetically by mere internal sense and sensation?
or is it intellectually by the consciousness of our designed
activity, by which we bring them into play?
If the given representation, which occasions the
judgement of taste, were a concept uniting Understanding and
Imagination in the judging of the object, into a cognition of the
Object, the consciousness of this relation would be intellectual
(as in the objective schematism of the Judgement of which the
20
Critique treats). But then the judgement would not be laid
down in reference to pleasure and pain, and consequently
would not be a judgement of taste. But the judgement of taste,
independently of concepts, determines the Object in respect of
satisfaction and of the predicate of beauty. Therefore that
subjective unity of relation can only make itself known by
means of sensation. The excitement of both faculties
(Imagination and Understanding) to indeterminate, but yet,
through the stimulus of the given sensation, harmonious
activity, viz. that which belongs to cognition in general, is the
sensation whose universal communicability is postulated by
the judgement of taste. An objective relation can only be
thought, but yet, so far as it is subjective according to its
conditions, can be felt in its effect on the mind; and, of a
relation based on no concept (like the relation of the
representative powers to a cognitive faculty in general), no
other consciousness is possible than that through the sensation
of the effect, which consists in the more lively play of both
mental powers (the Imagination and the Understanding) when
animated by mutual agreement. A representation which, as
singular and apart from comparison with others, yet has an
agreement with the conditions of universality which it is the
business of the Understanding to supply, brings the cognitive
faculties into that proportionate accord which we require for
all cognition, and so regard as holding for every one who is
determined to judge by means of Understanding and Sense in
combination (i.e. for every man).

EXPLANATION OF THE BEAUTIFUL RESULTING FROM THE SECOND

MOMENT

The beautiful is that which pleases universally, without a

concept.
 THIRD MOMENT
OF JUDGEMENTS OF TASTE, ACCORDING TO THE
RELATION OF THE PURPOSES WHICH ARE
BROUGHT INTO CONSIDERATION THEREIN.

§ 10. Of purposiveness in general

If we wish to explain what a purpose is according to its

transcendental determinations (without presupposing anything
empirical like the feeling of pleasure) [we say that] the
purpose is the object of a concept, in so far as the concept is
regarded as the cause of the object (the real ground of its
possibility); and the causality of a concept in respect of its
Object is its purposiveness (forma finalis). Where then not
merely the cognition of an object, but the object itself (its form
and existence) is thought as an effect only possible by means
of the concept of this latter, there we think a purpose. The
representation of the effect is here the determining ground of
its cause and precedes it. The consciousness of the causality of
a representation, for maintaining the subject in the same state,
may here generally denote what we call pleasure; while on the
other hand pain is that representation which contains the
ground of the determination of the state of representations into
21
their opposite [of restraining or removing them ].
The faculty of desire, so far as it is determinable only
through concepts, i.e. to act in conformity with the
representation of a purpose, would be the Will. But an Object,
or a state of mind, or even an action, is called purposive,
although its possibility does not necessarily presuppose the
representation of a purpose, merely because its possibility can
be explained and conceived by us only so far as we assume for
its ground a causality according to purposes, i.e. a will which
would have so disposed it according to the representation of a
22
certain rule. There can be, then, purposiveness without
purpose, so far as we do not place the causes of this form in a
will, but yet can only make the explanation of its possibility
intelligible to ourselves by deriving it from a will. Again, we
are not always forced to regard what we observe (in respect of
its possibility) from the point of view of Reason. Thus we can
at least observe a purposiveness according to form, without
basing it on a purpose (as the material of the nexus finalis),
and we can notice it in objects, although only by reflection.

§ 11. The judgement of taste has nothing at its basis but the
form of the purposiveness of an object (or of its mode of
representation)

Every purpose, if it be regarded as a ground of

satisfaction, always carries with it an interest—as the
determining ground of the judgement—about the object of
pleasure. Therefore no subjective purpose can lie at the basis
of the judgement of taste. But neither can the judgement of
taste be determined by any representation of an objective
purpose, i.e. of the possibility of the object itself in accordance
with principles of purposive combination, and consequently it
can be determined by no concept of the good; because it is an
aesthetical and not a cognitive judgement. It therefore has to
do with no concept of the character and internal or external
possibility of the object by means of this or that cause, but
merely with the relation of the representative powers to one
another, so far as they are determined by a representation.
Now this relation in the determination of an object as
beautiful is bound up with the feeling of pleasure, which is
declared by the judgement of taste to be valid for every one;
hence a pleasantness, accompanying the representation, can as
little contain the determining ground [of the judgement] as the
representation of the perfection of the object and the concept
of the good can. Therefore it can be nothing else than the
subjective purposiveness in the representation of an object
without any purpose (either objective or subjective); and thus
it is the mere form of purposiveness in the representation by
which an object is given to us, so far as we are conscious of it,
which constitutes the satisfaction that we without a concept
judge to be universally communicable; and, consequently, this
is the determining ground of the judgement of taste.
 § 12. The judgement of taste rests on a priori grounds

To establish a priori the connexion of the feeling of a

pleasure or pain as an effect, with any representation whatever
(sensation or concept) as its cause, is absolutely impossible;
23
for that would be a [particular] causal relation which (with
objects of experience) can always only be cognised a
posteriori, and through the medium of experience itself. We
actually have, indeed, in the Critique of practical Reason,
derived from universal moral concepts a priori the feeling of
respect (as a special and peculiar modification of feeling
which will not strictly correspond either to the pleasure or the
pain that we get from empirical objects). But there we could
go beyond the bounds of experience and call in a causality
which rested on a supersensible attribute of the subject, viz.
freedom. And even there, properly speaking, it was not this
feeling which we derived from the Idea of the moral as cause,
but merely the determination of the will. But the state of mind
which accompanies any determination of the will is in itself a
feeling of pleasure and identical with it, and therefore does not
follow from it as its effect. This last must only be assumed if
the concept of the moral as a good precede the determination
of the will by the law; for in that case the pleasure that is
bound up with the concept could not be derived from it as
from a mere cognition.
Now the case is similar with the pleasure in aesthetical
judgements, only that here it is merely contemplative and does
not bring about an interest in the Object, which on the other
24
hand in the moral judgement it is practical. The
consciousness of the mere formal purposiveness in the play of
the subject’s cognitive powers, in a representation through
which an object is given, is the pleasure itself; because it
contains a determining ground of the activity of the subject in
respect of the excitement of its cognitive powers, and therefore
an inner causality (which is purposive) in respect of cognition
in general without however being limited to any definite
cognition; and consequently contains a mere form of the
subjective purposiveness of a representation in an aesthetical
judgement. This pleasure is in no way practical, neither like
that arising from the pathological ground of pleasantness, nor
that from the intellectual ground of the represented good. But
yet it involves causality, viz. of maintaining the state of the
representation itself, and the exercise of the cognitive powers
without further design. We linger over the contemplation of
the beautiful, because this contemplation strengthens and
reproduces itself, which is analogous to (though not of the
same kind as) that lingering which takes place when a
[physical] charm in the representation of the object repeatedly
arouses the attention, the mind being passive.

§ 13. The pure judgement of taste is independent of charm

and emotion

Every interest spoils the judgement of taste and takes from

its impartiality, especially if the purposiveness is not, as with
the interest of Reason, placed before the feeling of pleasure
but grounded on it. This last always happens in an aesthetical
judgement upon anything so far as it gratifies or grieves us.
Hence judgements so affected can lay no claim at all to a
universally valid satisfaction, or at least so much the less
claim, in proportion as there are sensations of this sort among
the determining grounds of taste. That taste is still barbaric
which needs a mixture of charms and emotions in order that
there may be satisfaction, and still more so if it make these the
measure of its assent.
Nevertheless charms are often not only taken account of
in the case of beauty (which properly speaking ought merely
to be concerned with form) as contributory to the aesthetical
universal satisfaction; but they are passed off as in themselves
beauties, and thus the matter of satisfaction is substituted for
the form. This misconception, however, like so many others
which have something true at their basis, may be removed by a
careful definition of these concepts.
A judgement of taste on which charm and emotion have
no influence (although they may be bound up with the
satisfaction in the beautiful),—which therefore has as its
determining ground merely the purposiveness of the form,—is
a pure judgement of taste.
 § 14. Elucidation by means of examples

Aesthetical judgements can be divided just like theoretical

(logical) judgements into empirical and pure. The first assert
pleasantness or unpleasantness; the second assert the beauty of
an object or of the manner of representing it. The former are
judgements of Sense (material aesthetical judgements); the
25
latter [as formal ] are alone strictly judgements of Taste.
A judgement of taste is therefore pure, only so far as no
merely empirical satisfaction is mingled with its determining
ground. But this always happens if charm or emotion have any
share in the judgement by which anything is to be described as
beautiful.
Now here many objections present themselves, which
fallaciously put forward charm not merely as a necessary
ingredient of beauty, but as alone sufficient [to justify] a
thing’s being called beautiful. A mere colour, e.g. the green of
a grass plot, a mere tone (as distinguished from sound and
noise) like that of a violin, are by most people described as
beautiful in themselves; although both seem to have at their
basis merely the matter of representations, viz. simply
sensation, and therefore only deserve to be called pleasant. But
we must at the same time remark that the sensations of colours
and of tone have a right to be regarded as beautiful only in so
far as they are pure. This is a determination which concerns
their form, and is the only [element] of these representations
which admits with certainty of universal communicability; for
we cannot assume that the quality of sensations is the same in
all subjects, and we can hardly say that the pleasantness of one
colour or the tone of one musical instrument is judged
26
preferable to that of another in the same way by every one.
If we assume with Euler that colours are isochronous
vibrations (pulsus) of the aether, as sounds are of the air in a
state of disturbance, and,—what is most important,—that the
mind not only perceives by sense the effect of these in exciting
the organ, but also perceives by reflection the regular play of
impressions (and thus the form of the combination of different
 27
representations) which I still do not doubt —then colours and
tone cannot be reckoned as mere sensations, but as the formal
determination of the unity of a manifold of sensations, and
thus as beauties in themselves.
But “pure” in a simple mode of sensation means that its
uniformity is troubled and interrupted by no foreign sensation,
and it belongs merely to the form; because here we can
abstract from the quality of that mode of sensation (abstract
from the colours and tone, if any, which it represents). Hence
all simple colours, so far as they are pure, are regarded as
beautiful; composite colours have not this advantage, because,
as they are not simple, we have no standard for judging
whether they should be called pure or not.
But as regards the beauty attributed to the object on
account of its form, to suppose it to be capable of
augmentation through the charm of the object is a common
error, and one very prejudicial to genuine, uncorrupted, well-
founded taste. We can doubtless add these charms to beauty, in
order to interest the mind by the representation of the object,
apart from the bare satisfaction [received]; and thus they may
serve as a recommendation of taste and its cultivation,
especially when it is yet crude and unexercised. But they
actually do injury to the judgement of taste if they draw
attention to themselves as the grounds for judging of beauty.
So far are they from adding to beauty that they must only be
admitted by indulgence as aliens; and provided always that
they do not disturb the beautiful form, in cases when taste is
yet weak and untrained.
In painting, sculpture, and in all the formative arts—in
architecture, and horticulture, so far as they are beautiful arts
—the delineation is the essential thing; and here it is not what
gratifies in sensation but what pleases by means of its form
that is fundamental for taste. The colours which light up the
28
sketch belong to the charm; they may indeed enliven the
object for sensation, but they cannot make it worthy of
contemplation and beautiful. In most cases they are rather
limited by the requirements of the beautiful form; and even
where charm is permissible it is ennobled solely by this.
 Every form of the objects of sense (both of external sense
and also mediately of internal) is either figure or play. In the
latter case it is either play of figures (in space, viz. pantomime
and dancing), or the mere play of sensations (in time). The
charm of colours or of the pleasant tones of an instrument may
be added; but the delineation in the first case and the
composition in the second constitute the proper object of the
pure judgement of taste. To say that the purity of colours and
of tones, or their variety and contrast, seems to add to beauty,
does not mean that they supply a homogeneous addition to our
satisfaction in the form because they are pleasant in
themselves; but they do so, because they make the form more
exactly, definitely, and completely, intuitible, and besides by
29
their charm [excite the representation, whilst they ] awaken
and fix our attention on the object itself.
29
Even what we call ornaments [parerga ], i.e. those things
which do not belong to the complete representation of the
object internally as elements but only externally as
complements, and which augment the satisfaction of taste, do
29
so only by their form; as for example [the frames of pictures,
or] the draperies of statues or the colonnades of palaces. But if
the ornament does not itself consist in beautiful form, and if it
is used as a golden frame is used, merely to recommend the
painting by its charm, it is then called finery and injures
genuine beauty.
Emotion, i.e. a sensation in which pleasantness is
produced by means of a momentary checking and a
consequent more powerful outflow of the vital force, does not
belong at all to beauty. But sublimity [with which the feeling
29
of emotion is bound up ] requires a different standard of
judgement from that which is at the foundation of taste; and
thus a pure judgement of taste has for its determining ground
neither charm nor emotion, in a word, no sensation as the
material of the aesthetical judgement.

§ 15. The judgement of taste is quite independent of the

concept of perfection
 Objective purposiveness can only be cognised by means
of the reference of the manifold to a definite purpose, and
therefore only through a concept. From this alone it is plain
that the Beautiful, the judging of which has at its basis a
merely formal purposiveness, i.e. a purposiveness without
purpose, is quite independent of the concept of the Good;
because the latter presupposes an objective purposiveness, i.e.
the reference of the object to a definite purpose.
Objective purposiveness is either external, i.e. the utility,
or internal, i.e. the perfection of the object. That the
satisfaction in an object, on account of which we call it
beautiful, cannot rest on the representation of its utility, is
sufficiently obvious from the two preceding sections; because
in that case it would not be an immediate satisfaction in the
object, which is the essential condition of a judgement about
beauty. But objective internal purposiveness, i.e. perfection,
comes nearer to the predicate of beauty; and it has been
30
regarded by celebrated philosophers as the same as beauty,
with the proviso, if it is thought in a confused way. It is of the
greatest importance in a Critique of Taste to decide whether
beauty can thus actually be resolved into the concept of
perfection.
To judge of objective purposiveness we always need not
only the concept of a purpose, but (if that purposiveness is not
to be external utility but internal) the concept of an internal
purpose which shall contain the ground of the internal
possibility of the object. Now as a purpose in general is that
whose concept can be regarded as the ground of the possibility
of the object itself; so, in order to represent objective
purposiveness in a thing, the concept of what sort of thing it is
to be must come first. The agreement of the manifold in it with
this concept (which furnishes the rule for combining the
manifold) is the qualitative perfection of the thing. Quite
different from this is quantitative perfection, the completeness
of a thing after its kind, which is a mere concept of magnitude
31
(of totality). In this what the thing ought to be is conceived
as already determined, and it is only asked if it has all its
requisites. The formal [element] in the representation of a
thing, i.e. the agreement of the manifold with a unity (it being
undetermined what this ought to be), gives to cognition no
objective purposiveness whatever. For since abstraction is
made of this unity as purpose (what the thing ought to be),
nothing remains but the subjective purposiveness of the
representations in the mind of the intuiting subject. And this,
although it furnishes a certain purposiveness of the
representative state of the subject, and so a facility of
apprehending a given form by the Imagination, yet furnishes
no perfection of an Object, since the Object is not here
conceived by means of the concept of a purpose. For example,
if in a forest I come across a plot of sward, round which trees
stand in a circle, and do not then represent to myself a
purpose, viz. that it is intended to serve for country dances, not
the least concept of perfection is furnished by the mere form.
But to represent to oneself a formal objective purposiveness
without purpose, i.e. the mere form of a perfection (without
any matter and without the concept of that with which it is
accordant, even if it were merely the Idea of conformity to law
32
in general ) is a veritable contradiction.
Now the judgement of taste is an aesthetical judgement,
i.e. such as rests on subjective grounds, the determining
ground of which cannot be a concept, and consequently cannot
be the concept of a definite purpose. Therefore in beauty,
regarded as a formal subjective purposiveness, there is in no
way thought a perfection of the object, as a would-be formal
purposiveness, which yet is objective. And thus to distinguish
between the concepts of the Beautiful and the Good, as if they
were only different in logical form, the first being a confused,
the second a clear concept of perfection, but identical in
content and origin, is quite fallacious. For then there would be
no specific difference between them, but a judgement of taste
would be as much a cognitive judgement as the judgement by
which a thing is described as good; just as when the ordinary
man says that fraud is unjust he bases his judgement on
confused grounds, whilst the philosopher bases it on clear
grounds, but both on identical principles of Reason. I have
already, however, said that an aesthetical judgement is unique
of its kind, and gives absolutely no cognition (not even a
confused cognition) of the Object; this is only supplied by a
logical judgement. On the contrary, it simply refers the
representation, by which an Object is given, to the subject; and
brings to our notice no characteristic of the object, but only the
purposive form in the determination of the representative
powers which are occupying themselves therewith. The
judgement is called aesthetical just because its determining
ground is not a concept, but the feeling (of internal sense) of
that harmony in the play of the mental powers, so far as it can
be felt in sensation. On the other hand, if we wish to call
confused concepts and the objective judgement based on them,
aesthetical, we shall have an Understanding judging sensibly
or a Sense representing its Objects by means of concepts [both
33
of which are contradictory. ] The faculty of concepts, be they
confused or clear, is the Understanding; and although
Understanding has to do with the judgement of taste, as an
aesthetical judgement (as it has with all judgements), yet it has
to do with it not as a faculty by which an object is cognised,
but as the faculty which determines the judgement and its
representation (without any concept) in accordance with its
relation to the subject and the subject’s internal feeling, in so
far as this judgement may be possible in accordance with a
universal rule.

§ 16. The judgement of taste, by which an object is declared

to be beautiful under the condition of a definite concept, is
not pure

There are two kinds of beauty; free beauty (pulchritudo

vaga) or merely dependent beauty (pulchritudo adhaerens).
The first presupposes no concept of what the object ought to
be; the second does presuppose such a concept and the
perfection of the object in accordance therewith. The first is
called the (self-subsistent) beauty of this or that thing; the
second, as dependent upon a concept (conditioned beauty), is
ascribed to Objects which come under the concept of a
particular purpose.
Flowers are free natural beauties. Hardly any one but a
botanist knows what sort of a thing a flower ought to be; and
even he, though recognising in the flower the reproductive
organ of the plant, pays no regard to this natural purpose if he
is passing judgement on the flower by Taste. There is then at
the basis of this judgement no perfection of any kind, no
internal purposiveness, to which the collection of the manifold
is referred. Many birds (such as the parrot, the humming bird,
the bird of paradise), and many sea shells are beauties in
themselves, which do not belong to any object determined in
respect of its purpose by concepts, but please freely and in
themselves. So also delineations à la grecque, foliage for
borders or wall-papers, mean nothing in themselves; they
represent nothing—no Object under a definite concept,—and
are free beauties. We can refer to the same class what are
called in music phantasies (i.e. pieces without any theme), and
in fact all music without words.
In the judging of a free beauty (according to the mere
form) the judgement of taste is pure. There is presupposed no
concept of any purpose, for which the manifold should serve
the given Object, and which therefore is to be represented
therein. By such a concept the freedom of the Imagination
which disports itself in the contemplation of the figure would
be only limited.
But human beauty (i.e. of a man, a woman, or a child), the
beauty of a horse, or a building (be it church, palace, arsenal,
or summer-house) presupposes a concept of the purpose which
determines what the thing is to be, and consequently a concept
of its perfection; it is therefore adherent beauty. Now as the
combination of the Pleasant (in sensation) with Beauty, which
properly is only concerned with form, is a hindrance to the
purity of the judgement of taste; so also is its purity injured by
the combination with Beauty of the Good (viz. that manifold
which is good for the thing itself in accordance with its
purpose).
We could add much to a building which would
immediately please the eye, if only it were not to be a church.
We could adorn a figure with all kinds of spirals and light but
regular lines, as the New Zealanders do with their tattooing, if
only it were not the figure of a human being. And again this
could have much finer features and a more pleasing and gentle
cast of countenance provided it were not intended to represent
a man, much less a warrior.
Now the satisfaction in the manifold of a thing in
reference to the internal purpose which determines its
possibility is a satisfaction grounded on a concept; but the
satisfaction in beauty is such as presupposes no concept, but is
immediately bound up with the representation through which
the object is given (not through which it is thought). If now the
judgement of Taste in respect of the beauty of a thing is made
dependent on the purpose in its manifold, like a judgement of
Reason, and thus limited, it is no longer a free and pure
judgement of Taste.
It is true that taste gains by this combination of aesthetical
with intellectual satisfaction, inasmuch as it becomes fixed;
and though it is not universal, yet in respect to certain
purposively determined Objects it becomes possible to
prescribe rules for it. These, however, are not rules of taste,
but merely rules for the unification of Taste with Reason, i.e.
of the Beautiful with the Good, by which the former becomes
available as an instrument of design in respect of the latter.
Thus the tone of mind which is self-maintaining and of
subjective universal validity is subordinated to the way of
thinking which can be maintained only by painful resolve, but
is of objective universal validity. Properly speaking, however,
perfection gains nothing by beauty or beauty by perfection;
but, when we compare the representation by which an object is
given to us with the Object (as regards what it ought to be) by
means of a concept, we cannot avoid considering along with it
the sensation in the subject. And thus when both states of mind
are in harmony our whole faculty of representative power
gains.
A judgement of taste, then, in respect of an object with a
definite internal purpose, can only be pure, if either the person
judging has no concept of this purpose, or else abstracts from
it in his judgement. Such a person, although forming an
accurate judgement of taste in judging of the object as free
beauty, would yet by another who considers the beauty in it
only as a dependent attribute (who looks to the purpose of the
object) be blamed, and accused of false taste; although both
are right in their own way, the one in reference to what he has
before his eyes, the other in reference to what he has in his
thought. By means of this distinction we can settle many
disputes about beauty between judges of taste; by showing that
the one is speaking of free, the other of dependent, beauty,—
that the first is making a pure, the second an applied,
judgement of taste.

§ 17. Of the Ideal of beauty

There can be no objective rule of taste which shall

determine by means of concepts what is beautiful. For every
judgement from this source is aesthetical; i.e. the feeling of the
subject, and not a concept of the Object, is its determining
ground. To seek for a principle of taste which shall furnish, by
means of definite concepts, a universal criterion of the
beautiful, is fruitless trouble; because what is sought is
impossible and self-contradictory. The universal
communicability of sensation (satisfaction or dissatisfaction)
without the aid of a concept—the agreement, as far as is
possible, of all times and peoples as regards this feeling in the
representation of certain objects—this is the empirical
criterion, although weak and hardly sufficing for probability,
of the derivation of a taste, thus confirmed by examples, from
the deep-lying grounds of agreement common to all men, in
judging of the forms under which objects are given to them.
Hence, we consider some products of taste as exemplary.
Not that taste can be acquired by imitating others; for it must
be an original faculty. He who imitates a model shows, no
doubt, in so far as he attains to it, skill; but only shows taste in
34
so far as he can judge of this model itself. It follows from
hence that the highest model, the archetype of taste, is a mere
Idea, which every one must produce in himself; and according
to which he must judge every Object of taste, every example
of judgement by taste, and even the taste of every one. Idea
properly means a rational concept, and Ideal the representation
35
of an individual being, regarded as adequate to an Idea.
Hence that archetype of taste, which certainly rests on the
indeterminate Idea that Reason has of a maximum, but which
cannot be represented by concepts, but only in an individual
presentation, is better called the Ideal of the beautiful.
Although we are not in possession of this, we yet strive to
produce it in ourselves. But it can only be an Ideal of the
Imagination, because it rests on a presentation and not on
concepts, and the Imagination is the faculty of presentation.—
How do we arrive at such an Ideal of beauty? A priori, or
empirically? Moreover, what species of the beautiful is
susceptible of an Ideal?
First, it is well to remark that the beauty for which an
Ideal is to be sought cannot be vague beauty, but is fixed by a
concept of objective purposiveness; and thus it cannot
appertain to the Object of a quite pure judgement of taste, but
to that of a judgement of taste which is in part intellectual.
That is, in whatever grounds of judgement an Ideal is to be
found, an Idea of Reason in accordance with definite concepts
must lie at its basis; which determines a priori the purpose on
which the internal possibility of the object rests. An Ideal of
beautiful flowers, of a beautiful piece of furniture, of a
beautiful view, is inconceivable. But neither can an Ideal be
represented of a beauty dependent on definite purposes, e.g. of
a beautiful dwelling-house, a beautiful tree, a beautiful garden,
etc.; presumably because their purpose is not sufficiently
determined and fixed by the concept, and thus the
purposiveness is nearly as free as in the case of vague beauty.
The only being which has the purpose of its existence in itself
is man, who can determine his purposes by Reason; or, where
he must receive them from external perception, yet can
compare them with essential and universal purposes, and can
judge this their accordance aesthetically. This man is, then,
alone of all objects in the world, susceptible of an Ideal of
beauty; as it is only humanity in his person, as an intelligence,
that is susceptible of the Ideal of perfection.
But there are here two elements. First, there is the
aesthetical normal Idea, which is an individual intuition (of
the Imagination), representing the standard of our judgement
[upon man] as a thing belonging to a particular animal species.
Secondly, there is the rational Idea which makes the purposes
of humanity, so far as they cannot be sensibly represented, the
principle for judging of a figure through which, as their
phenomenal effect, those purposes are revealed. The normal
Idea of the figure of an animal of a particular race must take its
elements from experience. But the greatest purposiveness in
the construction of the figure, that would be available for the
universal standard of aesthetical judgement upon each
individual of this species—the image which is as it were
designedly at the basis of nature’s Technic, to which only the
whole race and not any isolated individual is adequate—this
lies merely in the Idea of the judging [subject]. And this, with
its proportions, as an aesthetical Idea, can be completely
presented in concreto in a model. In order to make intelligible
in some measure (for who can extract her whole secret from
nature?) how this comes to pass, we shall attempt a
psychological explanation.
We must remark that, in a way quite incomprehensible by
us, the Imagination can not only recall, on occasion, the signs
for concepts long past, but can also reproduce the image of the
figure of the object out of an unspeakable number of objects of
different kinds or even of the same kind. Further, if the mind is
concerned with comparisons, the Imagination can, in all
probability, actually though unconsciously let one image glide
into another, and thus by the concurrence of several of the
same kind come by an average, which serves as the common
measure of all. Every one has seen a thousand full-grown men.
Now if you wish to judge of their normal size, estimating it by
means of comparison, the Imagination (as I think) allows a
great number of images (perhaps the whole thousand) to fall
on one another. If I am allowed to apply here the analogy of
optical presentation, it is in the space where most of them are
combined and inside the contour, where the place is
illuminated with the most vivid colours, that the average size
is cognisable; which, both in height and breadth, is equally far
removed from the extreme bounds of the greatest and smallest
stature. And this is the stature of a beautiful man. (We could
arrive at the same thing mechanically, by adding together all
thousand magnitudes, heights, breadths, and thicknesses, and
dividing the sum by a thousand. But the Imagination does this
by means of a dynamical effect, which arises from the various
impressions of such figures on the organ of internal sense.) If
now in a similar way for this average man we seek the average
head, for this head the average nose, etc., such figure is at the
basis of the normal Idea in the country where the comparison
is instituted. Thus necessarily under these empirical conditions
a negro must have a different normal Idea of the beauty of the
[human figure] from a white man, a Chinaman a different
normal Idea from a European, etc. And the same is the case
with the model of a beautiful horse or dog (of a certain breed).
—This normal Idea is not derived from proportions got from
experience [and regarded] as definite rules; but in accordance
with it rules for judging become in the first instance possible.
It is the image for the whole race, which floats among all the
variously different intuitions of individuals, which nature takes
as archetype in her productions of the same species, but which
seems not to be fully reached in any individual case. It is by no
means the whole archetype of beauty in the race, but only the
form constituting the indispensable condition of all beauty, and
thus merely correctness in the [mental] presentation of the
36
race. It is, like the celebrated Doryphorus of Polycletus, the
37
rule (Myron’s Cow might also be used thus for its kind). It
can therefore contain nothing specifically characteristic, for
otherwise it would not be the normal Idea for the race. Its
presentation pleases, not by its beauty, but merely because it
contradicts no condition, under which alone a thing of this
38
kind can be beautiful. The presentation is merely correct.
We must yet distinguish the normal Idea of the beautiful
from the Ideal, which latter, on grounds already alleged, we
can only expect in the human figure. In this the Ideal consists
in the expression of the moral, without which the object would
not please universally and thus positively (not merely
negatively in a correct presentation). The visible expression of
moral Ideas that rule men inwardly, can indeed only be got
from experience; but to make its connexion with all which our
Reason unites with the morally good in the Idea of the highest
purposiveness,—goodness of heart, purity, strength, peace,
etc.,—visible as it were in bodily manifestation (as the effect
of that which is internal), requires a union of pure Ideas of
Reason with great imaginative power, even in him who wishes
to judge of it, still more in him who wishes to present it. The
correctness of such an Ideal of beauty is shown by its
permitting no sensible charm to mingle with the satisfaction in
the Object and yet allowing us to take a great interest therein.
This shows that a judgement in accordance with such a
standard can never be purely aesthetical, and that a judgement
in accordance with an Ideal of beauty is not a mere judgement
of taste.

EXPLANATION OF THE BEAUTIFUL DERIVED

FROM THIS THIRD MOMENT

Beauty is the form of the purposiveness of an object, so

far as this is perceived in it without any representation of a
39
purpose.
 FOURTH MOMENT
OF THE JUDGEMENT OF TASTE, ACCORDING TO
THE MODALITY OF THE SATISFACTION IN THE
OBJECT

§ 18. What the modality in a judgement of taste is

I can say of every representation that it is at least possible

that (as a cognition) it should be bound up with a pleasure. Of
a representation that I call pleasant I say that it actually excites
pleasure in me. But the beautiful we think as having a
necessary reference to satisfaction. Now this necessity is of a
peculiar kind. It is not a theoretical objective necessity; in
which case it would be cognised a priori that every one will
feel this satisfaction in the object called beautiful by me. It is
not a practical necessity; in which case, by concepts of a pure
rational will serving as a rule for freely acting beings, the
satisfaction is the necessary result of an objective law and only
indicates that we absolutely (without any further design) ought
to act in a certain way. But the necessity which is thought in an
aesthetical judgement can only be called exemplary; i.e. a
necessity of the assent of all to a judgement which is regarded
as the example of a universal rule that we cannot state. Since
an aesthetical judgement is not an objective cognitive
judgement, this necessity cannot be derived from definite
concepts, and is therefore not apodictic. Still less can it be
inferred from the universality of experience (of a complete
agreement of judgements as to the beauty of a certain object).
For not only would experience hardly furnish sufficiently
numerous vouchers for this; but also, on empirical judgements
we can base no concept of the necessity of these judgements.

§ 19. The subjective necessity, which we ascribe to the

judgement of taste, is conditioned

The judgement of taste requires the agreement of every

one; and he who describes anything as beautiful claims that
every one ought to give his approval to the object in question
and also describe it as beautiful. The ought in the aesthetical
judgement is therefore pronounced in accordance with all the
data which are required for judging and yet is only
conditioned. We ask for the agreement of every one else,
because we have for it a ground that is common to all; and we
could count on this agreement, provided we were always sure
that the case was correctly subsumed under that ground as rule
of assent.

§ 20. The condition of necessity which a judgement of taste

asserts is the Idea of a common sense

If judgements of taste (like cognitive judgements) had a

definite objective principle, then the person who lays them
down in accordance with this latter would claim an
unconditioned necessity for his judgement. If they were devoid
of all principle, like those of the mere taste of sense, we would
not allow them in thought any necessity whatever. Hence they
must have a subjective principle which determines what
pleases or displeases only by feeling and not by concepts, but
yet with universal validity. But such a principle could only be
regarded as a common sense, which is essentially different
from common Understanding which people sometimes call
common Sense (sensus communis); for the latter does not
judge by feeling but always by concepts, although ordinarily
only as by obscurely represented principles.
Hence it is only under the presupposition that there is a
common sense (by which we do not understand an external
sense, but the effect resulting from the free play of our
cognitive powers)—it is only under this presupposition, I say,
that the judgement of taste can be laid down.

§ 21. Have we ground for presupposing a common sense?

Cognitions and judgements must, along with the

conviction that accompanies them, admit of universal
communicability; for otherwise there would be no harmony
between them and the Object, and they would be collectively a
mere subjective play of the representative powers, exactly as
scepticism would have it. But if cognitions are to admit of
communicability, so must also the state of mind,—i.e. the
accordance of the cognitive powers with a cognition generally,
and that proportion of them which is suitable for a
representation (by which an object is given to us) in order that
a cognition may be made out of it—admit of universal
communicability. For without this as the subjective condition
of cognition, knowledge as an effect could not arise. This
actually always takes place when a given object by means of
Sense excites the Imagination to collect the manifold, and the
Imagination in its turn excites the Understanding to bring
about a unity of this collective process in concepts. But this
accordance of the cognitive powers has a different proportion
according to the variety of the Objects which are given.
However, it must be such that this internal relation, by which
one mental faculty is excited by another, shall be generally the
most beneficial for both faculties in respect of cognition (of
given objects); and this accordance can only be determined by
feeling (not according to concepts). Since now this accordance
itself must admit of universal communicability, and
consequently also our feeling of it (in a given representation),
and since the universal communicability of a feeling
presupposes a common sense, we have grounds for assuming
this latter. And this common sense is assumed without relying
on psychological observations, but simply as the necessary
condition of the universal communicability of our knowledge,
which is presupposed in every Logic and in every principle of
knowledge that is not sceptical.

§ 22. The necessity of the universal agreement that is

thought in a judgement of taste is a subjective necessity,
which is represented as objective under the presupposition of
a common sense

In all judgements by which we describe anything as

beautiful, we allow no one to be of another opinion; without
however grounding our judgement on concepts but only on our
feeling, which we therefore place at its basis not as a private,
 40
but as a communal feeling. Now this common sense cannot
be grounded on experience; for it aims at justifying
judgements which contain an ought. It does not say that every
one will agree with my judgement, but that he ought. And so
common sense, as an example of whose judgement I here put
forward my judgement of taste and on account of which I
attribute to the latter an exemplary validity, is a mere ideal
norm, under the supposition of which I have a right to make
into a rule for every one a judgement that accords therewith, as
well as the satisfaction in an Object expressed in such
judgement. For the principle, which concerns the agreement of
different judging persons, although only subjective, is yet
assumed as subjectively universal (an Idea necessary for every
one); and thus can claim universal assent (as if it were
objective) provided we are sure that we have correctly
subsumed [the particulars] under it.
This indeterminate norm of a common sense is actually
presupposed by us; as is shown by our claim to lay down
judgements of taste. Whether there is in fact such a common
sense, as a constitutive principle of the possibility of
experience, or whether a yet higher principle of Reason makes
it only into a regulative principle for producing in us a
common sense for higher purposes: whether therefore Taste is
an original and natural faculty, or only the Idea of an artificial
one yet to be acquired, so that a judgement of taste with its
assumption of a universal assent in fact, is only a requirement
of Reason for producing such harmony of sentiment; whether
the “ought,” i.e. the objective necessity of the confluence of
the feeling of any one man with that of every other, only
signifies the possibility of arriving at this accord, and the
judgement of taste only affords an example of the application
of this principle: these questions we have neither the wish nor
the power to investigate as yet; we have now only to resolve
the faculty of taste into its elements in order to unite them at
last in the Idea of a common sense.

EXPLANATION OF THE BEAUTIFUL RESULTING

FROM THE FOURTH MOMENT
 The beautiful is that which without any concept is
cognised as the object of a necessary satisfaction.

GENERAL REMARK ON THE FIRST SECTION

OF THE ANALYTIC

If we seek the result of the preceding analysis we find that

everything runs up into this concept of Taste, that it is a faculty
for judging an object in reference to the Imagination’s free
conformity to law. Now if in the judgement of taste the
Imagination must be considered in its freedom, it is in the first
place not regarded as reproductive, as it is subject to the laws
of association, but as productive and spontaneous (as the
author of arbitrary forms of possible intuition). And although
in the apprehension of a given object of sense it is tied to a
definite form of this Object, and so far has no free play (such
as that of poetry) yet it may readily be conceived that the
object can furnish it with such a form containing a collection
of the manifold, as the Imagination itself, if it were left free,
would project in accordance with the conformity to law of the
Understanding in general. But that the imaginative power
should be free and yet of itself conformed to law, i.e. bringing
autonomy with it, is a contradiction. The Understanding alone
gives the law. If, however, the Imagination is compelled to
proceed according to a definite law, its product in respect of
form is determined by concepts as to what it ought to be. But
then, as is above shown, the satisfaction is not that in the
Beautiful, but in the Good (in perfection, at any rate in mere
formal perfection); and the judgement is not a judgement of
taste. Hence it is a conformity to law without a law; and a
subjective agreement of the Imagination and Understanding,—
without such an objective agreement as there is when the
representation is referred to a definite concept of an object,—
can subsist along with the free conformity to law of the
Understanding (which is also called purposiveness without
purpose) and with the peculiar feature of a judgement of taste.
Now geometrically regular figures, such as a circle, a
square, a cube, etc., are commonly adduced by critics of taste
as the simplest and most indisputable examples of beauty; and
yet they are called regular, because we can only represent
them by regarding them as mere presentations of a definite
concept which prescribes the rule for the figure (according to
which alone it is possible). One of these two must be wrong,
either that judgement of the critic which ascribes beauty to the
said figures, or ours, which regards purposiveness apart from a
concept as requisite for beauty.
Hardly any one will say that a man must have taste in
order that he should find more satisfaction in a circle than in a
scrawled outline, in an equilateral and equiangular
quadrilateral than in one which is oblique, irregular, and as it
were deformed, for this belongs to the ordinary Understanding
and is not Taste at all. Where, e.g. our design is to judge of the
size of an area, or to make intelligible the relation of the parts
of it, when divided, to one another and to the whole, then
regular figures and those of the simplest kind are needed, and
the satisfaction does not rest immediately on the aspect of the
figure, but on its availability for all kinds of possible designs.
A room whose walls form oblique angles, or a parterre of this
kind, even every violation of symmetry in the figure of
animals (e.g. being one-eyed), of buildings, or of flower beds,
displeases, because it contradicts the purpose of the thing, not
only practically in respect of a definite use of it, but also when
we pass judgement on it as regards any possible design. This is
not the case in the judgement of taste, which when pure
combines satisfaction or dissatisfaction,—without any
reference to its use or to a purpose,—with the mere
consideration of the object.
The regularity which leads to the concept of an object is
indeed the indispensable condition (conditio sine qua non) for
grasping the object in a single representation and determining
the manifold in its form. This determination is a purpose in
respect of cognition, and in reference to this it is always bound
up with satisfaction (which accompanies the execution of
every, even problematical, design). There is here, however,
merely the approval of the solution satisfying a problem, and
not a free and indefinite purposive entertainment of the mental
powers with what we call beautiful, where the Understanding
is at the service of Imagination and not vice versa.
 In a thing that is only possible by means of design,—a
building, or even an animal,—the regularity consisting in
symmetry must express the unity of the intuition that
accompanies the concept of purpose, and this regularity
belongs to cognition. But where only a free play of the
representative powers (under the condition, however, that the
Understanding is to suffer no shock thereby) is to be kept up,
in pleasure gardens, room decorations, all kinds of tasteful
furniture, etc., regularity that shows constraint is avoided as
much as possible. Thus in the English taste in gardens, or in
bizarre taste in furniture, the freedom of the Imagination is
pushed almost near to the grotesque, and in this separation
from every constraint of rule we have the case, where taste can
display its greatest perfection in the enterprises of the
Imagination.
All stiff regularity (such as approximates to mathematical
regularity) has something in it repugnant to taste; for our
entertainment in the contemplation of it lasts for no length of
time, but it rather, in so far as it has not expressly in view
cognition or a definite practical purpose, produces weariness.
On the other hand that with which Imagination can play in an
unstudied and purposive manner is always new to us, and one
does not get tired of looking at it. Marsden in his description
of Sumatra makes the remark that the free beauties of nature
surround the spectator everywhere and thus lose their
41
attraction for him. On the other hand a pepper-garden, where
the stakes on which this plant twines itself form parallel rows,
had much attractiveness for him, if he met with it in the middle
of a forest. And hence he infers that wild beauty, apparently
irregular, only pleases as a variation from the regular beauty of
which one has seen enough. But he need only have made the
experiment of spending one day in a pepper-garden, to have
been convinced that, once the Understanding, by the aid of this
regularity, has put itself in accord with the order that it always
needs, the object will not entertain for long,—nay rather it will
impose a burdensome constraint upon the Imagination. On the
other hand, nature, which there is prodigal in its variety even
to luxuriance, that is subjected to no constraint of artificial
rules, can supply constant food for taste.—Even the song of
birds, which we can bring under no musical rule, seems to
have more freedom, and therefore more for taste, than a song
of a human being which is produced in accordance with all the
rules of music; for we very much sooner weary of the latter, if
it is repeated often and at length. Here, however, we probably
confuse our participation in the mirth of a little creature that
we love, with the beauty of its song; for if this were exactly
imitated by man (as sometimes the notes of the nightingale
42
are) it would seem to our ear quite devoid of taste.
Again, beautiful objects are to be distinguished from
beautiful views of objects (which often on account of their
distance cannot be clearly recognised). In the latter case taste
appears not so much in what the Imagination apprehends in
this field, as in the impulse it thus gets to fiction, i.e. in the
peculiar fancies with which the mind entertains itself, whilst it
is continually being aroused by the variety which strikes the
eye. An illustration is afforded, e.g. by the sight of the
changing shapes of a fire on the hearth or of a rippling brook;
neither of these has beauty, but they bring with them a charm
for the Imagination, because they entertain it in free play.
 SECOND BOOK

ANALYTIC OF THE
SUBLIME
§ 23. Transition from the faculty which judges of the
Beautiful to that which judges of the Sublime

The Beautiful and the Sublime agree in this, that both

please in themselves. Further, neither presupposes a judgement
of sense nor a judgement logically determined, but a
judgement of reflection. Consequently the satisfaction
[belonging to them] does not depend on a sensation, as in the
case of the Pleasant, nor on a definite concept, as in the case of
the Good; but it is nevertheless referred to concepts although
indeterminate ones. And so the satisfaction is connected with
the mere presentation [of the object] or with the faculty of
presentation; so that in the case of a given intuition this faculty
or the Imagination is considered as in agreement with the
faculty of concepts of Understanding or Reason (in its
furtherance of these latter). Hence both kinds of judgements
are singular, and yet announce themselves as universally valid
for every subject; although they lay claim merely to the feeling
of pleasure and not to any knowledge of the object.
But there are also remarkable differences between the two.
The Beautiful in nature is connected with the form of the
object, which consists in having boundaries. The Sublime, on
the other hand, is to be found in a formless object, so far as in
it or by occasion of it boundlessness is represented, and yet its
totality is also present to thought. Thus the Beautiful seems to
be regarded as the presentation of an indefinite concept of
Understanding; the Sublime as that of a like concept of
Reason. Therefore the satisfaction in the one case is bound up
with the representation of quality, in the other with that of
quantity. And the latter satisfaction is quite different in kind
 43
from the former, for this [the Beautiful ] directly brings with
it a feeling of the furtherance of life, and thus is compatible
with charms and with the play of the Imagination. But the
43
other [the feeling of the Sublime ] is a pleasure that arises
only indirectly; viz. it is produced by the feeling of a
momentary checking of the vital powers and a consequent
stronger outflow of them, so that it seems to be regarded as
emotion,—not play, but earnest in the exercise of the
Imagination.—Hence it is incompatible with charms; and as
the mind is not merely attracted by the object but is ever being
alternately repelled, the satisfaction in the sublime does not so
much involve a positive pleasure as admiration or respect,
which rather deserves to be called negative pleasure.
But the inner and most important distinction between the
Sublime and Beautiful is, certainly, as follows. (Here, as we
are entitled to do, we only bring under consideration in the
first instance the sublime in natural Objects; for the sublime of
Art is always limited by the conditions of agreement with
Nature.) Natural beauty (which is self-subsisting) brings with
it a purposiveness in its form by which the object seems to be,
as it were, pre-adapted to our Judgement, and thus constitutes
in itself an object of satisfaction. On the other hand, that which
excites in us, without any reasoning about it, but in the mere
apprehension of it, the feeling of the sublime, may appear as
regards its form to violate purpose in respect of the Judgement,
to be unsuited to our presentative faculty, and, as it were, to do
violence to the Imagination; and yet it is judged to be only the
more sublime.
Now from this we may see that in general we express
ourselves incorrectly if we call any object of nature sublime,
although we can quite correctly call many objects of nature
beautiful. For how can that be marked by an expression of
approval, which is apprehended in itself as being a violation of
purpose? All that we can say is that the object is fit for the
presentation of a sublimity which can be found in the mind;
for no sensible form can contain the sublime properly so-
called. This concerns only Ideas of the Reason, which,
although no adequate presentation is possible for them, by this
inadequacy that admits of sensible presentation, are aroused
and summoned into the mind. Thus the wide ocean, agitated
by the storm, cannot be called sublime. Its aspect is horrible;
and the mind must be already filled with manifold Ideas if it is
to be determined by such an intuition to a feeling itself
sublime, as it is incited to abandon sensibility and to busy
itself with Ideas that involve higher purposiveness.
Self-subsisting natural beauty discovers to us a Technic of
nature, which represents it as a system in accordance with
laws, the principle of which we do not find in the whole of our
faculty of Understanding. That principle is the principle of
purposiveness, in respect of the use of our Judgement in regard
to phenomena; [which requires] that these must not be judged
as merely belonging to nature in its purposeless mechanism,
but also as belonging to something analogous to art. It,
therefore, actually extends, not indeed our cognition of natural
Objects, but our concept of nature; [which is now not
regarded] as mere mechanism but as art. This leads to
profound investigations as to the possibility of such a form.
But in what we are accustomed to call sublime there is nothing
at all that leads to particular objective principles and forms of
nature corresponding to them; so far from it that for the most
part nature excites the Ideas of the sublime in its chaos or in its
wildest and most irregular disorder and desolation, provided
size and might are perceived. Hence, we see that the concept
of the Sublime is not nearly so important or rich in
consequences as the concept of the Beautiful; and that in
general it displays nothing purposive in nature itself, but only
in that possible use of our intuitions of it by which there is
produced in us a feeling of a purposiveness quite independent
of nature. We must seek a ground external to ourselves for the
Beautiful of nature; but seek it for the Sublime merely in
ourselves and in our attitude of thought which introduces
sublimity into the representation of nature. This is a very
needful preliminary remark, which quite separates the Ideas of
the sublime from that of a purposiveness of nature, and makes
the theory of the sublime a mere appendix to the aesthetical
judging of that purposiveness; because by means of it no
particular form is represented in nature, but there is only
developed a purposive use which the Imagination makes of its
representation.

§ 24. Of the divisions of an investigation into the feeling of

the sublime

As regards the division of the moments of the aesthetical

judging of objects in reference to the feeling of the sublime,
the Analytic can proceed according to the same principle as
was adapted in the analysis of judgements of taste. For as an
act of the aesthetical reflective Judgement, the satisfaction in
the Sublime must be represented just as in the case of the
Beautiful,—according to quantity as universally valid,
according to quality as devoid of interest, according to relation
as subjective purposiveness, and according to modality as
necessary. And so the method here will not diverge from that
of the preceding section; unless, indeed, we count it a
difference that in the case where the aesthetical Judgement is
concerned with the form of the Object we began with the
investigation of its quality, but here, in view of the
formlessness which may belong to what we call sublime, we
shall begin with quantity, as the first moment of the aesthetical
judgement as to the sublime. The reason for this may be seen
from the preceding paragraph.
But the analysis of the Sublime involves a division not
needed in the case of the Beautiful, viz. a division into the
mathematically and the dynamically sublime.
For the feeling of the Sublime brings with it as its
characteristic feature a movement of the mind bound up with
the judging of the object, while in the case of the Beautiful
taste presupposes and maintains the mind in restful
contemplation. Now this movement ought to be judged as
subjectively purposive (because the sublime pleases us), and
thus it is referred through the Imagination either to the faculty
of cognition or of desire. In either reference the purposiveness
of the given representation ought to be judged only in respect
of this faculty (without purpose or interest); but in the first
case it is ascribed to the Object as a mathematical
determination of the Imagination, in the second as dynamical.
And hence we have this twofold way of representing the
sublime.

A.—OF THE MATHEMATICALLY SUBLIME

§ 25. Explanation of the term “sublime”

We call that sublime which is absolutely great. But to be

great, and to be a great something are quite different concepts
(magnitudo and quantitas). In like manner to say simply
(simpliciter) that anything is great is quite different from
saying that it is absolutely great (absolute, non comparative
magnum). The latter is what is great beyond all comparison.—
What now is meant by the expression that anything is great or
small or of medium size? It is not a pure concept of
Understanding that is thus signified; still less is it an intuition
of Sense, and just as little is it a concept of Reason, because it
brings with it no principle of cognition. It must therefore be a
concept of Judgement or derived from one; and a subjective
purposiveness of the representation in reference to the
Judgement must lie at its basis. That anything is a magnitude
(quantum) may be cognised from the thing itself, without any
comparison of it with other things; viz. if there is a multiplicity
of the homogeneous constituting one thing. But to cognise
how great it is always requires some other magnitude as a
measure. But because the judging of magnitude depends not
merely on multiplicity (number), but also on the magnitude of
the unit (the measure), and since, to judge of the magnitude of
this latter again requires another as measure with which it may
be compared, we see that the determination of the magnitude
of phenomena can supply no absolute concept whatever of
magnitude, but only a comparative one.
If now I say simply that anything is great, it appears that I
have no comparison in view, at least none with an objective
measure; because it is thus not determined at all how great the
object is. But although the standard of comparison is merely
subjective, yet the judgement none the less claims universal
assent; “this man is beautiful,” and “he is tall,” are judgements
not limited merely to the judging subject, but, like theoretical
judgements, demanding the assent of every one.
In a judgement by which anything is designated simply as
great, it is not merely meant that the object has a magnitude,
but that this magnitude is superior to that of many other
objects of the same kind, without, however, any exact
determination of this superiority. Thus there is always at the
basis of our judgement a standard which we assume as the
same for every one; this, however, is not available for any
logical (mathematically definite) judging of magnitude, but
only for aesthetical judging of the same, because it is a merely
subjective standard lying at the basis of the reflective
judgement upon magnitude. It may be empirical, as, e.g. the
average size of the men known to us, of animals of a certain
kind, trees, houses, mountains, etc. Or it may be a standard
given a priori, which through the defects of the judging
subject is limited by the subjective conditions of presentation
in concreto; as, e.g. in the practical sphere, the greatness of a
certain virtue, or of the public liberty and justice in a country;
or, in the theoretical sphere, the greatness of the accuracy or
the inaccuracy of an observation or measurement that has been
made, etc.
Here it is remarkable that, although we have no interest
whatever in an Object,—i.e. its existence is indifferent to us,—
yet its mere size, even if it is considered as formless, may
bring a satisfaction with it that is universally communicable,
and that consequently involves the consciousness of a
subjective purposiveness in the use of our cognitive faculty.
This is not indeed a satisfaction in the Object (because it may
be formless), as in the case of the Beautiful, in which the
reflective Judgement finds itself purposively determined in
reference to cognition in general; but [a satisfaction] in the
extension of the Imagination by itself.
If (under the above limitation) we say simply of an object
“it is great,” this is no mathematically definite judgement but a
mere judgement of reflection upon the representation of it,
which is subjectively purposive for a certain use of our
cognitive powers in the estimation of magnitude; and we
always then bind up with the representation a kind of respect,
as also a kind of contempt for what we simply call “small.”
Further, the judging of things as great or small extends to
everything, even to all their characteristics; thus we describe
beauty as great or small. The reason of this is to be sought in
the fact that whatever we present in intuition according to the
precept of the Judgement (and thus represent aesthetically) is
always a phenomenon and thus a quantum.
But if we call anything not only great, but absolutely great
in every point of view (great beyond all comparison), i.e.
sublime, we soon see that it is not permissible to seek for an
adequate standard of this outside itself, but merely in itself. It
is a magnitude which is like itself alone. It follows hence that
the sublime is not to be sought in the things of nature, but only
in our Ideas; but in which of them it lies must be reserved for
the Deduction.
The foregoing explanation can be thus expressed: the
sublime is that in comparison with which everything else is
small. Here we easily see that nothing can be given in nature,
however great it is judged by us to be, which could not if
considered in another relation be reduced to the infinitely
small; and conversely there is nothing so small, which does
not admit of extension by our Imagination to the greatness of a
world, if compared with still smaller standards. Telescopes
have furnished us with abundant material for making the first
remark, microscopes for the second. Nothing, therefore, which
can be an object of the senses, is, considered on this basis, to
be called sublime. But because there is in our Imagination a
striving towards infinite progress, and in our Reason a claim
for absolute totality, regarded as a real Idea, therefore this very
inadequateness for that Idea in our faculty for estimating the
magnitude of things of sense, excites in us the feeling of a
supersensible faculty. And it is not the object of sense, but the
use which the Judgement naturally makes of certain objects on
behalf of this latter feeling, that is absolutely great; and in
comparison every other use is small. Consequently it is the
state of mind produced by a certain representation with which
the reflective Judgement is occupied, and not the Object, that
is to be called sublime.
 We may therefore append to the preceding formulas
explaining the sublime this other: the sublime is that, the mere
ability to think which, shows a faculty of the mind surpassing
every standard of Sense.

§ 26. Of that estimation of the magnitude of natural things

which is requisite for the Idea of the Sublime

The estimation of magnitude by means of concepts of

number (or their signs in Algebra) is mathematical; but that in
mere intuition (by the measurement of the eye) is aesthetical.
Now we can come by definite concepts of how great a thing is,
44
[only] by numbers, of which the unit is the measure (at all
events by series of numbers progressing to infinity); and so far
all logical estimation of magnitude is mathematical. But since
the magnitude of the measure must then be assumed known,
and this again is only to be estimated mathematically by
means of numbers,—the unit of which must be another
[smaller] measure,—we can never have a first or fundamental
measure, and therefore can never have a definite concept of a
given magnitude. So the estimation of the magnitude of the
fundamental measure must consist in this, that we can
immediately apprehend it in intuition and use it by the
Imagination for the presentation of concepts of number. That
is, all estimation of the magnitude of the objects of nature is in
the end aesthetical (i.e. subjectively and not objectively
determined).
Now for the mathematical estimation of magnitude there
is, indeed, no maximum (for the power of numbers extends to
infinity); but for its aesthetical estimation there is always a
maximum, and of this I say that if it is judged as the absolute
measure than which no greater is possible subjectively (for the
judging subject), it brings with it the Idea of the sublime and
produces that emotion which no mathematical estimation of its
magnitude by means of numbers can bring about (except so far
as the aesthetical fundamental measure remains vividly in the
Imagination). For the former only presents relative magnitude
by means of comparison with others of the same kind; but the
latter presents magnitude absolutely, so far as the mind can
grasp it in an intuition.
In receiving a quantum into the Imagination by intuition,
in order to be able to use it for a measure or as a unit for the
estimation of magnitude by means of numbers, there are two
operations of the Imagination involved: apprehension
(apprehensio) and comprehension (comprehensio aesthetica).
As to apprehension there is no difficulty, for it can go on ad
infinitum; but comprehension becomes harder the further
apprehension advances, and soon attains to its maximum, viz.
the aesthetically greatest fundamental measure for the
estimation of magnitude. For when apprehension has gone so
far that the partial representations of sensuous intuition at first
apprehended begin to vanish in the Imagination, whilst this
ever proceeds to the apprehension of others, then it loses as
much on the one side as it gains on the other; and in
comprehension there is a maximum beyond which it cannot
go.
45
Hence can be explained what Savary remarks in his
account of Egypt, viz. that we must keep from going very near
the Pyramids just as much as we keep from going too far from
them, in order to get the full emotional effect from their size.
For if we are too far away, the parts to be apprehended (the
stones lying one over the other) are only obscurely
represented, and the representation of them produces no effect
upon the aesthetical judgement of the subject. But if we are
very near, the eye requires some time to complete the
apprehension of the tiers from the bottom up to the apex; and
then the first tiers are always partly forgotten before the
Imagination has taken in the last, and so the comprehension of
them is never complete.—The same thing may sufficiently
explain the bewilderment or, as it were, perplexity which, it is
said, seizes the spectator on his first entrance into St. Peter’s at
Rome. For there is here a feeling of the inadequacy of his
Imagination for presenting the Ideas of a whole, wherein the
Imagination reaches its maximum, and, in striving to surpass
it, sinks back into itself, by which, however, a kind of
emotional satisfaction is produced.
 I do not wish to speak as yet of the ground of this
satisfaction, which is bound up with a representation from
which we should least of all expect it, viz. a representation
which lets us remark its inadequacy and consequently its
subjective want of purposiveness for the Judgement in the
estimation of magnitude. I only remark that if the aesthetical
judgement is pure (i.e. mingled with no teleological judgement
or judgement of Reason) and is to be given as a completely
suitable example of the Critique of the aesthetical Judgement,
we must not exhibit the sublime in products of art (e.g.
buildings, pillars, etc.) where human purpose determines the
form as well as the size; nor yet in things of nature the
concepts of which bring with them a definite purpose (e.g.
animals with a known natural destination); but in rude nature
(and in this only in so far as it does not bring with it any charm
or emotion produced by actual danger) merely as containing
magnitude. For in this kind of representation nature contains
nothing monstrous (either magnificent or horrible); the
magnitude that is apprehended may be increased as much as
you wish provided it can be comprehended in a whole by the
Imagination. An object is monstrous if by its size it destroys
the purpose which constitutes the concept of it. But the mere
presentation of a concept is called colossal, which is almost
too great for any presentation (bordering on the relatively
monstrous); because the purpose of the presentation of a
concept is made harder [to realise] by the intuition of the
object being almost too great for our faculty of apprehension.
—A pure judgement upon the sublime must, however, have no
purpose of the Object as its determining ground, if it is to be
aesthetical and not mixed up with any judgement of
Understanding or Reason.
* * * * *
Because everything which is to give disinterested pleasure
to the merely reflective Judgement must bring with the
representation of it, subjective and, as subjective, universally
valid purposiveness—although no purposiveness of the form
of the object lies (as in the case of the Beautiful) at the ground
of the judgement—the question arises “what is this subjective
purposiveness?” And how does it come to be prescribed as the
norm by which a ground for universally valid satisfaction is
supplied in the mere estimation of magnitude, even in that
which is forced up to the point where our faculty of
Imagination is inadequate for the presentation of the concept
of magnitude?
In the process of combination requisite for the estimation
of magnitude, the Imagination proceeds of itself to infinity
without anything hindering it; but the Understanding guides it
by means of concepts of number, for which the Imagination
must furnish the schema. And in this procedure, as belonging
to the logical estimation of magnitude, there is indeed
something objectively purposive,—in accordance with the
concept of a purpose (as all measurement is),—but nothing
purposive and pleasing for the aesthetical Judgement. There is
also in this designed purposiveness nothing which would force
us to push the magnitude of the measure, and consequently the
comprehension of the manifold in an intuition, to the bounds
of the faculty of Imagination, or as far as ever this can reach in
its presentations. For in the estimation of magnitude by the
Understanding (Arithmetic) we only go to a certain point
whether we push the comprehension of the units up to the
number 10 (as in the decimal scale) or only up to 4 (as in the
quaternary scale); the further production of magnitude
proceeds by combination or, if the quantum is given in
intuition, by apprehension, but merely by way of progression
(not of comprehension) in accordance with an assumed
principle of progression. In this mathematical estimation of
magnitude the Understanding is equally served and contented
whether the Imagination chooses for unit a magnitude that we
can take in in a glance, e.g. a foot or rod, or a German mile or
even the earth’s diameter,—of which the apprehension is
indeed possible, but not the comprehension in an intuition of
the Imagination (not possible by comprehensio aesthetica,
although quite possible by comprehensio logica in a concept
of number). In both cases the logical estimation of magnitude
goes on without hindrance to infinity.
But now the mind listens to the voice of Reason which,
for every given magnitude,—even for those that can never be
entirely apprehended, although (in sensible representation)
they are judged as entirely given,—requires totality. Reason
consequently desires comprehension in one intuition, and so
the presentation of all these members of a progressively
increasing series. It does not even exempt the infinite (space
and past time) from this requirement; it rather renders it
unavoidable to think the infinite (in the judgement of common
Reason) as entirely given (according to its totality).
But the infinite is absolutely (not merely comparatively)
great. Compared with it everything else (of the same kind of
magnitudes) is small. And what is most important is that to be
able only to think it as a whole indicates a faculty of mind
which surpasses every standard of Sense. For [to represent it
sensibly] would require a comprehension having for unit a
standard bearing a definite relation, expressible in numbers, to
the infinite; which is impossible. Nevertheless, the bare
capability of thinking this infinite without contradiction
requires in the human mind a faculty itself supersensible. For
it is only by means of this faculty and its Idea of a noumenon,
—which admits of no intuition, but which yet serves as the
substrate for the intuition of the world, as a mere phenomenon,
—that the infinite of the world of sense, in the pure intellectual
estimation of magnitude, can be completely comprehended
under a concept, although in the mathematical estimation of
magnitude by means of concepts of number it can never be
completely thought. The faculty of being able to think the
infinite of supersensible intuition as given (in its intelligible
substrate), surpasses every standard of sensibility, and is great
beyond all comparison even with the faculty of mathematical
estimation; not of course in a theoretical point of view and on
behalf of the cognitive faculty, but as an extension of the mind
which feels itself able in another (practical) point of view to go
beyond the limit of sensibility.
Nature is therefore sublime in those of its phenomena,
whose intuition brings with it the Idea of their infinity. This
last can only come by the inadequacy of the greatest effort of
our Imagination to estimate the magnitude of an object. But
now in mathematical estimation of magnitude the Imagination
is equal to providing a sufficient measure for every object;
because the numerical concepts of the Understanding, by
means of progression, can make any measure adequate to any
given magnitude. Therefore it must be the aesthetical
estimation of magnitude in which it is felt that the effort
towards comprehension surpasses the power of the
Imagination to grasp in a whole of intuition the progressive
apprehension; and at the same time is perceived the
inadequacy of this faculty, unbounded in its progress, for
grasping and using, for the estimation of magnitude, a
fundamental measure which could be made available by the
Understanding with little trouble. Now the proper
unchangeable fundamental measure of nature is its absolute
whole; which, regarding nature as a phenomenon, would be
infinity comprehended. But since this fundamental measure is
a self-contradictory concept (on account of the impossibility of
the absolute totality of an endless progress), that magnitude of
a natural Object, on which the Imagination fruitlessly spends
its whole faculty of comprehension, must carry our concept of
nature to a supersensible substrate (which lies at its basis and
also at the basis of our faculty of thought). As this, however, is
great beyond all standards of sense, it makes us judge as
sublime, not so much the object, as our own state of mind in
the estimation of it.
Therefore, just as the aesthetical Judgement in judging the
Beautiful refers the Imagination in its free play to the
Understanding, in order to harmonise it with the concepts of
the latter in general (without any determination of them); so
does the same faculty when judging a thing as Sublime refer
itself to the Reason in order that it may subjectively be in
accordance with its Ideas (no matter what they are):—i.e. that
it may produce a state of mind conformable to them and
compatible with that brought about by the influence of definite
(practical) Ideas upon feeling.
We hence see also that true sublimity must be sought only
in the mind of the [subject] judging, not in the natural Object,
the judgement upon which occasions this state. Who would
call sublime, e.g. shapeless mountain masses piled in wild
disorder upon each other with their pyramids of ice, or the
gloomy raging sea? But the mind feels itself elevated in its
own judgement if, while contemplating them without any
reference to their form, and abandoning itself to the
Imagination and to the Reason—which although placed in
combination with the Imagination without any definite
purpose, merely extends it—it yet finds the whole power of
the Imagination inadequate to its Ideas.
Examples of the mathematically Sublime of nature in
mere intuition are all the cases in which we are given, not so
much a larger numerical concept as a large unit for the
measure of the Imagination (for shortening the numerical
series). A tree, [the height of] which we estimate with
reference to the height of a man, at all events gives a standard
for a mountain; and if this were a mile high, it would serve as
unit for the number expressive of the earth’s diameter, so that
the latter might be made intuitible. The earth’s diameter
[would supply a unit] for the known planetary system; this
again for the Milky Way; and the immeasurable number of
milky way systems called nebulae,—which presumably
constitute a system of the same kind among themselves—lets
us expect no bounds here. Now the Sublime in the aesthetical
judging of an immeasurable whole like this lies not so much in
the greatness of the number [of units], as in the fact that in our
progress we ever arrive at yet greater units. To this the
systematic division of the universe contributes, which
represents every magnitude in nature as small in its turn; and
represents our Imagination with its entire freedom from
bounds, and with it Nature, as a mere nothing in comparison
with the Ideas of Reason, if it is sought to furnish a
presentation which shall be adequate to them.

§ 27. Of the quality of the satisfaction in our judgements

upon the Sublime

The feeling of our incapacity to attain to an Idea, which is

a law for us, is RESPECT. Now the Idea of the comprehension
of every phenomenon that can be given us in the intuition of a
whole, is an Idea prescribed to us by a law of Reason, which
recognises no other measure, definite, valid for every one, and
invariable, than the absolute whole. But our Imagination, even
in its greatest efforts, in respect of that comprehension, which
we expect from it, of a given object in a whole of intuition
(and thus with reference to the presentation of the Idea of
Reason), exhibits its own limits and inadequacy; although at
the same time it shows that its destination is to make itself
adequate to this Idea regarded as a law. Therefore the feeling
of the Sublime in nature is respect for our own destination,
which by a certain subreption we attribute to an Object of
nature (conversion of respect for the Idea of humanity in our
own subject into respect for the Object). This makes
intuitively evident the superiority of the rational determination
of our cognitive faculties to the greatest faculty of our
Sensibility.
The feeling of the Sublime is therefore a feeling of pain,
arising from the want of accordance between the aesthetical
estimation of magnitude formed by the Imagination and the
estimation of the same formed by Reason. There is at the same
time a pleasure thus excited, arising from the correspondence
with rational Ideas of this very judgement of the inadequacy of
our greatest faculty of Sense; in so far as it is a law for us to
strive after these Ideas. In fact it is for us a law (of Reason),
and belongs to our destination, to estimate as small, in
comparison with Ideas of Reason, everything which nature,
regarded as an object of Sense, contains that is great for us;
and that which arouses in us the feeling of this supersensible
destination agrees with that law. Now the greatest effort of the
Imagination in the presentation of the unit for the estimation of
magnitude indicates a reference to something absolutely great;
and consequently a reference to the law of Reason, which bids
us take this alone as the supreme measure of magnitude.
Therefore the inner perception of the inadequacy of all
sensible standards for rational estimation of magnitude
indicates a correspondence with rational laws; it involves a
pain, which arouses in us the feeling of our supersensible
destination, according to which it is purposive and therefore
pleasurable to find every standard of Sensibility inadequate to
the Ideas of Understanding.
The mind feels itself moved in the representation of the
Sublime in nature; whilst in aesthetical judgements about the
Beautiful it is in restful contemplation. This movement may
(especially in its beginnings) be compared to a vibration, i.e. to
a quickly alternating attraction towards, and repulsion from,
the same Object. The transcendent (towards which the
Imagination is impelled in its apprehension of intuition) is for
the Imagination like an abyss in which it fears to lose itself;
but for the rational Idea of the supersensible it is not
transcendent but in conformity with law to bring about such an
effort of the Imagination, and consequently here there is the
same amount of attraction as there was of repulsion for the
mere Sensibility. But the judgement itself always remains in
this case only aesthetical, because—without having any
determinate concept of the Object at its basis—it merely
represents the subjective play of the mental powers
(Imagination and Reason) as harmonious through their very
contrast. For just as Imagination and Understanding, in
judging of the Beautiful, generate a subjective purposiveness
46
of the mental powers by means of their harmony, so [here ]
Imagination and Reason do so by means of their conflict. That
is, they bring about a feeling that we possess pure self-
subsistent Reason, or a faculty for the estimation of
magnitude, whose pre-eminence can be made intuitively
evident only by the inadequacy of that faculty [Imagination]
which is itself unbounded in the presentation of magnitudes
(of sensible objects).
The measurement of a space (regarded as apprehension) is
at the same time a description of it, and thus an objective
movement in the act of Imagination and a progress. On the
other hand, the comprehension of the manifold in the unity,—
not of thought but of intuition,—and consequently the
comprehension of the successively apprehended [elements] in
one glance, is a regress, which annihilates the condition of
time in this progress of the Imagination and makes coexistence
47
intuitible. It is therefore (since the time-series is a condition
of the internal sense and of an intuition) a subjective
movement of the Imagination, by which it does violence to the
internal sense; this must be the more noticeable, the greater the
quantum is which the Imagination comprehends in one
intuition. The effort, therefore, to receive in one single
intuition a measure for magnitudes that requires an appreciable
time to apprehend, is a kind of representation, which,
subjectively considered, is contrary to purpose: but
objectively, as requisite for the estimation of magnitude, it is
purposive. Thus that very violence which is done to the subject
through the Imagination is judged as purposive in reference to
the whole determination of the mind.
The quality of the feeling of the Sublime is that it is a
feeling of pain in reference to the faculty by which we judge
aesthetically of an object, which pain, however, is represented
at the same time as purposive. This is possible through the fact
that the very incapacity in question discovers the
consciousness of an unlimited faculty of the same subject, and
that the mind can only judge of the latter aesthetically by
means of the former.
In the logical estimation of magnitude the impossibility of
ever arriving at absolute totality, by means of the progress of
the measurement of things of the sensible world in time and
space, was cognised as objective, i.e. as an impossibility of
thinking the infinite as entirely given; and not as merely
subjective or that there was only an incapacity to grasp it. For
there we have not to do with the degree of comprehension in
an intuition, regarded as a measure, but everything depends on
a concept of number. But in aesthetical estimation of
magnitude the concept of number must disappear or be
changed, and the comprehension of the Imagination in
reference to the unit of measure (thus avoiding the concepts of
a law of the successive production of concepts of magnitude)
is alone purposive for it.—If now a magnitude almost reaches
the limit of our faculty of comprehension in an intuition, and
yet the Imagination is invited by means of numerical
magnitudes (in respect of which we are conscious that our
faculty is unbounded) to aesthetical comprehension in a
greater unit, then we mentally feel ourselves confined
aesthetically within bounds. But nevertheless the pain in
regard to the necessary extension of the Imagination for
accordance with that which is unbounded in our faculty of
Reason, viz. the Idea of the absolute whole, and consequently
the very unpurposiveness of the faculty of Imagination for
rational Ideas and the arousing of them, are represented as
purposive. Thus it is that the aesthetical judgement itself is
subjectively purposive for the Reason as the source of Ideas,
i.e. as the source of an intellectual comprehension for which
all aesthetical comprehension is small; and there accompanies
the reception of an object as sublime a pleasure, which is only
possible through the medium of a pain.

B.—OF THE DYNAMICALLY SUBLIME IN NATURE

§ 28. Of Nature regarded as Might

Might is that which is superior to great hindrances. It is

called dominion if it is superior to the resistance of that which
itself possesses might. Nature considered in an aesthetical
judgement as might that has no dominion over us, is
dynamically sublime.
If nature is to be judged by us as dynamically sublime, it
must be represented as exciting fear (although it is not true
conversely that every object which excites fear is regarded in
our aesthetical judgement as sublime). For in aesthetical
judgements (without the aid of concepts) superiority to
hindrances can only be judged according to the greatness of
the resistance. Now that which we are driven to resist is an
evil, and, if we do not find our faculties a match for it, is an
object of fear. Hence nature can be regarded by the aesthetical
Judgement as might, and consequently as dynamically
sublime, only so far as it is considered an object of fear.
But we can regard an object as fearful, without being
afraid of it; viz. if we judge of it in such a way that we merely
think a case in which we would wish to resist it, and yet in
which all resistance would be altogether vain. Thus the
virtuous man fears God without being afraid of Him; because
to wish to resist Him and His commandments, he thinks is a
case as to which he need not be anxious. But in every such
case that he thinks as not impossible, he cognises Him as
fearful.
He who fears can form no judgement about the Sublime in
nature; just as he who is seduced by inclination and appetite
can form no judgement about the Beautiful. The former flies
from the sight of an object which inspires him with awe; and it
is impossible to find satisfaction in a terror that is seriously
felt. Hence the pleasurableness arising from the cessation of an
uneasiness is a state of joy. But this, on account of the
deliverance from danger [which is involved], is a state of joy
conjoined with the resolve not to expose ourselves to the
danger again; we cannot willingly look back upon our
sensations [of danger], much less seek the occasion for them
again.
Bold, overhanging, and as it were threatening, rocks;
clouds piled up in the sky, moving with lightning flashes and
thunder peals; volcanoes in all their violence of destruction;
hurricanes with their track of devastation; the boundless ocean
in a state of tumult; the lofty waterfall of a mighty river, and
such like; these exhibit our faculty of resistance as
insignificantly small in comparison with their might. But the
sight of them is the more attractive, the more fearful it is,
provided only that we are in security; and we readily call these
objects sublime, because they raise the energies of the soul
above their accustomed height, and discover in us a faculty of
resistance of a quite different kind, which gives us courage to
measure ourselves against the apparent almightiness of nature.
Now, in the immensity of nature, and in the inadequacy of
our faculties for adopting a standard proportionate to the
aesthetical estimation of the magnitude of its realm, we find
our own limitation; although at the same time in our rational
faculty we find a different, non-sensuous standard, which has
that infinity itself under it as a unit, and in comparison with
which everything in nature is small. Thus in our mind we find
a superiority to nature even in its immensity. And so also the
irresistibility of its might, while making us recognise our own
48
[physical ] impotence, considered as beings of nature,
discloses to us a faculty of judging independently of, and a
superiority over, nature; on which is based a kind of self-
preservation, entirely different from that which can be attacked
and brought into danger by external nature. Thus, humanity in
our person remains unhumiliated, though the individual might
have to submit to this dominion. In this way nature is not
judged to be sublime in our aesthetical judgements, in so far as
it excites fear; but because it calls up that power in us (which
is not nature) of regarding as small the things about which we
are solicitous (goods, health, and life), and of regarding its
might (to which we are no doubt subjected in respect of these
things), as nevertheless without any dominion over us and our
personality to which we must bow where our highest
fundamental propositions, and their assertion or abandonment,
are concerned. Therefore nature is here called sublime merely
because it elevates the Imagination to a presentation of those
cases in which the mind can make felt the proper sublimity of
its destination, in comparison with nature itself.
This estimation of ourselves loses nothing through the fact
that we must regard ourselves as safe in order to feel this
inspiriting satisfaction; and that hence, as there is no
seriousness in the danger, there might be also (as might seem
to be the case) just as little seriousness in the sublimity of our
spiritual faculty. For the satisfaction here concerns only the
destination of our faculty which discloses itself in such a case,
so far as the tendency to this destination lies in our nature,
whilst its development and exercise remain incumbent and
obligatory. And in this there is truth, however conscious the
man may be of his present actual powerlessness, when he
stretches his reflection so far.
No doubt this principle seems to be too far-fetched and
too subtly reasoned, and consequently seems to go beyond the
scope of an aesthetical judgement; but observation of men
proves the opposite, and shows that it may lie at the root of the
most ordinary judgements, although we are not always
conscious of it. For what is that which is, even to the savage,
an object of the greatest admiration? It is a man who shrinks
from nothing, who fears nothing, and therefore does not yield
to danger, but rather goes to face it vigorously with the fullest
deliberation. Even in the most highly civilised state this
peculiar veneration for the soldier remains, though only under
the condition that he exhibit all the virtues of peace,
gentleness, compassion, and even a becoming care for his own
person; because even by these it is recognised that his mind is
unsubdued by danger. Hence whatever disputes there may be
about the superiority of the respect which is to be accorded
them, in the comparison of a statesman and a general, the
aesthetical judgement decides for the latter. War itself, if it is
carried on with order and with a sacred respect for the rights of
citizens, has something sublime in it, and makes the
disposition of the people who carry it on thus, only the more
sublime, the more numerous are the dangers to which they are
exposed, and in respect of which they behave with courage.
On the other hand, a long peace generally brings about a
predominant commercial spirit, and along with it, low
selfishness, cowardice, and effeminacy, and debases the
49
disposition of the people.
It appears to conflict with this solution of the concept of
the sublime, so far as sublimity is ascribed to might, that we
are accustomed to represent God as presenting Himself in His
wrath and yet in His sublimity, in the tempest, the storm, the
earthquake, etc.; and that it would be foolish and criminal to
imagine a superiority of our minds over these works of His,
and, as it seems, even over the designs of such might. Hence it
would appear that no feeling of the sublimity of our own
nature, but rather subjection, abasement, and a feeling of
complete powerlessness, is a fitting state of mind before the
manifestation of such an object, and this is generally bound up
with the Idea of it during natural phenomena of this kind.
Generally in religion, prostration, adoration with bent head,
with contrite, anxious demeanour and voice, seems to be the
only fitting behaviour in presence of the Godhead; and hence
most peoples have adopted and still observe it. But this state of
mind is far from being necessarily bound up with the Idea of
the sublimity of a religion and its object. The man who is
actually afraid, because he finds reasons for fear in himself,
whilst conscious by his culpable disposition of offending
against a Might whose will is irresistible and at the same time
just, is not in the frame of mind for admiring the divine
greatness. For this a mood of calm contemplation and a quite
free judgement are needed. Only if he is conscious of an
upright disposition pleasing to God do those operations of
might serve to awaken in him the Idea of the sublimity of this
Being, for then he recognises in himself a sublimity of
disposition conformable to His will; and thus he is raised
above the fear of such operations of nature, which he no
longer regards as outbursts of His wrath. Even humility, in the
shape of a stern judgement upon his own faults,—which
otherwise, with a consciousness of good intentions, could be
easily palliated from the frailty of human nature,—is a sublime
state of mind, consisting in a voluntary subjection of himself
to the pain of remorse, in order that its causes may be
gradually removed. In this way religion is essentially
distinguished from superstition. The latter establishes in the
mind, not reverence for the Sublime, but fear and
apprehension of the all-powerful Being to whose will the
terrified man sees himself subject, without according Him any
high esteem. From this nothing can arise but a seeking of
favour, and flattery, instead of a religion which consists in a
50
good life.
Sublimity, therefore, does not reside in anything of nature,
but only in our mind, in so far as we can become conscious
that we are superior to nature within, and therefore also to
nature without us (so far as it influences us). Everything that
excites this feeling in us, e.g. the might of nature which calls
forth our forces, is called then (although improperly) sublime.
Only by supposing this Idea in ourselves, and in reference to
it, are we capable of attaining to the Idea of the sublimity of
that Being, which produces respect in us, not merely by the
might that it displays in nature, but rather by means of the
faculty which resides in us of judging it fearlessly and of
regarding our destination as sublime in respect of it.

§ 29. Of the modality of the judgement upon the sublime in

nature

There are numberless beautiful things in nature about

which we can assume and even expect, without being far
mistaken, the harmony of every one’s judgement with our
own. But in respect of our judgement upon the sublime in
nature, we cannot promise ourselves so easily the accordance
of others. For a far greater culture, as well of the aesthetical
Judgement as of the cognitive faculties which lie at its basis,
seems requisite in order to be able to pass judgement on this
pre-eminent quality of natural objects.
That the mind be attuned to feel the sublime postulates a
susceptibility of the mind for Ideas. For in the very inadequacy
of nature to these latter, and thus only by presupposing them
and by straining the Imagination to use nature as a schema for
them, is to be found that which is terrible to sensibility and yet
is attractive. [It is attractive] because Reason exerts a
dominion over sensibility in order to extend it in conformity
with its own realm (the practical) and to make it look out into
the Infinite, which is for it an abyss. In fact, without
development of moral Ideas, that which we, prepared by
culture, call sublime, presents itself to the uneducated man
merely as terrible. In the indications of the dominion of nature
in destruction, and in the great scale of its might, in
comparison with which his own is a vanishing quantity, he will
only see the misery, danger, and distress which surround the
man who is exposed to it. So the good, and indeed intelligent,
51
Savoyard peasant (as Herr von Saussure relates)
unhesitatingly called all lovers of snow-mountains fools. And
who knows, whether he would have been so completely
wrong, if Saussure had undertaken the danger to which he
exposed himself merely, as most travellers do, from amateur
curiosity, or that he might be able to give a pathetic account of
them? But his design was the instruction of men; and this
excellent man gave the readers of his Travels, soul-stirring
sensations such as he himself had, into the bargain.
But although the judgement upon the Sublime in nature
needs culture (more than the judgement upon the Beautiful), it
is not therefore primarily produced by culture and introduced
in a merely conventional way into society. Rather has it root in
human nature, even in that which, alike with common
Understanding, we can impute to and expect of every one, viz.
in the tendency to the feeling for (practical) Ideas, i.e. to the
moral feeling.
Hereon is based the necessity of that agreement of the
judgement of others about the sublime with our own which we
include in the latter. For just as we charge with want of taste
the man who is indifferent when passing judgement upon an
object of nature that we regard as beautiful; so we say of him
who remains unmoved in the presence of that which we judge
to be sublime, he has no feeling. But we claim both from every
man, and we presuppose them in him if he has any culture at
all; only with the difference, that we expect the former directly
of every one, because in it the Judgement refers the
Imagination merely to the Understanding, the faculty of
concepts; but the latter, because in it the Imagination is related
to the Reason, the faculty of Ideas, only under a subjective
presupposition (which, however, we believe we are authorised
in imputing to every one), viz. the presupposition of the moral
52
feeling [in man. ] Thus it is that we ascribe necessity to this
aesthetical judgement also.
In this modality of aesthetical judgements, viz. in the
necessity claimed for them, lies an important moment of the
Critique of Judgement. For it enables us to recognise in them
an a priori principle, and raises them out of empirical
psychology, in which otherwise they would remain buried
amongst the feelings of gratification and grief (only with the
unmeaning addition of being called finer feelings). Thus it
enables us too to place the Judgement among those faculties
that have a priori principles at their basis, and so to bring it
into Transcendental Philosophy.
 GENERAL REMARK UPON THE EXPOSITION
OF THE AESTHETICAL REFLECTIVE
JUDGEMENT

In reference to the feeling of pleasure an object is to be

classified as either pleasant, or beautiful, or sublime, or good
(absolutely), (jucundum, pulchrum, sublime, honestum).
The pleasant, as motive of desire, is always of one and the
same kind, no matter whence it comes and however
specifically different the representation (of sense, and
sensation objectively considered) may be. Hence in judging its
influence on the mind, account is taken only of the number of
its charms (simultaneous and successive), and so only of the
mass, as it were, of the pleasant sensation; and this can be
made intelligible only by quantity. It has no reference to
culture, but belongs to mere enjoyment.—On the other hand,
the beautiful requires the representation of a certain quality of
the Object, that can be made intelligible and reduced to
concepts (although it is not so reduced in an aesthetical
judgement); and it cultivates us, in that it teaches us to attend
to the purposiveness in the feeling of pleasure.—The sublime
consists merely in the relation by which the sensible in the
representation of nature is judged available for a possible
supersensible use.—The absolutely good, subjectively judged
according to the feeling that it inspires (the Object of the moral
feeling), as capable of determining the powers of the subject
through the representation of an absolutely compelling law, is
specially distinguished by the modality of a necessity that rests
a priori upon concepts. This necessity involves not merely a
claim, but a command for the assent of every one, and belongs
in itself to the pure intellectual, rather than to the aesthetical
Judgement; and is by a determinant and not a mere reflective
judgement ascribed not to Nature but to Freedom. But the
determinability of the subject by means of this Idea, and
especially of a subject that can feel hindrances in sensibility,
and at the same time its superiority to them by their
subjugation involving a modification of its state—i.e. the
moral feeling,—is yet so far cognate to the aesthetical
Judgement and its formal conditions that it can serve to
represent the conformity to law of action from duty as
aesthetical, i.e. as sublime or even as beautiful, without losing
its purity. This would not be so, if we were to put it in natural
combination with the feeling of the pleasant.
If we take the result of the foregoing exposition of the two
kinds of aesthetical judgements, there arise therefrom the
following short explanations:
The Beautiful is what pleases in the mere judgement (and
therefore not by the medium of sensation in accordance with a
concept of the Understanding). It follows at once from this that
it must please apart from all interest.
The Sublime is what pleases immediately through its
opposition to the interest of sense.
Both, as explanations of aesthetical universally valid
judging, are referred to subjective grounds; in the one case to
grounds of sensibility, in favour of the contemplative
Understanding; in the other case in opposition to sensibility,
but on behalf of the purposes of practical Reason. Both,
however, united in the same subject, are purposive in reference
to the moral feeling. The Beautiful prepares us to love
disinterestedly something, even nature itself; the Sublime
prepares us to esteem something highly even in opposition to
our own (sensible) interest.
We may describe the Sublime thus: it is an object (of
nature) the representation of which determines the mind to
think the unattainability of nature regarded as a presentation
of Ideas.
Literally taken and logically considered, Ideas cannot be
presented. But if we extend our empirical representative
faculty (mathematically or dynamically) to the intuition of
nature, Reason inevitably intervenes, as the faculty expressing
53
the independence of absolute totality, and generates the
effort of the mind, vain though it be, to make the
representation of the senses adequate to this. This effort,—and
the feeling of the unattainability of the Idea by means of the
Imagination,—is itself a presentation of the subjective
purposiveness of our mind in the employment of the
Imagination for its supersensible destination; and forces us,
subjectively, to think nature itself in its totality as a
presentation of something supersensible, without being able
objectively to arrive at this presentation.
For we soon see that nature in space and time entirely
lacks the unconditioned, and, consequently, that absolute
magnitude, which yet is desired by the most ordinary Reason.
It is by this that we are reminded that we only have to do with
nature as phenomenon, and that it must be regarded as the
mere presentation of a nature in itself (of which Reason has
the Idea). But this Idea of the supersensible, which we can no
further determine,—so that we cannot know but only think
nature as its presentation,—is awakened in us by means of an
object, whose aesthetical appreciation strains the Imagination
to its utmost bounds, whether of extension (mathematical) or
of its might over the mind (dynamical). And this judgement is
based upon a feeling of the mind’s destination, which entirely
surpasses the realm of the former (i.e. upon the moral feeling),
in respect of which the representation of the object is judged as
subjectively purposive.
In fact, a feeling for the Sublime in nature cannot well be
thought without combining therewith a mental disposition
which is akin to the Moral. And although the immediate
pleasure in the Beautiful of nature likewise presupposes and
cultivates a certain liberality in our mental attitude, i.e. a
satisfaction independent of mere sensible enjoyment, yet
freedom is thus represented as in play rather than in that law-
directed occupation which is the genuine characteristic of
human morality, in which Reason must exercise dominion
over Sensibility. But in aesthetical judgements upon the
Sublime this dominion is represented as exercised by the
Imagination, regarded as an instrument of Reason.
The satisfaction in the Sublime of nature is then only
negative (whilst that in the Beautiful is positive); viz. a feeling
that the Imagination is depriving itself of its freedom, while it
is purposively determined according to a different law from
that of its empirical employment. It thus acquires an extension
and a might greater than it sacrifices,—the ground of which,
however, is concealed from itself; whilst yet it feels the
sacrifice or the deprivation and, at the same time, the cause to
which it is subjected. Astonishment, that borders upon terror,
the dread and the holy awe which seizes the observer at the
sight of mountain peaks rearing themselves to heaven, deep
chasms and streams raging therein, deep-shadowed solitudes
that dispose one to melancholy meditations—this, in the safety
in which we know ourselves to be, is not actual fear, but only
an attempt to feel fear by the aid of the Imagination; that we
may feel the might of this faculty in combining with the
mind’s repose the mental movement thereby excited, and
being thus superior to internal nature,—and therefore to
external,—so far as this can have any influence on our feeling
of well-being. For the Imagination by the laws of Association
makes our state of contentment dependent on physical
[causes]; but it also, by the principles of the Schematism of the
Judgement (being so far, therefore, ranked under freedom), is
the instrument of Reason and its Ideas, and, as such, has might
to maintain our independence of natural influences, to regard
as small what in reference to them is great, and so to place the
absolutely great only in the proper destination of the subject.
The raising of this reflection of the aesthetical Judgement so as
to be adequate to Reason (though without a definite concept of
Reason) represents the object as subjectively purposive, even
by the objective want of accordance between the Imagination
in its greatest extension and the Reason (as the faculty of
Ideas).
We must here, generally, attend to what has been already
noted, that in the Transcendental Aesthetic of Judgement we
must speak solely of pure aesthetical judgements;
consequently our examples are not to be taken from such
beautiful or sublime objects of Nature as presuppose the
concept of a purpose. For, if so, the purposiveness would be
either teleological, or would be based on mere sensations of an
object (gratification or grief); and thus would be in the former
case not aesthetical, in the latter not merely formal. If then we
call the sight of the starry heaven sublime, we must not place
at the basis of our judgement concepts of worlds inhabited by
rational beings, and regard the bright points, with which we
see the space above us filled, as their suns moving in circles
purposively fixed with reference to them; but we must regard
it, just as we see it, as a distant, all-embracing vault. Only
under such a representation can we range that sublimity which
a pure aesthetical judgement ascribes to this object. And in the
same way, if we are to call the sight of the ocean sublime, we
must not think of it as we [ordinarily] do, endowed as we are
with all kinds of knowledge (not contained, however, in the
immediate intuition). For example, we sometimes think of the
ocean as a vast kingdom of aquatic creatures; or as the great
source of those vapours that fill the air with clouds for the
benefit of the land; or again as an element which, though
dividing continents from each other, yet promotes the greatest
communication between them: but these furnish merely
teleological judgements. To call the ocean sublime we must
regard it as poets do, merely by what strikes the eye; if it is at
rest, as a clear mirror of water only bounded by the heaven; if
it is restless, as an abyss threatening to overwhelm everything.
The like is to be said of the Sublime and Beautiful in the
human figure. We must not regard as the determining grounds
of our judgement the concepts of the purposes which all our
limbs serve, and we must not allow this coincidence to
influence our aesthetical judgement (for then it would no
longer be pure); although it is certainly a necessary condition
of aesthetical satisfaction that there should be no conflict
between them. Aesthetical purposiveness is the conformity to
law of the Judgement in its freedom. The satisfaction in the
object depends on the relation in which we wish to place the
Imagination; always provided that it by itself entertains the
mind in free occupation. If, on the other hand, the judgement
be determined by anything else,—whether sensation or
concept,—although it may be conformable to law, it cannot be
the act of a free Judgement.
If then we speak of intellectual beauty or sublimity, these
expressions are, first, not quite accurate, because beauty and
sublimity are aesthetical modes of representation, which
would not be found in us at all if we were pure intelligences
(or even regarded ourselves as such in thought). Secondly,
although both, as objects of an intellectual (moral) satisfaction,
are so far compatible with aesthetical satisfaction that they rest
upon no interest, yet they are difficult to unite with it, because
they are meant to produce an interest. This, if its presentation
is to harmonise with the satisfaction in the aesthetical
judgement, could only arise by means of a sensible interest
that we combine with it in the presentation; and thus damage
would be done to the intellectual purposiveness, and it would
lose its purity.
The object of a pure and unconditioned intellectual
satisfaction is the Moral Law in that might which it exercises
in us over all mental motives that precede it. This might only
makes itself aesthetically known to us through sacrifices
(which causing a feeling of deprivation, though on behalf of
internal freedom, in return discloses in us an unfathomable
depth of this supersensible faculty, with consequences
extending beyond our ken); thus the satisfaction on the
aesthetical side (in relation to sensibility) is negative, i.e.
against this interest, but regarded from the intellectual side it is
positive and combined with an interest. Hence it follows that
the intellectual, in itself purposive, (moral) good, aesthetically
judged, must be represented as sublime rather than beautiful,
so that it rather awakens the feeling of respect (which disdains
charm) than that of love and familiar inclination; for human
nature does not attach itself to this good spontaneously, but
only by the authority which Reason exercises over Sensibility.
Conversely also, that which we call sublime in nature, whether
external or internal (e.g. certain affections), is only represented
54
as a might in the mind to overcome [certain] hindrances of
the Sensibility by means of moral fundamental propositions,
and only thus does it interest.
I will dwell a moment on this latter point. The Idea of the
Good conjoined with affection is called enthusiasm. This state
of mind seems to be sublime, to the extent that we commonly
assert that nothing great could be done without it. Now every
55
affection is blind, either in the choice of its purpose, or, if
this be supplied by Reason, in its accomplishment; for it is a
mental movement which makes it impossible to exercise a free
deliberation about fundamental propositions so as to determine
ourselves thereby. It can therefore in no way deserve the
approval of the Reason. Nevertheless, aesthetically,
enthusiasm is sublime, because it is a tension of forces
produced by Ideas, which give an impulse to the mind, that
operates far more powerfully and lastingly than the impulse
arising from sensible representations. But (which seems
strange) the absence of affection (apatheia, phlegma in
significatu bono) in a mind that vigorously follows its
unalterable principles is sublime, and in a far preferable way,
because it has also on its side the satisfaction of pure
56
Reason. It is only a mental state of this kind that is called
noble; and this expression is subsequently applied to things,
e.g. a building, a garment, literary style, bodily presence, etc.,
when these do not so much arouse astonishment (the affection
produced by the representation of novelty exceeding our
expectations), as admiration (astonishment that does not cease
when the novelty disappears); and this is the case when Ideas
agree in their presentation undesignedly and artlessly with the
aesthetical satisfaction.
Every affection of the STRENUOUS kind (viz. that excites
the consciousness of our power to overcome every obstacle—
animi strenui) is aesthetically sublime, e.g. wrath, even despair
(i.e. the despair of indignation, not of faintheartedness). But
affections of the LANGUID kind (which make the very effort of
resistance an object of pain—animum languidum) have
nothing noble in themselves, but they may be reckoned under
the sensuously beautiful. Emotions, which may rise to the
strength of affections, are very different. We have both spirited
and tender emotions. The latter, if they rise to the height of
affections, are worthless; the propensity to them is called
sentimentality. A sympathetic grief that will not admit of
consolation, or one referring to imaginary evils to which we
deliberately surrender ourselves—being deceived by fancy—
57
as if they were actual, indicates and produces a tender,
though weak, soul—which shows a beautiful side and which
can be called fanciful, though not enthusiastic. Romances,
lacrymose plays, shallow moral precepts, which toy with
(falsely) so-called moral dispositions, but in fact make the
heart languid, insensible to the severe precept of duty, and
incapable of all respect for the worth of humanity in our own
person, and for the rights of men (a very different thing from
their happiness), and in general incapable of all steady
58
principle; even a religious discourse, which recommends a
cringing, abject seeking of favour and ingratiation of
ourselves, which proposes the abandonment of all confidence
in our own faculties in opposition to the evil within us, instead
of a sturdy resolution to endeavour to overcome our
inclinations by means of those powers which with all our
frailty yet remain to us; that false humility which sets the only
way of pleasing the Supreme Being in self-depreciation, in
whining hypocritical repentance and in a mere passive state of
mind—these are not compatible with any frame of mind that
can be counted beautiful, still less with one which is to be
counted sublime.
But even stormy movements of mind which may be
connected under the name of edification with Ideas of religion,
or—as merely belonging to culture—with Ideas containing a
social interest, can in no way, however they strain the
Imagination, lay claim to the honour of being sublime
presentations, unless they leave after them a mental mood
which, although only indirectly, has influence upon the mind’s
consciousness of its strength, and its resolution in reference to
that which involves pure intellectual purposiveness (the
supersensible). For otherwise all these emotions belong only to
motion, which one would fain enjoy for the sake of health. The
pleasant exhaustion, consequent upon such disturbance
produced by the play of the affections, is an enjoyment of our
well-being arising from the restored equilibrium of the various
vital forces. This in the end amounts to the same thing as that
state which Eastern voluptuaries find so delightful, when they
get their bodies as it were kneaded and all their muscles and
joints softly pressed and bent; only that in this case the motive
principle is for the most part external, in the other case it is
altogether internal. Many a man believes himself to be edified
by a sermon, when indeed there is no edification at all (no
system of good maxims); or to be improved by a tragedy,
when he is only glad at his ennui being happily dispelled. So
the Sublime must always have reference to the disposition, i.e.
to the maxims which furnish to the intellectual [part] and to
the Ideas of Reason a superiority over sensibility.
 We need not fear that the feeling of the sublime will lose
by so abstract a mode of presentation,—which is quite
negative in respect of what is sensible,—for the Imagination,
although it finds nothing beyond the sensible to which it can
attach itself, yet feels itself unbounded by this removal of its
limitations; and thus that very abstraction is a presentation of
the Infinite, which can be nothing but a mere negative
presentation, but which yet expands the soul. Perhaps there is
no sublimer passage in the Jewish Law than the command,
Thou shalt not make to thyself any graven image, nor the
likeness of anything which is in heaven or on the earth or
under the earth, etc. This command alone can explain the
enthusiasm that the Jewish people in their moral period felt for
their religion, when they compared themselves with other
peoples; or explain the pride which Mahommedanism inspires.
The same is true of the moral law and of the tendency to
morality in us. It is quite erroneous to fear that if we deprive
this [tendency] of all that can recommend it to sense it will
only involve a cold lifeless assent and no moving force or
emotion. It is quite the other way, for where the senses see
nothing more before them, and the unmistakable and indelible
Idea of morality remains, it would be rather necessary to
moderate the impetus of an unbounded Imagination, to prevent
it from rising to enthusiasm, than through fear of the
powerlessness of these Ideas to seek aid for them in images
and childish ritual. Thus governments have willingly allowed
religion to be abundantly provided with the latter accessories;
and seeking thereby to relieve their subjects of trouble, they
have also sought to deprive them of the faculty of extending
their spiritual powers beyond the limits that are arbitrarily
assigned to them, and by means of which they can be the more
59
easily treated as mere passive beings.
This pure, elevating, merely negative presentation of
morality brings with it, on the other hand, no danger of
fanaticism, which is a delusion that we can will ourselves to
see something beyond all bounds of sensibility, i.e. to dream in
accordance with fundamental propositions (or to go mad with
Reason); and this is so just because this presentation is merely
negative. For the inscrutableness of the Idea of Freedom quite
cuts it off from any positive presentation; but the moral law is
in itself sufficiently and originally determinant in us, so that it
does not permit us to cast a glance at any ground of
determination external to itself. If enthusiasm is comparable to
madness, fanaticism is comparable to monomania; of which
the latter is least of all compatible with the sublime, because in
its detail it is ridiculous. In enthusiasm, regarded as an
affection, the Imagination is without bridle; in fanaticism,
regarded as an inveterate, brooding passion, it is without rule.
The first is a transitory accident which sometimes befalls the
soundest Understanding; the second is a disease which
unsettles it.
Simplicity (purposiveness without art) is as it were the
style of Nature in the sublime, and so also of Morality which is
a second (supersensible) nature; of which we only know the
laws without being able to reach by intuition that supersensible
faculty in ourselves which contains the ground of the
legislation.
Now the satisfaction in the Beautiful, like that in the
Sublime, is not alone distinguishable from other aesthetical
judgements by its universal communicability, but also because,
through this very property, it acquires an interest in reference
to society (in which this communication is possible). We must,
however, remark that separation from all society is regarded as
sublime, if it rests upon Ideas that overlook all sensible
interest. To be sufficient for oneself, and consequently to have
no need of society, without at the same time being unsociable,
i.e. without flying from it, is something bordering on the
sublime; as is any dispensing with wants. On the other hand, to
fly from men from misanthropy, because we bear ill-will to
them, or from anthropophoby (shyness), because we fear them
as foes, is partly hateful, partly contemptible. There is indeed a
misanthropy (very improperly so-called), the tendency to
which frequently appears with old age in many right-thinking
men; which is philanthropic enough as far as goodwill to men
is concerned, but which through long and sad experience is far
removed from satisfaction with men. Evidence of this is
afforded by the propensity to solitude, the fantastic wish for a
secluded country seat, or (in the case of young persons) by the
dream of the happiness of passing one’s life with a little family
upon some island unknown to the rest of the world; a dream of
which story-tellers or writers of Robinsonades know how to
make good use. Falsehood, ingratitude, injustice, the
childishness of the purposes regarded by ourselves as
important and great, in the pursuit of which men inflict upon
each other all imaginable evils, are so contradictory to the Idea
of what men might be if they would, and conflict so with our
lively wish to see them better, that, in order that we may not
hate them (since we cannot love them), the renunciation of all
social joys seems but a small sacrifice. This sadness—not the
sadness (of which sympathy is the cause) for the evils which
fate brings upon others,—but for those things which men do to
one another (which depends upon an antipathy in fundamental
propositions), is sublime, because it rests upon Ideas, whilst
the former can only count as beautiful.—The brilliant and
60
thorough Saussure, in his account of his Alpine travels, says
of one of the Savoy mountains, called Bonhomme, “There
reigns there a certain insipid sadness.” He therefore recognised
an interesting sadness, that the sight of a solitude might
inspire, to which men might wish to transport themselves that
they might neither hear nor experience any more of the world;
which, however, would not be quite so inhospitable that it
would offer only an extremely painful retreat.—I make this
remark solely with the design of indicating again that even
depression (not dejected sadness) may be counted among the
sturdy affections, if it has its ground in moral Ideas. But if it is
grounded on sympathy and, as such, is amiable, it belongs
merely to the languid affections. [I make this remark] to call
attention to the state of mind which is sublime only in the first
case.
* * * * *
We can now compare the above Transcendental
Exposition of aesthetical judgements with the Physiological
worked out by Burke and by many clear-headed men among
us, in order to see whither a merely empirical exposition of the
Sublime and Beautiful leads. Burke, who deserves to be
regarded as the most important author who adopts this mode
of treatment, infers by this method “that the feeling of the
Sublime rests on the impulse towards self-preservation and on
fear, i.e. on a pain, which not going so far as actually to
derange the parts of the body, produces movements which,
since they purify the finer or grosser vessels of dangerous or
troublesome stoppages, are capable of exciting pleasant
sensations; not indeed pleasure, but a kind of satisfying horror,
61
a certain tranquillity tinged with terror.” The Beautiful,
which he founded on love (which he wishes to keep quite
separate from desire), he reduces to “the relaxing, slackening,
and enervating of the fibres of the body, and a consequent
weakening, languor, and exhaustion, a fainting, dissolving, and
62
melting away for enjoyment.” And he confirms this
explanation not only by cases in which the Imagination in
combination with the Understanding can excite in us the
feeling of the Beautiful or of the Sublime, but by cases in
which it is combined with sensation.—As psychological
observations, these analyses of the phenomena of our mind are
exceedingly beautiful, and afford rich material for the
favourite investigations of empirical anthropology. It is also
not to be denied that all representations in us, whether,
objectively viewed, they are merely sensible or are quite
intellectual, may yet subjectively be united to gratification or
grief, however imperceptible either may be; because they all
affect the feeling of life, and none of them, so far as it is a
modification of the subject, can be indifferent. And so, as
Epicurus maintained, all gratification or grief may ultimately
be corporeal, whether it arises from the representations of the
Imagination or the Understanding; because life without a
feeling of bodily organs would be merely a consciousness of
existence, without any feeling of well-being or the reverse, i.e.
of the furthering or the checking of the vital powers. For the
mind is by itself alone life (the principle of life), and
hindrances or furtherances must be sought outside it and yet in
the man, consequently in union with his body.
If, however, we place the satisfaction in the object
altogether in the fact that it gratifies us by charm or emotion,
we must not assume that any other man agrees with the
aesthetical judgement which we pass; for as to these each one
rightly consults his own individual sensibility. But in that case
all censorship of taste would disappear, except indeed the
example afforded by the accidental agreement of others in
their judgements were regarded as commanding our assent;
and this principle we should probably resist, and should appeal
to the natural right of subjecting the judgement, which rests on
the immediate feeling of our own well-being, to our own sense
and not to that of any other man.
If then the judgement of taste is not to be valid merely
egoistically, but according to its inner nature,—i.e. on account
of itself and not on account of the examples that others give of
their taste,—to be necessarily valid pluralistically, if we
regard it as a judgement which may exact the adhesion of
every one; then there must lie at its basis some a priori
principle (whether objective or subjective) to which we can
never attain by seeking out the empirical laws of mental
changes. For these only enable us to know how we judge, but
do not prescribe to us how we ought to judge. They do not
63
supply an unconditioned command, such as judgements of
taste presuppose, inasmuch as they require that the satisfaction
be immediately connected with the representation. Thus the
empirical exposition of aesthetical judgements may be a
beginning of a collection of materials for a higher
investigation; but a transcendental discussion of this faculty is
also possible, and is an essential part of the Critique of Taste.
For if it had not a priori principles, it could not possibly pass
sentence on the judgements of others, and it could not approve
or blame them with any appearance of right.
The remaining part of the Analytic of the Aesthetical
Judgement contains first the

64
DEDUCTION OF [PURE ] AESTHETICAL
JUDGEMENTS

§ 30. The Deduction of aesthetical judgements on the objects

of nature must not be directed to what we call Sublime in
nature, but only to the Beautiful.
 The claim of an aesthetical judgement to universal validity
for every subject requires, as a judgement resting on some a
priori principle, a Deduction (or legitimatising of its
pretensions) in addition to its Exposition; if it is concerned
with satisfaction or dissatisfaction in the form of the Object. Of
this kind are judgements of taste about the Beautiful in Nature.
For in that case the purposiveness has its ground in the Object
and in its figure, although it does not indicate the reference of
this to other objects according to concepts (for a cognitive
judgement), but merely has to do in general with the
apprehension of this form, so far as it shows itself conformable
in the mind to the faculty of concepts and to that of their
presentation (which is identical with that of apprehension). We
can thus, in respect of the Beautiful in nature, suggest many
questions touching the cause of this purposiveness of their
forms, e.g. to explain why nature has scattered abroad beauty
with such profusion, even in the depth of the ocean, where the
human eye (for which alone that purposiveness exists) but
seldom penetrates.
But the Sublime in nature—if we are passing upon it a
pure aesthetical judgement, not mixed up with any concepts of
perfection or objective purposiveness, in which case it would
be a teleological judgement—may be regarded as quite
formless or devoid of figure, and yet as the object of a pure
satisfaction; and it may display a subjective purposiveness in
the given representation. And we ask if, for an aesthetical
judgement of this kind,—over and above the Exposition of
what is thought in it,—a Deduction also of its claim to any
(subjective) a priori principle may be demanded?
To which we may answer that the Sublime in nature is
improperly so called, and that properly speaking the word
should only be applied to a state of mind, or rather to its
foundation in human nature. The apprehension of an otherwise
formless and unpurposive object gives merely the occasion,
through which we become conscious of such a state; the object
is thus employed as subjectively purposive, but is not judged
as such in itself and on account of its form (it is, as it were, a
species finalis accepta, non data). Hence our Exposition of
judgements concerning the Sublime in nature was at the same
time their Deduction. For when we analysed the reflection of
the Judgement in such acts, we found in them a purposive
relation of the cognitive faculties, which must be ascribed
ultimately to the faculty of purposes (the will), and hence is
itself purposive a priori. This then immediately involves the
Deduction, i.e. the justification of the claim of such a
judgement to universal and necessary validity.
We shall therefore only have to seek for the deduction of
judgements of Taste, i.e. of judgements about the Beauty of
natural things; we shall thus treat satisfactorily the problem
with which the whole faculty of aesthetical Judgement is
concerned.

§ 31. Of the method of deduction of judgements of Taste

A Deduction, i.e. the guarantee of the legitimacy of a class

of judgements, is only obligatory if the judgement lays claim
to necessity. This it does, if it demands even subjective
universality or the agreement of every one, although it is not a
judgement of cognition but only one of pleasure or pain in a
given object; i.e. it assumes a subjective purposiveness
thoroughly valid for every one, which must not be based on
any concept of the thing, because the judgement is one of
taste.
We have before us in the latter case no cognitive
judgement—neither a theoretical one based on the concept of a
Nature in general formed by the Understanding, nor a (pure)
practical one based on the Idea of Freedom, as given a priori
by Reason. Therefore we have to justify a priori the validity
neither of a judgement which represents what a thing is, nor of
one which prescribes that I ought to do something in order to
produce it. We have merely to prove for the Judgement
generally the universal validity of a singular judgement that
expresses the subjective purposiveness of an empirical
representation of the form of an object; in order to explain how
it is possible that a thing can please in the mere act of judging
it (without sensation or concept), and how the satisfaction of
one man can be proclaimed as a rule for every other; just as
the act of judging of an object for the sake of a cognition in
general has universal rules.
If now this universal validity is not to be based on any
collecting of the suffrages of others, or on any questioning of
them as to the kind of sensations they have, but is to rest, as it
were, on an autonomy of the judging subject in respect of the
feeling of pleasure (in the given representation), i.e. on his
own taste, and yet is not to be derived from concepts; then a
judgement like this—such as the judgement of taste is, in fact
—has a twofold logical peculiarity. First, there is its a priori
universal validity, which is not a logical universality in
accordance with concepts, but the universality of a singular
judgement. Secondly, it has a necessity (which must always
rest on a priori grounds), which however does not depend on
any a priori grounds of proof, through the representation of
which the assent that every one concedes to the judgement of
taste could be exacted.
The solution of these logical peculiarities, wherein a
judgement of taste is different from all cognitive judgements
—if we at the outset abstract from all content, viz. from the
feeling of pleasure, and merely compare the aesthetical form
with the form of objective judgements as logic prescribes it—
is sufficient by itself for the deduction of this singular faculty.
We shall then represent and elucidate by examples these
characteristic properties of taste.

§ 32. First peculiarity of the judgement of Taste

The judgement of taste determines its object in respect of

satisfaction (in its beauty) with an accompanying claim for the
assent of every one, just as if it were objective.
To say that “this flower is beautiful” is the same as to
assert its proper claim to satisfy every one. By the pleasantness
of its smell it has no such claim. A smell which one man
enjoys gives another a headache. Now what are we to presume
from this except that beauty is to be regarded as a property of
the flower itself, which does not accommodate itself to any
diversity of persons or of their sensitive organs, but to which
these must accommodate themselves if they are to pass any
judgement upon it? And yet this is not so. For a judgement of
taste consists in calling a thing beautiful just because of that
characteristic in respect of which it accommodates itself to our
mode of apprehension.
Moreover, it is required of every judgement which is to
prove the taste of the subject, that the subject shall judge by
himself, without needing to grope about empirically among the
judgements of others, and acquaint himself previously as to
their satisfaction or dissatisfaction with the same object; thus
his judgement should be pronounced a priori, and not be a
mere imitation because the thing actually gives universal
pleasure. One would think, however, that an a priori
judgement must contain a concept of the Object, for the
cognition of which it contains the principle; but the judgement
of taste is not based upon concepts at all, and is in general not
a cognitive but an aesthetical judgement.
Thus a young poet does not permit himself to be
dissuaded from his conviction that his poem is beautiful, by
the judgement of the public or of his friends; and if he gives
ear to them he does so, not because he now judges differently,
but because, although (in regard to him) the whole public has
false taste, in his desire for applause he finds reason for
accommodating himself to the common error (even against his
judgement). It is only at a later time, when his Judgement has
been sharpened by exercise, that he voluntarily departs from
his former judgements; just as he proceeds with those of his
65
judgements which rest upon Reason. Taste [merely] claims
autonomy. To make the judgements of others the determining
grounds of his own would be heteronomy.
That we, and rightly, recommend the works of the
ancients as models and call their authors classical, thus
forming among writers a kind of noble class who give laws to
the people by their example, seems to indicate a posteriori
sources of taste, and to contradict the autonomy of taste in
every subject. But we might just as well say that the old
mathematicians,—who are regarded up to the present day as
supplying models not easily to be dispensed with for the
supreme profundity and elegance of their synthetical methods,
—prove that our Reason is only imitative, and that we have
not the faculty of producing from it in combination with
intuition rigid proofs by means of the construction of
66
concepts. There is no use of our powers, however free, no
use of Reason itself (which must create all its judgements a
priori from common sources) which would not give rise to
faulty attempts, if every subject had always to begin anew
from the rude basis of his natural state, and if others had not
preceded him with their attempts. Not that these make mere
imitators of those who come after them, but rather by their
procedure they put others on the track of seeking in
themselves principles and so of pursuing their own course,
often a better one. Even in religion—where certainly every
one has to derive the rule of his conduct from himself, because
he remains responsible for it and cannot shift the blame of his
transgressions upon others, whether his teachers or his
predecessors—there is never as much accomplished by means
of universal precepts, either obtained from priests or
philosophers or got from oneself, as by means of an example
of virtue or holiness which, exhibited in history, does not
dispense with the autonomy of virtue based on the proper and
original Idea of morality (a priori), or change it into a
mechanical imitation. Following, involving something
precedent, not “imitation,” is the right expression for all
influence that the products of an exemplary author may have
upon others. And this only means that we draw from the same
sources as our predecessor did, and learn from him only the
way to avail ourselves of them. But of all faculties and talents
Taste, because its judgement is not determinable by concepts
and precepts, is just that one which most needs examples of
what has in the progress of culture received the longest
approval; that it may not become again uncivilised and return
to the crudeness of its first essays.

§ 33. Second peculiarity of the judgement of Taste

The judgement of taste is not determinable by grounds of

proof, just as if it were merely subjective.
 If a man, in the first place, does not find a building, a
prospect, or a poem beautiful, a hundred voices all highly
praising it will not force his inmost agreement. He may indeed
feign that it pleases him in order that he may not be regarded
as devoid of taste; he may even begin to doubt whether he has
formed his taste on a knowledge of a sufficient number of
objects of a certain kind (just as one, who believes that he
recognises in the distance as a forest, something which all
others regard as a town, doubts the judgement of his own
sight). But he clearly sees that the agreement of others gives
no valid proof of the judgement about beauty. Others might
perhaps see and observe for him; and what many have seen in
one way, although he believes that he has seen it differently,
might serve him as an adequate ground of proof of a
theoretical and consequently logical judgement. But that a
thing has pleased others could never serve as the basis of an
aesthetical judgement. A judgement of others which is
unfavourable to ours may indeed rightly make us scrutinise
our own with care, but it can never convince us of its
incorrectness. There is therefore no empirical ground of proof
which would force a judgement of taste upon any one.
Still less, in the second place, can an a priori proof
determine according to definite rules a judgement about
beauty. If a man reads me a poem of his or brings me to a play,
which does not after all suit my taste, he may bring forward in
67
proof of the beauty of his poem Batteux or Lessing or still
more ancient and famous critics of taste, and all the rules laid
down by them; certain passages which displease me may agree
very well with rules of beauty (as they have been put forth by
these writers and are universally recognised): but I stop my
ears, I will listen to no arguments and no reasoning; and I will
rather assume that these rules of the critics are false, or at least
that they do not apply to the case in question, than admit that
my judgement should be determined by grounds of proof a
priori. For it is to be a judgement of Taste and not of
Understanding or Reason.
It seems that this is one of the chief reasons why this
aesthetical faculty of judgement has been given the name of
Taste. For though a man enumerate to me all the ingredients of
a dish, and remark that each is separately pleasant to me and
further extol with justice the wholesomeness of this particular
food—yet am I deaf to all these reasons; I try the dish with my
tongue and my palate, and thereafter (and not according to
universal principles) do I pass my judgement.
In fact the judgement of Taste always takes the form of a
singular judgement about an Object. The Understanding can
form a universal judgement by comparing the Object in point
of the satisfaction it affords with the judgement of others upon
it: e.g. “all tulips are beautiful.” But then this is not a
judgement of taste but a logical judgement, which takes the
relation of an Object to taste as the predicate of things of a
certain species. That judgement, however, in which I find an
individual given tulip beautiful, i.e. in which I find my
satisfaction in it to be universally valid, is alone a judgement
of taste. Its peculiarity consists in the fact that, although it has
merely subjective validity, it claims the assent of all subjects,
exactly as it would do if it were an objective judgement resting
on grounds of knowledge, that could be established by a proof.

§ 34. There is no objective principle of Taste possible

By a principle of taste I mean a principle under the

condition of which we could subsume the concept of an object
and thus infer by means of a syllogism that the object is
beautiful. But that is absolutely impossible. For I must feel the
pleasure immediately in the representation of the object, and
of that I can be persuaded by no grounds of proof whatever.
68
Although, as Hume says, all critics can reason more
plausibly than cooks, yet the same fate awaits them. They
cannot expect the determining ground of their judgement [to
be derived] from the force of the proofs, but only from the
reflection of the subject upon its own proper state (of pleasure
or pain), all precepts and rules being rejected.
But although critics can and ought to pursue their
reasonings so that our judgements of taste may be corrected
and extended, it is not with a view to set forth the determining
ground of this kind of aesthetical judgements in a universally
applicable formula, which is impossible; but rather to
investigate the cognitive faculties and their exercise in these
judgements, and to explain by examples the reciprocal
subjective purposiveness, the form of which, as has been
shown above, in a given representation, constitutes the beauty
of the object. Therefore the Critique of Taste is only subjective
as regards the representation through which an Object is given
to us; viz. it is the art or science of reducing to rules the
reciprocal relation between the Understanding and the
Imagination in the given representation (without reference to
any preceding sensation or concept). That is, it is the art or
science of reducing to rules their accordance or discordance,
and of determining them with regard to their conditions. It is
an art, if it only shows this by examples; it is a science if it
derives the possibility of such judgements from the nature of
these faculties, as cognitive faculties in general. We have here,
in Transcendental Criticism, only to do with the latter. It
should develop and justify the subjective principle of taste, as
an a priori principle of the Judgement. This Critique, as an art,
merely seeks to apply, in the judging of objects, the
physiological (here psychological), and therefore empirical
rules, according to which taste actually proceeds (without
taking any account of their possibility); and it criticises the
products of beautiful art just as, regarded as a science, it
criticises the faculty by which they are judged.

§ 35. The principle of Taste is the subjective principle of

Judgement in general

The judgement of taste is distinguished from a logical

judgement in this, that the latter subsumes a representation
under the concept of the Object, while the former does not
subsume it under any concept; because otherwise the
necessary universal agreement [in these judgements] would be
capable of being enforced by proofs. Nevertheless it is like the
latter in this, that it claims universality and necessity, though
not according to concepts of the Object, and consequently a
merely subjective necessity. Now, because the concepts in a
judgement constitute its content (what belongs to the cognition
of the Object), but the judgement of taste is not determinable
by concepts, it is based only on the subjective formal condition
of a judgement in general. The subjective condition of all
judgements is the faculty of Judgement itself. This when used
with reference to a representation by which an object is given,
requires the accordance of two representative powers: viz.
Imagination (for the intuition and comprehension of the
manifold) and Understanding (for the concept as a
representation of the unity of this comprehension). Now
because no concept of the Object lies here at the basis of the
judgement, it can only consist in the subsumption of the
Imagination itself (in the case of a representation by which an
object is given) under the conditions that the Understanding
requires to pass from intuition to concepts. That is, because the
freedom of the Imagination consists in the fact that it
schematises without any concept, the judgement of taste must
rest on a mere sensation of the reciprocal activity of the
Imagination in its freedom and the Understanding with its
conformity to law. It must therefore rest on a feeling, which
makes us judge the object by the purposiveness of the
representation (by which an object is given) in respect of the
furtherance of the cognitive faculty in its free play. Taste, then,
as subjective Judgement, contains a principle of subsumption,
not of intuitions under concepts, but of the faculty of intuitions
or presentations (i.e. the Imagination) under the faculty of the
concepts (i.e. the Understanding); so far as the former in its
freedom harmonises with the latter in its conformity to law.
In order to discover this ground of legitimacy by a
Deduction of the judgements of taste we can only take as a
clue the formal peculiarities of this kind of judgements, and
consequently can only consider their logical form.

§ 36. Of the problem of a Deduction of judgements of Taste

The concept of an Object in general can immediately be

combined with the perception of an object, containing its
empirical predicates, so as to form a cognitive judgement; and
69
it is thus that a judgement of experience is produced. At the
basis of this lie a priori concepts of the synthetical unity of the
manifold of intuition, by which the manifold is thought as the
determination of an Object. These concepts (the Categories)
require a Deduction, which is given in the Critique of pure
Reason; and by it we can get the solution of the problem, how
are synthetical a priori cognitive judgements possible? This
problem concerns then the a priori principles of the pure
Understanding and its theoretical judgements.
But with a perception there can also be combined a feeling
of pleasure (or pain) and a satisfaction, that accompanies the
representation of the Object and serves instead of its predicate;
thus there can result an aesthetical non-cognitive judgement.
At the basis of such a judgement—if it is not a mere
judgement of sensation but a formal judgement of reflection,
which imputes the same satisfaction necessarily to every one,
—must lie some a priori principle; which may be merely
subjective (if an objective one should prove impossible for
judgements of this kind), but also as such may need a
Deduction, that we may thereby comprehend how an
aesthetical judgement can lay claim to necessity. On this is
founded the problem with which we are now occupied, how
are judgements of taste possible? This problem then has to do
with the a priori principles of the pure faculty of Judgement in
aesthetical judgements; i.e. judgements in which it has not (as
in theoretical ones) merely to subsume under objective
concepts of Understanding, and in which it is subject to a law,
but in which it is, itself, subjectively, both object and law.
This problem then may be thus represented: how is a
judgement possible, in which merely from our own feeling of
pleasure in an object, independently of its concept, we judge
that this pleasure attaches to the representation of the same
Object in every other subject, and that a priori without waiting
for the accordance of others?
It is easy to see that judgements of taste are synthetical,
because they go beyond the concept and even beyond the
intuition of the Object, and add to that intuition as predicate
something that is not a cognition, viz. a feeling of pleasure (or
pain). Although the predicate (of the personal pleasure bound
up with the representation) is empirical, nevertheless, as
concerns the required assent of every one the judgements are a
priori, or desire to be regarded as such; and this is already
involved in the expressions of this claim. Thus this problem of
the Critique of Judgement belongs to the general problem of
transcendental philosophy, how are synthetical a priori
judgements possible?

§ 37. What is properly asserted a priori of an object in a

judgement of Taste

That the representation of an object is immediately bound

up with pleasure can only be internally perceived, and if we
did not wish to indicate anything more than this it would give
a merely empirical judgement. For I cannot combine a definite
feeling (of pleasure or pain) with any representation except
where there is at bottom an a priori principle in the Reason
determining the Will. In that case the pleasure (in the moral
feeling) is the consequence of the principle, but cannot be
compared with the pleasure in taste, because it requires a
definite concept of a law; and the latter pleasure, on the
contrary, must be bound up with the mere act of judging, prior
to all concepts. Hence also all judgements of taste are singular
judgements, because they do not combine their predicate of
satisfaction with a concept, but with a given individual
empirical representation.
And so it is not the pleasure, but the universal validity of
this pleasure, perceived as mentally bound up with the mere
judgement upon an object, which is represented a priori in a
judgement of taste as a universal rule for the Judgement and
valid for every one. It is an empirical judgement [to say] that I
perceive and judge an object with pleasure. But it is an a priori
judgement [to say] that I find it beautiful, i.e. I attribute this
satisfaction necessarily to every one.

§ 38. Deduction of judgements of Taste

If it be admitted that in a pure judgement of taste the

satisfaction in the object is combined with the mere act of
judging its form, it is nothing else than its subjective
purposiveness for the Judgement which we feel to be mentally
combined with the representation of the object. The
Judgement, as regards the formal rules of its action, apart from
all matter (whether sensation or concept), can only be directed
to the subjective conditions of its employment in general (it is
70
applied neither to a particular mode of sense nor to a
particular concept of the Understanding); and consequently to
that subjective [element] which we can presuppose in all men
(as requisite for possible cognition in general). Thus the
agreement of a representation with these conditions of the
Judgement must be capable of being assumed as valid a priori
for every one. I.e. we may rightly impute to every one the
pleasure or the subjective purposiveness of the representation
for the relation between the cognitive faculties in the act of
71
judging a sensible object in general.
Remark

This Deduction is thus easy, because it has no need to

justify the objective reality of any concept, for Beauty is not a
concept of the Object and the judgement of taste is not
cognitive. It only maintains that we are justified in
presupposing universally in every man those subjective
conditions of the Judgement which we find in ourselves; and
further, that we have rightly subsumed the given Object under
these conditions. The latter has indeed unavoidable difficulties
which do not beset the logical Judgement. There we subsume
under concepts, but in the aesthetical Judgement under a
merely sensible relation between the Imagination and
Understanding mutually harmonising in the representation of
the form of the Object,—in which case the subsumption may
easily be fallacious. Yet the legitimacy of the claim of the
Judgement in counting upon universal assent is not thus
annulled; it reduces itself merely to the correctness of the
principle of judging validly for every one from subjective
grounds. For as to the difficulty or doubt concerning the
correctness of the subsumption under that principle, it makes
the legitimacy of the claim of an aesthetical judgement in
general to such validity and the principle of the same, as little
doubtful, as the like faulty (though neither so commonly nor
readily faulty) subsumption of the logical Judgement under its
principle can make the latter, an objective principle, doubtful.
But if the question were to be, how is it possible to assume
nature a priori to be a complex of objects of taste? this
problem has reference to Teleology, because it must be
regarded as a purpose of nature essentially belonging to its
concept to exhibit forms that are purposive for our Judgement.
But the correctness of this latter assumption is very doubtful,
whereas the efficacy of natural beauties is patent to
experience.

§ 39. Of the communicability of a Sensation

If sensation, as the real in perception, is related to

knowledge, it is called sensation of the senses; and its specific
quality may be represented as generally communicable in a
uniform way, if we assume that every one has senses like our
own. But this cannot at all be presupposed of any single
sensation. To a man who is deficient in the sense of smell, this
kind of sensation cannot be communicated; and even if it is
not wholly deficient, we cannot be certain that he gets exactly
the same sensation from a flower that we have. But even more
must we represent men as differing in respect of the
pleasantness or unpleasantness involved in the sensation from
the same object of sense; and it is absolutely not to be required
that every man should take pleasure in the same objects.
Pleasure of this kind, because it comes into the mind through
the senses, in respect of which therefore we are passive, we
may call the pleasure of enjoyment.
Satisfaction in an action because of its moral character is
on the other hand not the pleasure of enjoyment, but of
spontaneity and its accordance with the Idea of its destination.
But this feeling, called moral, requires concepts, and presents
not free purposiveness, but purposiveness that is conformable
to law; it therefore admits of being universally communicated
only by means of Reason, and, if the pleasure is to be
homogeneous for every one, by very definite practical
concepts of Reason.
Pleasure in the Sublime in nature, regarded as a pleasure
of rational contemplation, also makes claim to universal
participation; but it presupposes, besides, a different feeling,
viz. that of our supersensible destination, which, however
obscurely, has a moral foundation. But that other men will take
account of it, and will find a satisfaction in the consideration
of the wild greatness of nature (that certainly cannot be
ascribed to its aspect, which is rather terrifying), I am not
absolutely justified in supposing. Nevertheless, in
consideration of the fact that on every suitable occasion regard
should be had to these moral dispositions, I can impute such
satisfaction to every man, but only by means of the moral law
which on its side again is based on concepts of Reason.
On the contrary, pleasure in the Beautiful is neither a
pleasure of enjoyment nor of a law-abiding activity, nor even
of rational contemplation in accordance with Ideas, but of
mere reflection. Without having as rule any purpose or
fundamental proposition, this pleasure accompanies the
ordinary apprehension of an object by the Imagination, as
faculty of intuition, in relation with the Understanding, as
faculty of concepts, by means of a procedure of the Judgement
which it must also exercise on behalf of the commonest
experience; only that in the latter case it is in order to perceive
an empirical objective concept, in the former case (in
aesthetical judgements) merely to perceive the accordance of
the representation with the harmonious (subjectively
purposive) activity of both cognitive faculties in their freedom,
i.e. to feel with pleasure the mental state produced by the
representation. This pleasure must necessarily depend for
every one on the same conditions, for they are subjective
conditions of the possibility of a cognition in general; and the
proportion between these cognitive faculties requisite for Taste
is also requisite for that ordinary sound Understanding which
we have to presuppose in every one. Therefore he who judges
with taste (if only he does not go astray in this act of
consciousness and mistake matter for form or charm for
beauty) may impute to every one subjective purposiveness, i.e.
his satisfaction in the Object, and may assume his feeling to be
universally communicable and that without the mediation of
concepts.

§ 40. Of Taste as a kind of sensus communis

 We often give to the Judgement, if we are considering the
result rather than the act of its reflection, the name of a sense,
and we speak of a sense of truth, or of a sense of decorum, of
justice, etc. And yet we know, or at least we ought to know,
that these concepts cannot have their place in Sense, and
further, that Sense has not the least capacity for expressing
universal rules; but that no representation of truth, fitness,
beauty, or justice, and so forth, could come into our thoughts if
we could not rise beyond Sense to higher faculties of
cognition. The common Understanding of men, which, as the
mere sound (not yet cultivated) Understanding, we regard as
the least to be expected from any one claiming the name of
man, has therefore the doubtful honour of being given the
name of common sense (sensus communis); and in such a way
that by the name common (not merely in our language, where
the word actually has a double signification, but in many
others) we understand vulgar, that which is everywhere met
with, the possession of which indicates absolutely no merit or
superiority.
But under the sensus communis we must include the Idea
of a communal sense, i.e. of a faculty of judgement, which in
its reflection takes account (a priori) of the mode of
representation of all other men in thought; in order as it were
to compare its judgement with the collective Reason of
humanity, and thus to escape the illusion arising from the
private conditions that could be so easily taken for objective,
which would injuriously affect the judgement. This is done by
comparing our judgement with the possible rather than the
actual judgements of others, and by putting ourselves in the
place of any other man, by abstracting from the limitations
which contingently attach to our own judgement. This, again,
is brought about by leaving aside as much as possible the
matter of our representative state, i.e. sensation, and simply
having respect to the formal peculiarities of our representation
or representative state. Now this operation of reflection seems
perhaps too artificial to be attributed to the faculty called
common sense; but it only appears so, when expressed in
abstract formulae. In itself there is nothing more natural than
to abstract from charm or emotion if we are seeking a
judgement that is to serve as a universal rule.
 The following Maxims of common human Understanding
do not properly come in here, as parts of the Critique of Taste;
but yet they may serve to elucidate its fundamental
propositions. They are: 1° to think for oneself; 2° to put
ourselves in thought in the place of every one else; 3° always
to think consistently. The first is the maxim of unprejudiced
thought; the second of enlarged thought; the third of
72
consecutive thought. The first is the maxim of a Reason
never passive. The tendency to such passivity, and therefore to
heteronomy of the Reason, is called prejudice; and the greatest
prejudice of all is to represent nature as not subject to the rules
that the Understanding places at its basis by means of its own
essential law, i.e. is superstition. Deliverance from superstition
73
is called enlightenment; because although this name belongs
to deliverance from prejudices in general, yet superstition
specially (in sensu eminenti) deserves to be called a prejudice.
For the blindness in which superstition places us, which it
even imposes on us as an obligation, makes the need of being
guided by others, and the consequent passive state of our
Reason, peculiarly noticeable. As regards the second maxim of
the mind, we are otherwise wont to call him limited (borné,
the opposite of enlarged) whose talents attain to no great use
(especially as regards intensity). But here we are not speaking
of the faculty of cognition, but of the mode of thought which
makes a purposive use thereof. However small may be the area
or the degree to which a man’s natural gifts reach, yet it
indicates a man of enlarged thought if he disregards the
subjective private conditions of his own judgement, by which
so many others are confined, and reflects upon it from a
universal standpoint (which he can only determine by placing
himself at the standpoint of others). The third maxim, viz. that
of consecutive thought, is the most difficult to attain, and can
only be attained by the combination of both the former, and
after the constant observance of them has grown into a habit.
We may say that the first of these maxims is the maxim of
Understanding, the second of Judgement, and the third of
Reason.
I take up again the threads interrupted by this digression,
and I say that Taste can be called sensus communis with more
justice than sound Understanding can; and that the aesthetical
Judgement rather than the intellectual may bear the name of a
74
communal sense, if we are willing to use the word “sense” of
an effect of mere reflection upon the mind: for then we
understand by sense the feeling of pleasure. We could even
define Taste as the faculty of judging of that which makes
universally communicable, without the mediation of a concept,
our feeling in a given representation.
The skill that men have in communicating their thoughts
requires also a relation between the Imagination and the
Understanding in order to associate intuitions with concepts,
and concepts again with those concepts, which then combine
in a cognition. But in that case the agreement of the two
mental powers is according to law, under the constraint of
definite concepts. Only where the Imagination in its freedom
awakens the Understanding, and is put by it into regular play
without the aid of concepts, does the representation
communicate itself not as a thought but as an internal feeling
of a purposive state of the mind.
Taste is then the faculty of judging a priori of the
communicability of feelings that are bound up with a given
representation (without the mediation of a concept).
If we could assume that the mere universal
communicability of a feeling must carry in itself an interest for
us with it (which, however, we are not justified in concluding
from the character of a merely reflective Judgement), we
should be able to explain why the feeling in the judgement of
taste comes to be imputed to every one, so to speak, as a duty.

§ 41. Of the empirical interest in the Beautiful

That the judgement of taste by which something is

declared beautiful must have no interest as its determining
ground has been sufficiently established above. But it does not
follow that after it has been given as a pure aesthetical
judgement, no interest can be combined with it. This
combination, however, can only be indirect, i.e. taste must first
of all be represented as combined with something else, in
order that we may unite with the satisfaction of mere reflection
upon an object a pleasure in its existence (as that wherein all
interest consists). For here also in aesthetical judgements what
we say in cognitive judgements (of things in general) is valid;
a posse ad esse non valet consequentia. This something else
may be empirical, viz. an inclination proper to human nature,
or intellectual, as the property of the Will of being capable of a
priori determination by Reason. Both these involve a
satisfaction in the presence of an Object, and so can lay the
foundation for an interest in what has by itself pleased without
reference to any interest whatever.
Empirically the Beautiful interests only in society. If we
admit the impulse to society as natural to man, and his fitness
for it, and his propension towards it, i.e. sociability, as a
requisite for man as a being destined for society, and so as a
property belonging to humanity, we cannot escape from
regarding taste as a faculty for judging everything in respect of
which we can communicate our feeling to all other men, and
so as a means of furthering that which every one’s natural
inclination desires.
A man abandoned by himself on a desert island would
adorn neither his hut nor his person; nor would he seek for
flowers, still less would he plant them, in order to adorn
himself therewith. It is only in society that it occurs to him to
be not merely a man, but a refined man after his kind (the
beginning of civilisation). For such do we judge him to be who
is both inclined and apt to communicate his pleasure to others,
and who is not contented with an Object if he cannot feel
satisfaction in it in common with others. Again, every one
expects and requires from every one else this reference to
universal communication [of pleasure], as it were from an
original compact dictated by humanity itself. Thus, doubtless,
in the beginning only those things which attracted the senses,
e.g. colours for painting oneself (roucou among the Carabs and
cinnabar among the Iroquois), flowers, mussel shells, beautiful
feathers, etc.,—but in time beautiful forms also (e.g. in their
canoes, and clothes, etc.), which bring with them no
gratification, or satisfaction of enjoyment—were important in
society, and were combined with great interest. Until at last
civilisation, having reached its highest point, makes out of this
almost the main business of refined inclination; and sensations
are only regarded as of worth in so far as they can be
universally communicated. Here, although the pleasure which
every one has in such an object is inconsiderable and in itself
without any marked interest, yet the Idea of its universal
communicability increases its worth in an almost infinite
degree.
 But this interest that indirectly attaches to the Beautiful
through our inclination to society, and consequently is
empirical, is of no importance for us here; because we have
only to look to what may have a reference, although only
indirectly, to the judgement of taste a priori. For if even in this
form an interest bound up therewith should discover itself,
taste would discover a transition of our judging faculty from
sense-enjoyment to moral feeling; and so not only would we
be the better guided in employing taste purposively, but there
would be thus presented a link in the chain of the human
faculties a priori, on which all legislation must depend. We
can only say thus much about the empirical interest in objects
of taste and in taste itself. Since it is subservient to inclination,
however refined the latter may be, it may easily be confounded
with all the inclinations and passions, which attain their
greatest variety and highest degree in society; and the interest
in the Beautiful, if it is grounded thereon, can only furnish a
very ambiguous transition from the Pleasant to the Good. But
whether this can or cannot be furthered by taste, taken in its
purity, is what we now have to investigate.

§ 42. Of the intellectual interest in the Beautiful

With the best intentions those persons who refer all

activities, to which their inner natural dispositions impel men,
to the final purpose of humanity, viz. the morally good, have
regarded the taking an interest in the Beautiful in general as a
mark of good moral character. But it is not without reason that
they have been contradicted by others who rely on experience;
for this shows that connoisseurs in taste, not only often but
generally, are given up to idle, capricious, and mischievous
passions, and that they could perhaps make less claim than
others to any pre-eminent attachment to moral principles. Thus
it would seem that the feeling for the Beautiful is not only (as
actually is the case) specifically different from the Moral
feeling; but that the interest which can be bound up with it is
hardly compatible with moral interest, and certainly has no
inner affinity therewith.
 Now I admit at once that the interest in the Beautiful of
Art (under which I include the artificial use of natural beauties
for adornment and so for vanity) furnishes no proof whatever
of a disposition attached to the morally good or even inclined
thereto. But on the other hand, I maintain that to take an
immediate interest in the Beauty of Nature (not merely to have
taste in judging it) is always a mark of a good soul; and that
when this interest is habitual it at least indicates a frame of
mind favourable to the moral feeling, if it is voluntarily bound
up with the contemplation of nature. It is to be remembered,
however, that I here speak strictly of the beautiful forms of
Nature, and I set aside the charms, that she is wont to combine
so abundantly with them; because, though the interest in the
latter is indeed immediate, it is only empirical.
He who by himself (and without any design of
communicating his observations to others) regards the
beautiful figure of a wild flower, a bird, an insect, etc., with
admiration and love—who would not willingly miss it in
Nature, although it may bring him some hurt, who still less
wants any advantage from it—he takes an immediate and also
an intellectual interest in the beauty of Nature. I.e. it is not
merely the form of the product of nature which pleases him,
but its very presence pleases him, the charms of sense having
no share in this pleasure and no purpose whatever being
combined with it.
But it is noteworthy that if we secretly deceived this lover
of the beautiful by planting in the ground artificial flowers
(which can be manufactured exactly like natural ones), or by
placing artificially carved birds on the boughs of trees, and he
discovered the deceit, the immediate interest that he previously
took in them would disappear at once; though, perhaps, a
different interest, viz. the interest of vanity in adorning his
chamber with them for the eyes of others, would take its place.
This thought then must accompany our intuition and reflection
on beauty, viz. that nature has produced it; and on this alone is
based the immediate interest that we take in it. Otherwise,
there remains a mere judgement of taste, either devoid of all
interest, or bound up with a mediate interest, viz. in that it has
reference to society; which latter [interest] furnishes no certain
indications of a morally good disposition.
This superiority of natural to artificial beauty in that it
alone arouses an immediate interest, although as regards form
the first may be surpassed by the second, harmonises with the
refined and well-grounded habit of thought of all men who
have cultivated their moral feeling. If a man who has taste
enough to judge of the products of beautiful Art with the
greatest accuracy and refinement willingly leaves a chamber
where are to be found those beauties that minister to vanity or
to any social joys, and turns to the beautiful in Nature in order
to find, as it were, delight for his spirit in a train of thought
that he can never completely evolve, we will regard this choice
of his with veneration, and attribute to him a beautiful soul, to
which no connoisseur or lover [of Art] can lay claim on
account of the interest he takes in his [artistic] objects.—What
now is the difference in our estimation of these two different
kinds of Objects, which in the judgement of mere taste it is
hard to compare in point of superiority?
We have a faculty of mere aesthetical Judgement by which
we judge forms without the aid of concepts, and find a
satisfaction in this mere act of judgement; this we make into a
rule for every one, without this judgement either being based
on or producing any interest.—On the other hand, we have
also a faculty of intellectual Judgement which determines an a
priori satisfaction for the mere forms of practical maxims (so
far as they are in themselves qualified for universal
legislation); this we make into a law for every one, without our
judgement being based on any interest whatever, though in this
case it produces such an interest. The pleasure or pain in the
former judgement is called that of taste, in the latter, that of
moral feeling.
But it also interests Reason that the Ideas (for which in
moral feeling it arouses an immediate interest) should have
objective reality; i.e. that nature should at least show a trace or
give an indication that it contains in itself some ground for
assuming a regular agreement of its products with our entirely
disinterested satisfaction (which we recognise a priori as a law
for every one, without being able to base it upon proofs).
Hence Reason must take an interest in every expression on the
part of nature of an agreement of this kind. Consequently, the
mind cannot ponder upon the beauty of Nature without finding
itself at the same time interested therein. But this interest is
akin to moral, and he who takes such an interest in the beauties
of nature can do so only in so far as he previously has firmly
established his interest in the morally good. If, therefore, the
beauty of Nature interests a man immediately we have reason
for attributing to him, at least, a basis for a good moral
disposition.
It will be said that this account of aesthetical judgements,
as akin to the moral feeling, seems far too studied to be
regarded as the true interpretation of that cipher through which
Nature speaks to us figuratively in her beautiful forms.
However, in the first place, this immediate interest in the
beautiful is actually not common; but is peculiar to those
whose mental disposition either has already been cultivated in
the direction of the good or is eminently susceptible of such
cultivation. In that case the analogy between the pure
judgement of taste which, independently of any interest,
causes us to feel a satisfaction, and also represents it a priori
as suitable to humanity in general, and the moral judgement
that does the same thing from concepts without any clear,
subtle, and premeditated reflection—this analogy leads to a
similar immediate interest in the objects of the former as in
those of the latter; only that in the one case the interest is free,
in the other it is based on objective laws. To this is to be added
our admiration for Nature, which displays itself in its beautiful
products as Art, not merely by chance, but as it were
designedly, in accordance with a regular arrangement, and as
purposiveness without purpose. This latter, as we never meet
with it outside ourselves, we naturally seek in ourselves; and,
in fact, in that which constitutes the ultimate purpose of our
being, viz. our moral destination. (Of this question as to the
ground of the possibility of such natural purposiveness we
shall first speak in the Teleology.)
It is easy to explain why the satisfaction in the pure
aesthetical judgement in the case of beautiful Art is not
combined with an immediate interest as it is in the case of
beautiful Nature. For the former is either such an imitation of
the latter that it reaches the point of deception and then
produces the same effect as natural beauty (for which it is
taken); or it is an art obviously directed designedly to our
satisfaction. In the latter case the satisfaction in the product
would, it is true, be brought about immediately by taste, but it
would be only a mediate interest in the cause lying at its root,
viz. an art that can only interest by means of its purpose and
never in itself. It will, perhaps, be said that this is also the case,
if an Object of nature interests us by its beauty only so far as it
is associated with a moral Idea. But it is not the Object itself
which immediately interests us, but its character in virtue of
which it is qualified for such association, which therefore
essentially belongs to it.
The charms in beautiful Nature, which are so often found,
as it were, blended with beautiful forms, may be referred to
modifications either of light (colours) or of sound (tones). For
these are the only sensations that imply not merely a sensible
feeling but also reflection upon the form of these
modifications of Sense; and thus they involve in themselves as
it were a language by which nature speaks to us, which thus
seems to have a higher sense. Thus the white colour of lilies
seems to determine the mind to Ideas of innocence; and the
seven colours in order from the red to the violet seem to
suggest the Ideas of (1) Sublimity, (2) Intrepidity, (3) Candour,
(4) Friendliness, (5) Modesty, (6) Constancy, (7) Tenderness.
The song of birds proclaims gladsomeness and contentment
with existence. At least so we interpret nature, whether it have
this design or not. But the interest which we here take in
beauty has only to do with the beauty of Nature; it vanishes
altogether as soon as we notice that we are deceived and that it
is only Art—vanishes so completely that taste can no longer
find the thing beautiful or sight find it charming. What is more
highly praised by poets than the bewitching and beautiful note
of the nightingale in a lonely copse on a still summer evening
by the soft light of the moon? And yet we have instances of a
merry host, where no such songster was to be found, deceiving
to their great contentment the guests who were staying with
him to enjoy the country air, by hiding in a bush a mischievous
boy who knew how to produce this sound exactly like nature
(by means of a reed or a tube in his mouth). But as soon as we
are aware that it is a cheat, no one will remain long listening to
the song which before was counted so charming. And it is just
the same with the songs of all other birds. It must be Nature or
be regarded as Nature, if we are to take an immediate interest
in the Beautiful as such; and still more is this the case if we
can require that others should take an interest in it too. This
happens as a matter of fact when we regard as coarse and
ignoble the mental attitude of those persons who have no
feeling for beautiful Nature (for thus we describe a
susceptibility to interest in its contemplation), and who confine
themselves to eating and drinking—to the mere enjoyments of
sense.

§ 43. Of Art in general

(1). Art is distinguished from Nature, as doing (facere) is

distinguished from acting or working generally (agere), and as
the product or result of the former is distinguished as work
(opus) from the working (effectus) of the latter.
By right we ought only to describe as Art, production
through freedom, i.e. through a will that places Reason at the
basis of its actions. For although we like to call the product of
bees (regularly built cells of wax) a work of art, this is only by
way of analogy: as soon as we feel that this work of theirs is
based on no proper rational deliberation, we say that it is a
product of Nature (of instinct), and as Art only ascribe it to
their Creator.
If, as sometimes happens, in searching through a bog we
come upon a bit of shaped wood, we do not say: this is a
product of Nature, but, of Art. Its producing cause has
conceived a purpose to which the bit of wood owes its form.
Elsewhere too we should see art in everything which is made
so that a representation of it in its cause must have preceded its
actuality (as even in the case of the bees), though the effect
could not have been thought by the cause. But if we call
anything absolutely a work of art in order to distinguish it
from a natural effect, we always understand by that a work of
man.
 (2). Art regarded as human skill differs from science (as
can from know) as a practical faculty does from a theoretical,
as Technic does from Theory (as mensuration from geometry).
And so what we can do, as soon as we merely know what
ought to be done and therefore are sufficiently cognisant of the
desired effect, is not called Art. Only that which a man, even if
he knows it completely, may not therefore have the skill to
75
accomplish, belongs to Art. Camper describes very exactly
how the best shoes must be made, but he certainly could not
76
make one.
(3). Art also differs from handicraft; the first is called free,
the other may be called mercenary. We regard the first as if it
could only prove purposive as play, i.e. as occupation that is
pleasant in itself. But the second is regarded as if it could only
be compulsorily imposed upon one as work, i.e. as occupation
which is unpleasant (a trouble) in itself, and which is only
attractive on account of its effect (e.g. the wage). Whether or
not in the graded list of the professions we ought to count
watchmakers as artists, but smiths only as handicraftsmen,
would require another point of view from which to judge than
that which we are here taking up; viz. [we should have to
consider] the proportion of talents which must be assumed
requisite in these several occupations. Whether or not, again,
under the so-called seven free arts some may be included
which ought to be classed as sciences, and many that are akin
rather to handicraft, I shall not here discuss. But it is not
inexpedient to recall that in all free arts there is yet requisite
something compulsory, or, as it is called, mechanism, without
which the spirit, which must be free in art and which alone
inspires the work, would have no body and would evaporate
altogether; e.g. in poetry there must be an accuracy and wealth
of language, and also prosody and metre. [It is not inexpedient,
I say, to recall this], for many modern educators believe that
the best way to produce a free art is to remove it from all
constraint, and thus to change it from work into mere play.

§ 44. Of beautiful Art

 There is no Science of the Beautiful, but only a Critique of
it; and there is no such thing as beautiful Science, but only
beautiful Art. For as regards the first point, if it could be
decided scientifically, i.e. by proofs, whether a thing was to be
regarded as beautiful or not, the judgement upon beauty would
belong to science and would not be a judgement of taste. And
as far as the second point is concerned, a science which should
be beautiful as such is a nonentity. For if in such a science we
were to ask for grounds and proofs, we would be put off with
tasteful phrases (bon-mots).—The source of the common
expression, beautiful science, is without doubt nothing else
than this, as it has been rightly remarked, that for beautiful art
in its entire completeness much science is requisite; e.g. a
knowledge of ancient languages, a learned familiarity with
classical authors, history, a knowledge of antiquities, etc. And
hence these historical sciences, because they form the
necessary preparation and basis for beautiful art, and also
partly because under them is included the knowledge of the
products of beautiful art (rhetoric and poetry), have come to be
called beautiful sciences by a confusion of words.
If art which is adequate to the cognition of a possible
object performs the actions requisite therefore merely in order
to make it actual, it is mechanical art; but if it has for its
immediate design the feeling of pleasure, it is called
aesthetical art. This is again either pleasant or beautiful. It is
the first, if its purpose is that the pleasure should accompany
the representations [of the object] regarded as mere sensations;
it is the second if they are regarded as modes of cognition.
Pleasant arts are those that are directed merely to
enjoyment. Of this class are all those charming arts that can
gratify a company at table; e.g. the art of telling stories in an
entertaining way, of starting the company in frank and lively
conversation, of raising them by jest and laugh to a certain
77
pitch of merriment; when, as people say, there may be a
great deal of gossip at the feast, but no one will be answerable
for what he says, because they are only concerned with
momentary entertainment, and not with any permanent
material for reflection or subsequent discussion. (Among these
are also to be reckoned the way of arranging the table for
enjoyment, and, at great feasts, the management of the music.
This latter is a wonderful thing. It is meant to dispose to gaiety
the minds of the guests, regarded solely as a pleasant noise,
without any one paying the least attention to its composition;
and it favours the free conversation of each with his
neighbour.) Again, to this class belong all games which bring
with them no further interest than that of making the time pass
imperceptibly.
On the other hand, beautiful art is a mode of
representation which is purposive for itself, and which,
although devoid of [definite] purpose, yet furthers the culture
of the mental powers in reference to social communication.
The universal communicability of a pleasure carries with
it in its very concept that the pleasure is not one of enjoyment,
from mere sensation, but must be derived from reflection; and
thus aesthetical art, as the art of beauty, has for standard the
reflective Judgement and not sensation.

§ 45. Beautiful Art is an art, in so far as it seems like nature

In a product of beautiful art we must become conscious

that it is Art and not Nature; but yet the purposiveness in its
form must seem to be as free from all constraint of arbitrary
rules as if it were a product of mere nature. On this feeling of
freedom in the play of our cognitive faculties, which must at
the same time be purposive, rests that pleasure which alone is
universally communicable, without being based on concepts.
Nature is beautiful because it looks like Art; and Art can only
be called beautiful if we are conscious of it as Art while yet it
looks like Nature.
For whether we are dealing with natural or with artificial
beauty we can say generally: That is beautiful which pleases in
the mere act of judging it (not in the sensation of it, or by
means of a concept). Now art has always a definite design of
producing something. But if this something were bare
sensation (something merely subjective), which is to be
accompanied with pleasure, the product would please in the
act of judgement only by mediation of sensible feeling. And
again, if the design were directed towards the production of a
definite Object, then, if this were attained by art, the Object
would only please by means of concepts. But in both cases the
art would not please in the mere act of judging; i.e. it would
not please as beautiful, but as mechanical.
Hence the purposiveness in the product of beautiful art,
although it is designed, must not seem to be designed; i.e.
beautiful art must look like nature, although we are conscious
of it as art. But a product of art appears like nature when,
although its agreement with the rules, according to which
alone the product can become what it ought to be, is
punctiliously observed, yet this is not painfully apparent; [the
78
form of the schools does not obtrude itself] —it shows no
trace of the rule having been before the eyes of the artist and
having fettered his mental powers.

§ 46. Beautiful Art is the art of genius

Genius is the talent (or natural gift) which gives the rule to
Art. Since talent, as the innate productive faculty of the artist,
belongs itself to Nature, we may express the matter thus:
Genius is the innate mental disposition (ingenium) through
which Nature gives the rule to Art.
Whatever may be thought of this definition, whether it is
merely arbitrary or whether it is adequate to the concept that
we are accustomed to combine with the word genius (which is
to be examined in the following paragraphs), we can prove
already beforehand that according to the signification of the
word here adopted, beautiful arts must necessarily be
considered as arts of genius.
For every art presupposes rules by means of which in the
first instance a product, if it is to be called artistic, is
represented as possible. But the concept of beautiful art does
not permit the judgement upon the beauty of a product to be
derived from any rule, which has a concept as its determining
ground, and therefore has at its basis a concept of the way in
which the product is possible. Therefore, beautiful art cannot
itself devise the rule according to which it can bring about its
product. But since at the same time a product can never be
called Art without some precedent rule, Nature in the subject
must (by the harmony of its faculties) give the rule to Art; i.e.
beautiful Art is only possible as a product of Genius.
We thus see (1) that genius is a talent for producing that
for which no definite rule can be given; it is not a mere
aptitude for what can be learnt by a rule. Hence originality
must be its first property. (2) But since it also can produce
original nonsense, its products must be models, i.e. exemplary;
and they consequently ought not to spring from imitation, but
must serve as a standard or rule of judgement for others. (3) It
cannot describe or indicate scientifically how it brings about
its products, but it gives the rule just as nature does. Hence the
author of a product for which he is indebted to his genius does
not himself know how he has come by his Ideas; and he has
not the power to devise the like at pleasure or in accordance
with a plan, and to communicate it to others in precepts that
will enable them to produce similar products. (Hence it is
probable that the word genius is derived from genius, that
peculiar guiding and guardian spirit given to a man at his birth,
from whose suggestion these original Ideas proceed.) (4)
Nature by the medium of genius does not prescribe rules to
Science, but to Art; and to it only in so far as it is to be
beautiful Art.

§ 47. Elucidation and confirmation of the above explanation

of Genius

Every one is agreed that genius is entirely opposed to the

spirit of imitation. Now since learning is nothing but imitation,
it follows that the greatest ability and teachableness (capacity)
regarded quâ teachableness, cannot avail for genius. Even if a
man thinks or invents for himself, and does not merely take in
what others have taught, even if he discovers many things in
art and science, this is not the right ground for calling such a
(perhaps great) head, a genius (as opposed to him who because
he can only learn and imitate is called a shallow-pate). For
even these things could be learned, they lie in the natural path
of him who investigates and reflects according to rules; and
they do not differ specifically from what can be acquired by
industry through imitation. Thus we can readily learn all that
Newton has set forth in his immortal work on the Principles of
Natural Philosophy, however great a head was required to
discover it; but we cannot learn to write spirited poetry,
however express may be the precepts of the art and however
excellent its models. The reason is that Newton could make all
his steps, from the first elements of geometry to his own great
and profound discoveries, intuitively plain and definite as
regards consequence, not only to himself but to every one else.
But a Homer or a Wieland cannot show how his Ideas, so rich
in fancy and yet so full of thought, come together in his head,
simply because he does not know and therefore cannot teach
others. In Science then the greatest discoverer only differs in
degree from his laborious imitator and pupil; but he differs
specifically from him whom Nature has gifted for beautiful
Art. And in this there is no depreciation of those great men to
whom the human race owes so much gratitude, as compared
with nature’s favourites in respect of the talent for beautiful
art. For in the fact that the former talent is directed to the ever-
advancing greater perfection of knowledge and every
advantage depending on it, and at the same time to the
imparting this same knowledge to others—in this it has a great
superiority over [the talent of] those who deserve the honour
of being called geniuses. For art stands still at a certain point; a
boundary is set to it beyond which it cannot go, which
presumably has been reached long ago and cannot be extended
further. Again, artistic skill cannot be communicated; it is
imparted to every artist immediately by the hand of nature;
and so it dies with him, until nature endows another in the
same way, so that he only needs an example in order to put in
operation in a similar fashion the talent of which he is
conscious.
If now it is a natural gift which must prescribe its rule to
art (as beautiful art), of what kind is this rule? It cannot be
reduced to a formula and serve as a precept, for then the
judgement upon the beautiful would be determinable
according to concepts; but the rule must be abstracted from the
fact, i.e. from the product, on which others may try their own
talent by using it as a model, not to be copied but to be
imitated. How this is possible is hard to explain. The Ideas of
the artist excite like Ideas in his pupils if nature has endowed
them with a like proportion of their mental powers. Hence
models of beautiful art are the only means of handing down
these Ideas to posterity. This cannot be done by mere
descriptions, especially not in the case of the arts of speech,
and in this latter classical models are only to be had in the old
dead languages, now preserved only as “the learned
languages.”
Although mechanical and beautiful art are very different,
the first being a mere art of industry and learning and the
second of genius, yet there is no beautiful art in which there is
not a mechanical element that can be comprehended by rules
and followed accordingly, and in which therefore there must
be something scholastic as an essential condition. For [in
every art] some purpose must be conceived; otherwise we
could not ascribe the product to art at all, and it would be a
mere product of chance. But in order to accomplish a purpose,
definite rules from which we cannot dispense ourselves are
requisite. Now since the originality of the talent constitutes an
essential (though not the only) element in the character of
genius, shallow heads believe that they cannot better show
themselves to be full-blown geniuses than by throwing off the
constraint of all rules; they believe, in effect, that one could
make a braver show on the back of a wild horse than on the
back of a trained animal. Genius can only furnish rich material
for products of beautiful art; its execution and its form require
talent cultivated in the schools, in order to make such a use of
this material as will stand examination by the Judgement. But
it is quite ridiculous for a man to speak and decide like a
genius in things which require the most careful investigation
by Reason. One does not know whether to laugh more at the
impostor who spreads such a mist round him that we cannot
clearly use our Judgement and so use our Imagination the
more, or at the public which naïvely imagines that his inability
to cognise clearly and to comprehend the masterpiece before
him arises from new truths crowding in on him in such
abundance that details (duly weighed definitions and accurate
examination of fundamental propositions) seem but clumsy
work.
 § 48. Of the relation of Genius to Taste

For judging of beautiful objects as such, taste is requisite;

but for beautiful art, i.e. for the production of such objects,
genius is requisite.
If we consider genius as the talent for beautiful art (which
the special meaning of the word implies) and in this point of
view analyse it into the faculties which must concur to
constitute such a talent, it is necessary in the first instance to
determine exactly the difference between natural beauty, the
judging of which requires only Taste, and artificial beauty,
whose possibility (to which reference must be made in judging
such an object) requires Genius.
A natural beauty is a beautiful thing; artificial beauty is a
beautiful representation of a thing.
In order to judge of a natural beauty as such I need not
have beforehand a concept of what sort of thing the object is to
be; i.e. I need not know its material purposiveness (the
purpose), but its mere form pleases by itself in the act of
judging it without any knowledge of the purpose. But if the
object is given as a product of art, and as such is to be declared
beautiful, then, because art always supposes a purpose in the
cause (and its causality), there must be at bottom in the first
instance a concept of what the thing is to be. And as the
agreement of the manifold in a thing with its inner destination,
its purpose, constitutes the perfection of the thing, it follows
that in judging of artificial beauty the perfection of the thing
must be taken into account; but in judging of natural beauty
(as such) there is no question at all about this.—It is true that
in judging of objects of nature, especially objects endowed
with life, e.g. a man or a horse, their objective purposiveness
also is commonly taken into consideration in judging of their
beauty; but then the judgement is no longer purely aesthetical,
i.e. a mere judgement of taste. Nature is no longer judged
inasmuch as it appears like art, but in so far as it is actual
(although superhuman) art; and the teleological judgement
serves as the basis and condition of the aesthetical, as a
condition to which the latter must have respect. In such a case,
e.g. if it is said “that is a beautiful woman,” we think nothing
else than this: nature represents in her figure the purposes in
view in the shape of a woman’s figure. For we must look
beyond the mere form to a concept, if the object is to be
thought in such a way by means of a logically conditioned
aesthetical judgement.
Beautiful art shows its superiority in this, that it describes
as beautiful things which may be in nature ugly or
79
displeasing. The Furies, diseases, the devastations of war,
80
etc., may [even regarded as calamitous], be described as very
beautiful, and even represented in a picture. There is only one
kind of ugliness which cannot be represented in accordance
with nature, without destroying all aesthetical satisfaction and
consequently artificial beauty; viz. that which excites disgust.
For in this peculiar sensation, which rests on mere
imagination, the object is represented as it were obtruding
itself for our enjoyment while we strive against it with all our
might. And the artistic representation of the object is no longer
distinguished from the nature of the object itself in our
sensation, and thus it is impossible that it can be regarded as
beautiful. The art of sculpture again, because in its products art
is almost interchangeable with nature, excludes from its
creations the immediate representation of ugly objects; e.g. it
represents death by a beautiful genius, the warlike spirit by
Mars, and permits [all such things] to be represented only by
81
an allegory or attribute that has a pleasing effect, and thus
only indirectly by the aid of the interpretation of Reason, and
not for the mere aesthetical Judgement.
So much for the beautiful representation of an object,
which is properly only the form of the presentation of a
concept, and the means by which the latter is communicated
universally.—But to give this form to the product of beautiful
art, mere taste is requisite. By taste, after he has exercised and
corrected it by manifold examples from art or nature, the artist
checks his work; and after many, often toilsome, attempts to
content taste he finds the form which satisfies him. Hence this
form is not, as it were, a thing of inspiration or the result of a
free swing of the mental powers, but of a slow and even
painful process of improvement, by which he seeks to render it
adequate to his thought, without detriment to the freedom of
the play of his powers.
But taste is merely a judging and not a productive faculty;
and what is appropriate to it is not therefore a work of
beautiful art. It may be only a product belonging to useful and
mechanical art or even to science, produced according to
definite rules that can be learned and must be exactly
followed. But the pleasing form that is given to it is only the
vehicle of communication, and a mode, as it were, of
presenting it, in respect of which we remain free to a certain
extent, although it is combined with a definite purpose. Thus
we desire that table appointments, a moral treatise, even a
sermon, should have in themselves this form of beautiful art,
without it seeming to be sought: but we do not therefore call
these things works of beautiful art. Under the latter class are
reckoned a poem, a piece of music, a picture gallery, etc.; and
in some would-be works of beautiful art we find genius
without taste, while in others we find taste without genius.

§ 49. Of the faculties of the mind that constitute Genius

We say of certain products of which we expect that they

should at least in part appear as beautiful art, they are without
82
spirit ; although we find nothing to blame in them on the
score of taste. A poem may be very neat and elegant, but
without spirit. A history may be exact and well arranged, but
without spirit. A festal discourse may be solid and at the same
time elaborate, but without spirit. Conversation is often not
devoid of entertainment, but yet without spirit: even of a
woman we say that she is pretty, an agreeable talker, and
courteous, but without spirit. What then do we mean by spirit?
Spirit, in an aesthetical sense, is the name given to the
animating principle of the mind. But that whereby this
principle animates the soul, the material which it applies to
that [purpose], is that which puts the mental powers
purposively into swing, i.e. into such a play as maintains itself
and strengthens the [mental] powers in their exercise.
 Now I maintain that this principle is no other than the
faculty of presenting aesthetical Ideas. And by an aesthetical
Idea I understand that representation of the Imagination which
occasions much thought, without, however, any definite
thought, i.e. any concept, being capable of being adequate to
it; it consequently cannot be completely compassed and made
intelligible by language.—We easily see that it is the
counterpart (pendant) of a rational Idea, which conversely is a
concept to which no intuition (or representation of the
Imagination) can be adequate.
The Imagination (as a productive faculty of cognition) is
very powerful in creating another nature, as it were, out of the
material that actual nature gives it. We entertain ourselves with
it when experience proves too commonplace, and by it we
remould experience, always indeed in accordance with
analogical laws, but yet also in accordance with principles
which occupy a higher place in Reason (laws too which are
just as natural to us as those by which Understanding
comprehends empirical nature). Thus we feel our freedom
from the law of association (which attaches to the empirical
employment of Imagination), so that the material which we
borrow from nature in accordance with this law can be worked
up into something different which surpasses nature.
Such representations of the Imagination we may call
Ideas, partly because they at least strive after something which
lies beyond the bounds of experience, and so seek to
approximate to a presentation of concepts of Reason
(intellectual Ideas), thus giving to the latter the appearance of
objective reality,—but especially because no concept can be
fully adequate to them as internal intuitions. The poet ventures
to realise to sense, rational Ideas of invisible beings, the
kingdom of the blessed, hell, eternity, creation, etc.; or even if
he deals with things of which there are examples in
experience,—e.g. death, envy and all vices, also love, fame,
and the like,—he tries, by means of Imagination, which
emulates the play of Reason in its quest after a maximum, to
go beyond the limits of experience and to present them to
Sense with a completeness of which there is no example in
nature. It is, properly speaking, in the art of the poet, that the
faculty of aesthetical Ideas can manifest itself in its full
measure. But this faculty, considered in itself, is properly only
a talent (of the Imagination).
If now we place under a concept a representation of the
Imagination belonging to its presentation, but which occasions
solely by itself more thought than can ever be comprehended
in a definite concept, and which therefore enlarges
aesthetically the concept itself in an unbounded fashion,—the
Imagination is here creative, and it brings the faculty of
intellectual Ideas (the Reason) into movement; i.e. a
movement, occasioned by a representation, towards more
thought (though belonging, no doubt, to the concept of the
object) than can be grasped in the representation or made clear.
Those forms which do not constitute the presentation of a
given concept itself but only, as approximate representations
of the Imagination, express the consequences bound up with it
and its relationship to other concepts, are called (aesthetical)
attributes of an object, whose concept as a rational Idea cannot
be adequately presented. Thus Jupiter’s eagle with the
lightning in its claws is an attribute of the mighty king of
heaven, as the peacock is of its magnificent queen. They do
not, like logical attributes, represent what lies in our concepts
of the sublimity and majesty of creation, but something
different, which gives occasion to the Imagination to spread
itself over a number of kindred representations, that arouse
more thought than can be expressed in a concept determined
by words. They furnish an aesthetical Idea, which for that
rational Idea takes the place of logical presentation; and thus
as their proper office they enliven the mind by opening out to
it the prospect into an illimitable field of kindred
representations. But beautiful art does this not only in the case
of painting or sculpture (in which the term “attribute” is
commonly employed): poetry and rhetoric also get the spirit
that animates their works simply from the aesthetical attributes
of the object, which accompany the logical and stimulate the
Imagination, so that it thinks more by their aid, although in an
undeveloped way, than could be comprehended in a concept
and therefore in a definite form of words.— For the sake of
brevity I must limit myself to a few examples only.
 83
When the great King in one of his poems expresses
himself as follows:
“Oui, finissons sans trouble et mourons sans regrets,
En laissant l’univers comblé de nos bienfaits.
Ainsi l’astre du jour au bout de sa carrière,
Répand sur l’horizon une douce lumière;
Et les derniers rayons qu’il darde dans les airs,
Sont les derniers soupirs qu’il donne à l’univers;”
he quickens his rational Idea of a cosmopolitan disposition at
the end of life by an attribute which the Imagination (in
remembering all the pleasures of a beautiful summer day that
are recalled at its close by a serene evening) associates with
that representation, and which excites a number of sensations
and secondary representations for which no expression is
found. On the other hand, an intellectual concept may serve
conversely as an attribute for a representation of sense and so
can quicken this latter by means of the Idea of the
supersensible; but only by the aesthetical [element], that
subjectively attaches to the concept of the latter, being here
84
employed. Thus, for example, a certain poet says, in his
description of a beautiful morning:
“The sun arose
As calm from virtue springs.”
The consciousness of virtue, even if one only places oneself in
thought in the position of a virtuous man, diffuses in the mind
a multitude of sublime and restful feelings and a boundless
prospect of a joyful future, to which no expression measured
85
by a definite concept completely attains.
In a word the aesthetical Idea is a representation of the
Imagination associated with a given concept, which is bound
up with such a multiplicity of partial representations in its free
employment, that for it no expression marking a definite
concept can be found; and such a representation, therefore,
adds to a concept much ineffable thought, the feeling of which
quickens the cognitive faculties, and with language, which is
the mere letter, binds up spirit also.
 The mental powers, therefore, whose union (in a certain
relation) constitutes genius are Imagination and
Understanding. In the employment of the Imagination for
cognition it submits to the constraint of the Understanding and
is subject to the limitation of being conformable to the concept
of the latter. On the other hand, in an aesthetical point of view
it is free to furnish unsought, over and above that agreement
with a concept, abundance of undeveloped material for the
Understanding; to which the Understanding paid no regard in
its concept, but which it applies, though not objectively for
cognition, yet subjectively to quicken the cognitive powers
and therefore also indirectly to cognitions. Thus genius
properly consists in the happy relation [between these
faculties], which no science can teach and no industry can
learn, by which Ideas are found for a given concept; and on the
other hand, we thus find for these Ideas the expression, by
means of which the subjective state of mind brought about by
them, as an accompaniment of the concept, can be
communicated to others. The latter talent is properly speaking
what is called spirit; for to express the ineffable element in the
state of mind implied by a certain representation and to make
it universally communicable—whether the expression be in
speech or painting or statuary—this requires a faculty of
seizing the quickly passing play of Imagination and of
unifying it in a concept (which is even on that account original
and discloses a new rule that could not have been inferred
from any preceding principles or examples), that can be
86
communicated without any constraint [of rules].
 * * * * *
If after this analysis we look back to the explanation given
above of what is called genius, we find: first, that it is a talent
for Art, not for Science, in which clearly known rules must go
beforehand and determine the procedure. Secondly, as an
artistic talent it presupposes a definite concept of the product,
as the purpose, and therefore Understanding; but it also
presupposes a representation (although an indeterminate one)
of the material, i.e. of the intuition, for the presentment of this
concept; and, therefore, a relation between the Imagination
and the Understanding. Thirdly, it shows itself not so much in
the accomplishment of the proposed purpose in a presentment
of a definite concept, as in the enunciation or expression of
aesthetical Ideas, which contain abundant material for that
very design; and consequently it represents the Imagination as
free from all guidance of rules and yet as purposive in
reference to the presentment of the given concept. Finally, in
the fourth place, the unsought undesigned subjective
purposiveness in the free accordance of the Imagination with
the legality of the Understanding presupposes such a
proportion and disposition of these faculties as no following of
rules, whether of science or of mechanical imitation, can bring
about, but which only the nature of the subject can produce.
In accordance with these suppositions genius is the
exemplary originality of the natural gifts of a subject in the
free employment of his cognitive faculties. In this way the
product of a genius (as regards what is to be ascribed to genius
and not to possible learning or schooling) is an example, not to
be imitated (for then that which in it is genius and constitutes
the spirit of the work would be lost), but to be followed, by
another genius; whom it awakens to a feeling of his own
originality and whom it stirs so to exercise his art in freedom
from the constraint of rules, that thereby a new rule is gained
for art, and thus his talent shows itself to be exemplary. But
because a genius is a favourite of nature and must be regarded
by us as a rare phenomenon, his example produces for other
good heads a school, i.e. a methodical system of teaching
according to rules, so far as these can be derived from the
peculiarities of the products of his spirit. For such persons
beautiful art is so far imitation, to which nature through the
medium of a genius supplied the rule.
But this imitation becomes a mere aping, if the scholar
copies everything down to the deformities, which the genius
must have let pass only because he could not well remove
them without weakening his Idea. This mental characteristic is
meritorious only in the case of a genius. A certain audacity in
expression—and in general many a departure from common
rules—becomes him well, but it is in no way worthy of
imitation; it always remains a fault in itself which we must
seek to remove, though the genius is as it were privileged to
commit it, because the inimitable rush of his spirit would
suffer from over-anxious carefulness. Mannerism is another
kind of aping, viz. of mere peculiarity (originality) in general;
by which a man separates himself as far as possible from
imitators, without however possessing the talent to be at the
same time exemplary.—There are indeed in general two ways
(modi) in which such a man may put together his notions of
expressing himself; the one is called a manner (modus
aestheticus), the other a method (modus logicus). They differ
in this, that the former has no other standard than the feeling of
unity in the presentment, but the latter follows definite
principles; hence the former alone avails for beautiful art. But
an artistic product is said to show mannerism only when the
exposition of the artist’s Idea is founded on its very singularity,
and is not made appropriate to the Idea itself. The ostentatious
(précieux), contorted, and affected [manner, adopted] to
differentiate oneself from ordinary persons (though devoid of
spirit) is like the behaviour of a man of whom we say, that he
hears himself talk, or who stands and moves about as if he
were on a stage in order to be stared at; this always betrays a
bungler.

§ 50. Of the combination of Taste with Genius in the

products of beautiful Art

To ask whether it is more important for the things of

beautiful art that Genius or Taste should be displayed, is the
same as to ask whether in it more depends on Imagination or
on Judgement. Now, since in respect of the first an art is rather
said to be full of spirit, but only deserves to be called a
beautiful art on account of the second; this latter is at least, as
its indispensable condition (conditio sine qua non), the most
important thing to which one has to look in the judging of art
as beautiful art. Abundance and originality of Ideas are less
necessary to beauty than the accordance of the Imagination in
its freedom with the conformity to law of the Understanding.
For all the abundance of the former produces in lawless
freedom nothing but nonsense; on the other hand, the
Judgement is the faculty by which it is adjusted to the
Understanding.
Taste, like the Judgement in general, is the discipline (or
training) of Genius; it clips its wings closely, and makes it
cultured and polished; but, at the same time, it gives guidance
as to where and how far it may extend itself, if it is to remain
purposive. And while it brings clearness and order into the
multitude of the thoughts, it makes the Ideas susceptible of
being permanently and, at the same time, universally assented
to, and capable of being followed by others, and of an ever-
progressive culture. If, then, in the conflict of these two
properties in a product something must be sacrificed, it should
be rather on the side of genius; and the Judgement, which in
the things of beautiful art gives its decision from its own
proper principles, will rather sacrifice the freedom and wealth
of the Imagination than permit anything prejudicial to the
Understanding.
For beautiful art, therefore, Imagination, Understanding,
87
Spirit, and Taste are requisite.

§ 51. Of the division of the beautiful arts

We may describe beauty in general (whether natural or

artificial) as the expression of aesthetical Ideas; only that in
beautiful Art this Idea must be occasioned by a concept of the
Object; whilst in beautiful Nature the mere reflection upon a
given intuition, without any concept of what the object is to
be, is sufficient for the awakening and communicating of the
Idea of which that Object is regarded as the expression.
If, then, we wish to make a division of the beautiful arts,
we cannot choose a more convenient principle, at least
tentatively, than the analogy of art with the mode of expression
of which men avail themselves in speech, in order to
communicate to one another as perfectly as possible not
88
merely their concepts but also their sensations. —This is
done by word, deportment, and tone (articulation,
gesticulation, and modulation). It is only by the combination
of these three kinds of expression that communication between
the speaker [and his hearers] can be complete. For thus
thought, intuition, and sensation are transmitted to others
simultaneously and conjointly.
There are, therefore, only three kinds of beautiful arts; the
arts of speech, the formative arts, and the art of the play of
sensations (as external sensible impressions). We may also
arrange a division by dichotomy; thus beautiful art may be
divided into the art of expression of thoughts and of intuitions;
and these further subdivided in accordance with their form or
their matter (sensation). But this would appear to be too
abstract, and not so accordant with ordinary concepts.
(1) The arts of SPEECH are rhetoric and poetry. Rhetoric is
the art of carrying on a serious business of the Understanding
as if it were a free play of the Imagination; poetry, the art of
conducting a free play of the Imagination as if it were a
serious business of the Understanding.
The orator, then, promises a serious business, and in order
to entertain his audience conducts it as if it were a mere play
with Ideas. The poet merely promises an entertaining play
with Ideas, and yet it has the same effect upon the
Understanding as if he had only intended to carry on its
business. The combination and harmony of both cognitive
faculties, Sensibility and Understanding, which cannot
dispense with one another, but which yet cannot well be united
without constraint and mutual prejudice, must appear to be
undesigned and so to be brought about by themselves:
otherwise it is not beautiful art. Hence, all that is studied and
anxious must be avoided in it, for beautiful art must be free art
in a double sense. It is not a work like that of a tradesman, the
magnitude of which can be judged, exacted, or paid for,
according to a definite standard; and again, though the mind is
occupied, still it feels itself contented and stimulated, without
looking to any other purpose (independently of reward.)
The orator therefore gives something which he does not
promise, viz. an entertaining play of the Imagination; but he
also fails to supply what he did promise, which is indeed his
announced business, viz. the purposive occupation of the
Understanding. On the other hand, the poet promises little and
announces a mere play with Ideas; but he supplies something
which is worth occupying ourselves with, because he provides
in this play food for the Understanding, and by the aid of
Imagination gives life to his concepts. [Thus the orator on the
89
whole gives less, the poet more, than he promises.]
(2) The FORMATIVE arts, or those by which expression is
found for Ideas in sensible intuition (not by representations of
mere Imagination that are aroused by words), are either arts of
sensible truth or of sensible illusion. The former is called
Plastic, the latter Painting. Both express Ideas by figures in
space; the former makes figures cognisable by two senses,
sight and touch (although not by the latter as far as beauty is
concerned); the latter only by one, the first of these. The
aesthetical Idea (the archetype or original image) is
fundamental for both in the Imagination, but the figure which
expresses this (the ectype or copy) is either given in its bodily
extension (as the object itself exists), or as it paints itself on
the eye (according to its appearance when projected on a flat
90
surface). In the first case the condition given to reflection
may be either the reference to an actual purpose or only the
semblance of it.
To Plastic, the first kind of beautiful formative Art, belong
Sculpture and Architecture. The first presents corporeally
concepts of things, as they might have existed in nature
(though as beautiful art it has regard to aesthetical
purposiveness). The second is the art of presenting concepts of
things that are possible only through Art, and whose form has
for its determining ground not nature but an arbitrary purpose,
with the view of presenting them with aesthetical
purposiveness. In the latter the chief point is a certain use of
the artistic object, by which condition the aesthetical Ideas are
limited. In the former the main design is the mere expression
of aesthetical Ideas. Thus statues of men, gods, animals, etc.,
are of the first kind; but temples, splendid buildings for public
assemblies, even dwelling-houses, triumphal arches, columns,
mausoleums, and the like, erected in honourable
remembrance, belong to Architecture. Indeed all house
furniture (upholsterer’s work and such like things which are
for use) may be reckoned under this art; because the suitability
of a product for a certain use is the essential thing in an
architectural work. On the other hand, a mere piece of
sculpture, which is simply made for show and which is to
please in itself, is as a corporeal presentation a mere imitation
of nature, though with a reference to aesthetical Ideas; in it
sensible truth is not to be carried so far that the product ceases
to look like art and looks like a product of the elective will.
Painting, as the second kind of formative art, which
presents a sensible illusion artificially combined with Ideas, I
would divide into the art of the beautiful depicting of nature
and that of the beautiful arrangement of its products. The first
is painting proper, the second is the art of landscape
gardening. The first gives only the illusory appearance of
corporeal extension; the second gives this in accordance with
truth, but only the appearance of utility and availableness for
other purposes than the mere play of the Imagination in the
91
contemplation of its forms. This latter is nothing else than
the ornamentation of the soil with a variety of those things
(grasses, flowers, shrubs, trees, even ponds, hillocks, and
dells) which nature presents to an observer, only arranged
differently and in conformity with certain Ideas. But, again,
the beautiful arrangement of corporeal things is only apparent
to the eye, like painting; the sense of touch cannot supply any
intuitive presentation of such a form. Under painting in the
wide sense I would reckon the decoration of rooms by the aid
of tapestry, bric-a-brac, and all beautiful furniture which is
merely available to be looked at; and the same may be said of
the art of tasteful dressing (with rings, snuff-boxes, etc.). For a
bed of various flowers, a room filled with various ornaments
(including under this head even ladies’ finery), make at a fête
a kind of picture; which, like pictures properly so-called (that
are not intended to teach either history or natural science), has
in view merely the entertainment of the Imagination in free
play with Ideas, and the occupation of the aesthetical
Judgement without any definite purpose. The detailed work in
all this decoration may be quite distinct in the different cases
and may require very different artists; but the judgement of
taste upon whatever is beautiful in these various arts is always
determined in the same way: viz. it only judges the forms
(without any reference to a purpose) as they present
themselves to the eye either singly or in combination,
according to the effect they produce upon the Imagination.—
But that formative art may be compared (by analogy) with
deportment in speech is justified by the fact that the spirit of
the artist supplies by these figures a bodily expression to his
thought and its mode, and makes the thing itself as it were
speak in mimic language. This is a very common play of our
fancy, which attributes to lifeless things a spirit suitable to
their form by which they speak to us.
(3) The art of the BEAUTIFUL PLAY OF SENSATIONS
(externally stimulated), which admits at the same time of
universal communication, can be concerned with nothing else
than the proportion of the different degrees of the disposition
(tension) of the sense, to which the sensation belongs, i.e. with
its tone. In this far-reaching signification of the word it may be
divided into the artistic play of the sensations of hearing and
sight, i.e. into Music and the Art of colour.—It is noteworthy
that these two senses, besides their susceptibility for
impressions so far as these are needed to gain concepts of
external objects, are also capable of a peculiar sensation bound
up therewith, of which we cannot strictly decide whether it is
based on sense or reflection. This susceptibility may
sometimes be wanting, although in other respects the sense, as
regards its use for the cognition of Objects, is not at all
deficient but is peculiarly fine. That is, we cannot say with
certainty whether colours or tones (sounds) are merely
pleasant sensations or whether they form in themselves a
beautiful play of sensations, and as such bring with them in
aesthetical judgement a satisfaction in their form. If we think
of the velocity of the vibrations of light, or in the second case
of the air, which probably far surpasses all our faculty of
judging immediately in perception the time interval between
them, we must believe that it is only the effect of these
vibrations upon the elastic parts of our body that is felt, but
that the time interval between them is not remarked or brought
into judgement; and thus that only pleasantness and not beauty
of composition is bound up with colours and tones. But on the
other hand, first, we think of the mathematical [element]
which enables us to pronounce on the proportion between
these oscillations in music and thus to judge of them; and by
analogy with which we easily may judge of the distinctions
between colours. Secondly, we recall instances (although they
are rare) of men who with the best sight in the world cannot
distinguish colours, and with the sharpest hearing cannot
distinguish tones; whilst for those who can do this the
perception of an altered quality (not merely of the degree of
sensation) in the different intensities in the scale of colours
and tones is definite; and further, the very number of these is
fixed by intelligible differences. Thus we may be compelled to
see that both kinds of sensations are to be regarded not as mere
sensible impressions, but as the effects of a judgement passed
upon the form in the play of divers sensations. The difference
in our definition, according as we adopt the one or the other
opinion in judging of the grounds of Music, would be just this:
either, as we have done, we must explain it as the beautiful
play of sensations (of hearing), or else as a play of pleasant
sensations. According to the former mode of explanation
music is represented altogether as a beautiful art; according to
the latter, as a pleasant art (at least in part).

§ 52. Of the combination of beautiful arts in one and the

same product

Rhetoric may be combined with a pictorial presentation of

its subjects and objects in a theatrical piece; poetry may be
combined with music in a song, and this again with pictorial
(theatrical) presentation in an opera; the play of sensations in
music may be combined with the play of figures in the dance,
and so on. Even the presentation of the sublime, so far as it
belongs to beautiful art, may combine with beauty in a tragedy
in verse, in a didactic poem, in an oratorio; and in these
combinations beautiful art is yet more artistic. Whether it is
also more beautiful may in some of these cases be doubted
(since so many different kinds of satisfaction cross one
another). Yet in all beautiful art the essential thing is the form,
which is purposive as regards our observation and judgement,
where the pleasure is at the same time cultivation and disposes
the spirit to Ideas, and consequently makes it susceptible of
still more of such pleasure and entertainment. The essential
element is not the matter of sensation (charm or emotion),
which has only to do with enjoyment; this leaves behind
nothing in the Idea, and it makes the spirit dull, the object
gradually distasteful, and the mind, on account of its
consciousness of a disposition that conflicts with purpose in
the judgement of Reason, discontented with itself and peevish.
If the beautiful arts are not brought into more or less close
combination with moral Ideas, which alone bring with them a
self-sufficing satisfaction, this latter fate must ultimately be
theirs. They then serve only as a distraction, of which we are
the more in need the more we avail ourselves of them to
disperse the discontent of the mind with itself; so that we thus
render ourselves ever more useless and ever more
discontented. The beauties of nature are generally of most
benefit in this point of view, if we are early accustomed to
observe, appreciate, and admire them.

§ 53. Comparison of the respective aesthetical worth of the

beautiful arts

Of all the arts poetry (which owes its origin almost

entirely to genius and will least be guided by precept or
example) maintains the first rank. It expands the mind by
setting the Imagination at liberty; and by offering within the
limits of a given concept amid the unbounded variety of
possible forms accordant therewith, that which unites the
presentment of this concept with a wealth of thought, to which
no verbal expression is completely adequate; and so rising
aesthetically to Ideas. It strengthens the mind by making it feel
its faculty—free, spontaneous and independent of natural
determination—of considering and judging nature as a
phenomenon in accordance with aspects which it does not
present in experience either for Sense or Understanding, and
therefore of using it on behalf of, and as a sort of schema for,
the supersensible. It plays with illusion, which it produces at
pleasure, but without deceiving by it; for it declares its
exercise to be mere play, which however can be purposively
used by the Understanding.—Rhetoric, in so far as this means
the art of persuasion, i.e. of deceiving by a beautiful show (ars
oratoria), and not mere elegance of speech (eloquence and
style), is a Dialectic, which borrows from poetry only so much
as is needful to win minds to the side of the orator before they
have formed a judgement, and to deprive them of their
freedom; it cannot therefore be recommended either for the
law courts or for the pulpit. For if we are dealing with civil
law, with the rights of individual persons, or with lasting
instruction and determination of people’s minds to an accurate
knowledge and a conscientious observance of their duty, it is
unworthy of so important a business to allow a trace of any
exuberance of wit and imagination to appear, and still less any
trace of the art of talking people over and of captivating them
for the advantage of any chance person. For although this art
may sometimes be directed to legitimate and praiseworthy
designs, it becomes objectionable, when in this way maxims
and dispositions are spoiled in a subjective point of view,
though the action may objectively be lawful. It is not enough
to do what is right; we should practise it solely on the ground
that it is right. Again, the mere concept of this species of
matters of human concern, when clear and combined with a
lively presentation of it in examples, without any offence
against the rules of euphony of speech or propriety of
expression, has by itself for Ideas of Reason (which
collectively constitute eloquence), sufficient influence upon
human minds; so that it is not needful to add the machinery of
persuasion, which, since it can be used equally well to beautify
or to hide vice and error, cannot quite lull the secret suspicion
that one is being artfully overreached. In poetry everything
proceeds with honesty and candour. It declares itself to be a
mere entertaining play of the Imagination, which wishes to
proceed as regards form in harmony with the laws of the
Understanding; and it does not desire to steal upon and
ensnare the Understanding by the aid of sensible
92
presentation.
After poetry, if we are to deal with charm and mental
movement, I would place that art which comes nearest to the
art of speech and can very naturally be united with it, viz. the
art of tone. For although it speaks by means of mere
sensations without concepts, and so does not, like poetry, leave
anything over for reflection, it yet moves the mind in a greater
variety of ways and more intensely, although only transitorily.
It is, however, rather enjoyment than culture (the play of
thought that is incidentally excited by its means is merely the
effect of a kind of mechanical association); and in the
judgement of Reason it has less worth than any other of the
beautiful arts. Hence, like all enjoyment, it desires constant
change, and does not bear frequent repetition without
producing weariness. Its charm, which admits of universal
communication, appears to rest on this, that every expression
of speech has in its context a tone appropriate to the sense.
This tone indicates more or less an affection of the speaker,
and produces it also in the hearer; which affection excites in its
turn in the hearer the Idea that is expressed in speech by the
tone in question. Thus as modulation is as it were a universal
language of sensations intelligible to every man, the art of tone
employs it by itself alone in its full force, viz. as a language of
the affections, and thus communicates universally according to
the laws of association the aesthetical Ideas naturally
combined therewith. Now these aesthetical Ideas are not
concepts or determinate thoughts. Hence the form of the
composition of these sensations (harmony and melody) only
serves instead of the form of language, by means of their
proportionate accordance, to express the aesthetical Idea of a
connected whole of an unspeakable wealth of thought,
corresponding to a certain theme which produces the
dominating affection in the piece. This can be brought
mathematically under certain rules, because it rests in the case
of tones on the relation between the number of vibrations of
the air in the same time, so far as these tones are combined
simultaneously or successively. To this mathematical form,
although not represented by determinate concepts, alone
attaches the satisfaction that unites the mere reflection upon
such a number of concomitant or consecutive sensations with
this their play, as a condition of its beauty valid for every man.
It is this alone which permits Taste to claim in advance a
rightful authority over every one’s judgement.
But in the charm and mental movement produced by
Music, Mathematic has certainly not the slightest share. It is
only the indispensable condition (conditio sine qua non) of
that proportion of the impressions in their combination and in
their alternation by which it becomes possible to gather them
together and prevent them from destroying one another, and to
harmonise them so as to produce a continual movement and
animation of the mind, by means of affections consonant
therewith, and thus a delightful personal enjoyment.
If, on the other hand, we estimate the worth of the
Beautiful Arts by the culture they supply to the mind, and take
as a standard the expansion of the faculties which must concur
in the Judgement for cognition, Music will have the lowest
place among them (as it has perhaps the highest among those
arts which are valued for their pleasantness), because it merely
plays with sensations. The formative arts are far before it in
this point of view; for in putting the Imagination in a free play,
which is also accordant with the Understanding, they at the
same time carry on a serious business. This they do by
producing a product that serves for concepts as a permanent
self-commendatory vehicle for promoting their union with
sensibility and thus, as it were, the urbanity of the higher
cognitive powers. These two species of art take quite different
courses; the first proceeds from sensations to indeterminate
Ideas, the second from determinate Ideas to sensations. The
latter produce permanent, the former only transitory
impressions. The Imagination can recall the one and entertain
itself pleasantly therewith; but the other either vanish entirely,
or if they are recalled involuntarily by the Imagination they are
93
rather wearisome than pleasant. Besides, there attaches to
Music a certain want of urbanity from the fact that, chiefly
from the character of its instruments, it extends its influence
further than is desired (in the neighbourhood), and so as it
were obtrudes itself, and does violence to the freedom of
others who are not of the musical company. The Arts which
appeal to the eyes do not do this; for we need only turn our
eyes away, if we wish to avoid being impressed. The case of
music is almost like that of the delight derived from a smell
that diffuses itself widely. The man who pulls his perfumed
handkerchief out of his pocket attracts the attention of all
round him, even against their will, and he forces them, if they
are to breathe at all, to enjoy the scent; hence this habit has
94
gone out of fashion.
Among the formative arts I would give the palm to
painting; partly because as the art of delineation it lies at the
root of all the other formative arts, and partly because it can
penetrate much further into the region of Ideas, and can extend
the field of intuition in conformity with them further than the
others can.

§ 54. Remark

As we have often shown, there is an essential difference

between what satisfies simply in the act of judging it, and that
which gratifies (pleases in sensation). We cannot ascribe the
latter to every one, as we can the former. Gratification (the
causes of which may even be situate in Ideas) appears always
to consist in a feeling of the furtherance of the whole life of
the man, and consequently, also of his bodily well-being, i.e.
his health; so that Epicurus, who gave out that all gratification
was at bottom bodily sensation, may, perhaps, not have been
wrong, but only misunderstood himself when he reckoned
intellectual and even practical satisfaction under gratification.
If we have this distinction in view we can explain how a
gratification may dissatisfy the man who sensibly feels it (e.g.
the joy of a needy but well-meaning man at becoming the heir
of an affectionate but penurious father); or how a deep grief
may satisfy the person experiencing it (the sorrow of a widow
at the death of her excellent husband); or how a gratification
can in addition satisfy (as in the sciences that we pursue); or
how a grief (e.g. hatred, envy, revenge) can moreover
dissatisfy. The satisfaction or dissatisfaction here depends on
Reason, and is the same as approbation or disapprobation; but
gratification and grief can only rest on the feeling or prospect
of a possible (on whatever grounds) well-being or its opposite.
All changing free play of sensations (that have no design
at their basis) gratifies, because it promotes the feeling of
health. In the judgement of Reason we may or may not have
any satisfaction in its object or even in this gratification; and
this latter may rise to the height of an affection, although we
take no interest in the object, at least none that is proportionate
to the degree of the affection. We may subdivide this free play
of sensations into the play of fortune [games of chance], the
play of tone [music], and the play of thought [wit]. The first
requires an interest, whether of vanity or of selfishness; which,
however, is not nearly so great as the interest that attaches to
the way in which we are striving to procure it. The second
requires merely the change of sensations, all of which have a
relation to affection, though they have not the degree of
affection, and excite aesthetical Ideas. The third springs
merely from the change of representations in the Judgement;
by it, indeed, no thought that brings an interest with it is
produced, but yet the mind is animated thereby.
How much gratification games must afford, without any
necessity of placing at their basis an interested design, all our
evening parties show; for hardly any of them can be carried on
without a game. But the affections of hope, fear, joy, wrath,
scorn, are put in play by them, alternating every moment; and
they are so vivid that by them, as by a kind of internal motion,
all the vital processes of the body seem to be promoted, as is
shown by the mental vivacity excited by them, although
nothing is gained or learnt thereby. But as the beautiful does
not enter into games of chance, we will here set them aside.
On the other hand, music and that which excites laughter are
two different kinds of play with aesthetical Ideas, or with
representations of the Understanding through which ultimately
nothing is thought; and yet they can give lively gratification
merely by their changes. Thus we recognise pretty clearly that
the animation in both cases is merely bodily, although it is
excited by Ideas of the mind; and that the feeling of health
produced by a motion of the intestines corresponding to the
play in question makes up that whole gratification of a gay
party, which is regarded as so refined and so spiritual. It is not
the judging the harmony in tones or sallies of wit,—which
serves only in combination with their beauty as a necessary
vehicle,—but the furtherance of the vital bodily processes, the
affection that moves the intestines and the diaphragm, in a
word, the feeling of health (which without such inducements
one does not feel) that makes up the gratification felt by us; so
that we can thus reach the body through the soul and use the
latter as the physician of the former.
In music this play proceeds from bodily sensations to
aesthetical Ideas (the Objects of our affections), and then from
these back again to the body with redoubled force. In the case
of jokes (the art of which, just like music, should rather be
reckoned as pleasant than beautiful) the play begins with the
thoughts which together occupy the body, so far as they admit
of sensible expression; and as the Understanding stops
suddenly short at this presentment, in which it does not find
what it expected, we feel the effect of this slackening in the
body by the oscillation of the organs, which promotes the
restoration of equilibrium and has a favourable influence upon
health.
In everything that is to excite a lively convulsive laugh
there must be something absurd (in which the Understanding,
therefore, can find no satisfaction). Laughter is an affection
arising from the sudden transformation of a strained
95
expectation into nothing. This transformation, which is
certainly not enjoyable by the Understanding, yet indirectly
gives it very active enjoyment for a moment. Therefore its
cause must consist in the influence of the representation upon
the body, and the reflex effect of this upon the mind; not,
indeed, through the representation being objectively an object
96
of gratification (for how could a delusive expectation
gratify?), but simply through it as a mere play of
representations bringing about an equilibrium of the vital
powers in the body.
Suppose this story to be told: An Indian at the table of an
Englishman in Surat, when he saw a bottle of ale opened and
all the beer turned into froth and overflowing, testified his
great astonishment with many exclamations. When the
Englishman asked him, “What is there in this to astonish you
so much?” he answered, “I am not at all astonished that it
should flow out, but I do wonder how you ever got it in.” At
this story we laugh, and it gives us hearty pleasure; not
because we deem ourselves cleverer than this ignorant man, or
because of anything else in it that we note as satisfactory to the
Understanding, but because our expectation was strained [for a
time] and then was suddenly dissipated into nothing. Again:
The heir of a rich relative wished to arrange for an imposing
funeral, but he lamented that he could not properly succeed;
“for” (said he) “the more money I give my mourners to look
97
sad, the more cheerful they look!” When we hear this story
we laugh loud, and the reason is that an expectation is
suddenly transformed into nothing. We must note well that it
does not transform itself into the positive opposite of an
expected object—for then there would still be something,
which might even be a cause of grief—but it must be
transformed into nothing. For if a man arouses great
expectations in us when telling a story, and at the end we see
its falsehood immediately, it displeases us; e.g. the story of the
people whose hair in consequence of great grief turned gray in
one night. But if a wag, to repair the effect of this story,
describes very circumstantially the grief of the merchant
returning from India to Europe with all his wealth in
merchandise who was forced to throw it overboard in a heavy
storm, and who grieved thereat so much that his wig turned
gray the same night—we laugh and it gives us gratification.
For we treat our own mistake in the case of an object
otherwise indifferent to us, or rather the Idea which we are
following out, as we treat a ball which we knock to and fro for
a time, though our only serious intention is to seize it and hold
it fast. It is not the mere rebuff of a liar or a simpleton that
arouses our gratification; for the latter story told with assumed
seriousness would set a whole company in a roar of laughter,
while the former would ordinarily not be regarded as worth
attending to.
It is remarkable that in all such cases the jest must contain
something that is capable of deceiving for a moment. Hence,
when the illusion is dissipated, the mind turns back to try it
once again, and thus through a rapidly alternating tension and
relaxation it is jerked back and put into a state of oscillation.
This, because the strain on the cord as it were is suddenly (and
not gradually) relaxed, must occasion a mental movement, and
an inner bodily movement harmonising therewith, which
continues involuntarily and fatigues, even while cheering us
(the effects of a motion conducive to health).
For if we admit that with all our thoughts is harmonically
combined a movement in the organs of the body, we shall
easily comprehend how to this sudden transposition of the
mind, now to one now to another standpoint in order to
contemplate its object, may correspond an alternating tension
and relaxation of the elastic portions of our intestines, which
communicates itself to the diaphragm (like that which ticklish
people feel). In connexion with this the lungs expel the air at
rapidly succeeding intervals, and thus bring about a movement
beneficial to health; which alone, and not what precedes it in
the mind, is the proper cause of the gratification in a thought
that at bottom represents nothing.—Voltaire said that heaven
had given us two things to counterbalance the many miseries
98
of life, hope and sleep. He could have added laughter, if the
means of exciting it in reasonable men were only as easily
attainable, and the requisite wit or originality of humour were
not so rare, as the talent is common of imagining things which
break one’s head, as mystic dreamers do, or which break one’s
neck, as your genius does, or which break one’s heart, as
sentimental romance-writers (and even moralists of the same
kidney) do.
We may therefore, as it seems to me, readily concede to
Epicurus that all gratification, even that which is occasioned
through concepts, excited by aesthetical Ideas, is animal, i.e.
bodily sensation; without the least prejudice to the spiritual
feeling of respect for moral Ideas, which is not gratification at
all but an esteem for self (for humanity in us), that raises us
above the need of gratification, and even without the slightest
prejudice to the less noble [feeling] of taste.
We find a combination of these two last in naiveté, which
is the breaking out of the sincerity originally natural to
humanity in opposition to that art of dissimulation which has
become a second nature. We laugh at the simplicity that does
not understand how to dissemble; and yet we are delighted
with the simplicity of the nature which thwarts that art. We
look for the commonplace manner of artificial utterance
devised with foresight to make a fair show; and behold! it is
the unspoiled innocent nature which we do not expect to find,
and which he who displays it did not think of disclosing. That
the fair but false show which generally has so much influence
upon our judgement is here suddenly transformed into nothing,
so that, as it were, the rogue in us is laid bare, produces a
movement of the mind in two opposite directions, which gives
a wholesome shock to the body. But the fact that something
infinitely better than all assumed manner, viz. purity of
disposition (or at least the tendency thereto), is not quite
extinguished yet in human nature, blends seriousness and high
esteem with this play of the Judgement. But because it is only
a transitory phenomenon and the veil of dissimulation is soon
drawn over it again, there is mingled therewith a compassion
which is an emotion of tenderness; this, as play, readily admits
of combination with a good-hearted laugh, and ordinarily is
actually so combined, and withal is wont to compensate him
who supplies its material for the embarrassment which results
from not yet being wise after the manner of men.—An art that
is to be naive is thus a contradiction; but the representation of
naiveté in a fictitious personage is quite possible, and is a
beautiful though a rare art. Naiveté must not be confounded
with open-hearted simplicity, which does not artificially spoil
nature solely because it does not understand the art of social
intercourse.
The humorous manner again may be classified as that
which, as exhilarating us, is near akin to the gratification that
proceeds from laughter; and belongs to the originality of spirit,
but not to the talent of beautiful art. Humour in the good sense
means the talent of being able voluntarily to put oneself into a
certain mental disposition, in which everything is judged quite
differently from the ordinary method (reversed, in fact), and
yet in accordance with certain rational principles in such a
frame of mind. He who is involuntarily subject to such
mutations is called a man of humours [launisch]; but he who
can assume them voluntarily and purposively (on behalf of a
lively presentment brought about by the aid of a contrast that
excites a laugh)—he and his manner of speech are called
humorous [launigt]. This manner, however, belongs rather to
pleasant than to beautiful art, because the object of the latter
must always exhibit intrinsic worth, and hence requires a
certain seriousness in the presentation, as taste does in the act
of judgement.
 SECOND DIVISION
DIALECTIC OF THE AESTHETICAL
JUDGEMENT

§ 55

A faculty of Judgement that is to be dialectical must in the

first place be rationalising, i.e. its judgements must claim
99
universality and that a priori; for it is in the opposition of
such judgements that Dialectic consists. Hence the
incompatibility of aesthetical judgements of Sense (about the
pleasant and the unpleasant) is not dialectical. And again, the
conflict between judgements of Taste, so far as each man
depends merely on his own taste, forms no Dialectic of taste;
because no one proposes to make his own judgement a
universal rule. There remains therefore no other concept of a
Dialectic which has to do with taste than that of a Dialectic of
the Critique of taste (not of taste itself) in respect of its
principles; for here concepts that contradict one another (as to
the ground of the possibility of judgements of taste in general)
naturally and unavoidably present themselves. The
transcendental Critique of taste will therefore contain a part
which can bear the name of a Dialectic of the aesthetical
Judgement, only if and so far as there is found an antinomy of
the principles of this faculty which renders its conformity to
law, and consequently also its internal possibility, doubtful.

§ 56. Representation of the antinomy of Taste

The first commonplace of taste is contained in the

proposition, with which every tasteless person proposes to
avoid blame: every one has his own taste. That is as much as
to say that the determining ground of this judgement is merely
subjective (gratification or grief), and that the judgement has
no right to the necessary assent of others.
 The second commonplace invoked even by those who
admit for judgements of taste the right to speak with validity
for every one is: there is no disputing about taste. That is as
much as to say that the determining ground of a judgement of
taste may indeed be objective, but that it cannot be reduced to
definite concepts, and that consequently about the judgement
itself nothing can be decided by proofs, although much may
rightly be contested. For contesting [quarrelling] and disputing
[controversy] are doubtless the same in this, that by means of
the mutual opposition of judgements they seek to produce their
accordance; but different in that the latter hopes to bring this
about according to definite concepts as determining grounds,
and consequently assumes objective concepts as grounds of
the judgement. But where this is regarded as impracticable,
controversy is regarded as alike impracticable.
We easily see that between these two commonplaces there
is a proposition wanting, which, though it has not passed into a
proverb, is yet familiar to every one, viz. there may be a
quarrel about taste (although there can be no controversy).
But this proposition involves the contradictory of the former
one. For wherever quarrelling is permissible, there must be a
hope of mutual reconciliation; and consequently we can count
on grounds of our judgement that have not merely private
validity, and therefore are not merely subjective. And to this
the proposition, every one has his own taste, is directly
opposed.
There emerges therefore in respect of the principle of taste
the following Antinomy:—
(1) Thesis. The judgement of taste is not based upon
concepts; for otherwise it would admit of controversy (would
be determinable by proofs).
(2) Antithesis. The judgement of taste is based on
concepts; for otherwise, despite its diversity, we could not
quarrel about it (we could not claim for our judgement the
necessary assent of others).

§ 57. Solution of the antinomy of Taste

 There is no possibility of removing the conflict between
these principles that underlie every judgement of taste (which
are nothing else than the two peculiarities of the judgement of
taste exhibited above in the Analytic), except by showing that
the concept to which we refer the Object in this kind of
judgement is not taken in the same sense in both maxims of
the aesthetical Judgement. This twofold sense or twofold point
of view is necessary to our transcendental Judgement; but also
the illusion which arises from the confusion of one with the
other is natural and unavoidable.
The judgement of taste must refer to some concept;
otherwise it could make absolutely no claim to be necessarily
valid for every one. But it is not therefore capable of being
proved from a concept; because a concept may be either
determinable or in itself undetermined and undeterminable.
The concepts of the Understanding are of the former kind;
they are determinable through predicates of sensible intuition
which can correspond to them. But the transcendental rational
concept of the supersensible, which lies at the basis of all
sensible intuition, is of the latter kind, and therefore cannot be
theoretically determined further.
Now the judgement of taste is applied to objects of Sense,
but not with a view of determining a concept of them for the
Understanding; for it is not a cognitive judgement. It is thus
only a private judgement, in which a singular representation
intuitively perceived is referred to the feeling of pleasure; and
so far would be limited as regards its validity to the individual
judging. The object is for me an object of satisfaction; by
others it may be regarded quite differently—every one has his
own taste.
Nevertheless there is undoubtedly contained in the
judgement of taste a wider reference of the representation of
the Object (as well as of the subject), whereon we base an
extension of judgements of this kind as necessary for every
one. At the basis of this there must necessarily be a concept
somewhere; though a concept which cannot be determined
through intuition. But through a concept of this sort we know
nothing, and consequently it can supply no proof for the
judgement of taste. Such a concept is the mere pure rational
concept of the supersensible which underlies the object (and
also the subject judging it), regarded as an Object of sense and
100
thus as phenomenon. For if we do not admit such a
reference, the claim of the judgement of taste to universal
validity would not hold good. If the concept on which it is
based were only a mere confused concept of the
Understanding, like that of perfection, with which we could
bring the sensible intuition of the Beautiful into
correspondence, it would be at least possible in itself to base
the judgement of taste on proofs; which contradicts the thesis.
But all contradiction disappears if I say: the judgement of
taste is based on a concept (viz. the concept of the general
ground of the subjective purposiveness of nature for the
Judgement); from which, however, nothing can be known and
proved in respect of the Object, because it is in itself
undeterminable and useless for knowledge. Yet at the same
time and on that very account the judgement has validity for
every one (though of course for each only as a singular
judgement immediately accompanying his intuition); because
its determining ground lies perhaps in the concept of that
which may be regarded as the supersensible substrate of
humanity.
The solution of an antinomy only depends on the
possibility of showing that two apparently contradictory
propositions do not contradict one another in fact, but that they
may be consistent; although the explanation of the possibility
of their concept may transcend our cognitive faculties. That
this illusion is natural and unavoidable by human Reason, and
also why it is so, and remains so, although it ceases to deceive
after the analysis of the apparent contradiction, may be thus
explained.
In the two contradictory judgements we take the concept,
on which the universal validity of a judgement must be based,
in the same sense; and yet we apply to it two opposite
predicates. In the Thesis we mean that the judgement of taste
is not based upon determinate concepts; and in the Antithesis
that the judgement of taste is based upon a concept, but an
indeterminate one (viz. of the supersensible substrate of
phenomena). Between these two there is no contradiction.
We can do nothing more than remove this conflict
between the claims and counter-claims of taste. It is absolutely
impossible to give a definite objective principle of taste, in
accordance with which its judgements could be derived,
examined, and established; for then the judgement would not
be one of taste at all. The subjective principle, viz. the
indefinite Idea of the supersensible in us, can only be put
forward as the sole key to the puzzle of this faculty whose
sources are hidden from us: it can be made no further
intelligible.
The proper concept of taste, that is of a merely reflective
aesthetical Judgement, lies at the basis of the antinomy here
exhibited and adjusted. Thus the two apparently contradictory
principles are reconciled—both can be true; which is
sufficient. If, on the other hand, we assume, as some do,
pleasantness as the determining ground of taste (on account of
the singularity of the representation which lies at the basis of
the judgement of taste), or, as others will have it, the principle
of perfection (on account of the universality of the same), and
settle the definition of taste accordingly; then there arises an
antinomy which it is absolutely impossible to adjust except by
showing that both the contrary (though not contradictory)
propositions are false. And this would prove that the concept
on which they are based is self-contradictory. Hence we see
that the removal of the antinomy of the aesthetical Judgement
takes a course similar to that pursued by the Critique in the
solution of the antinomies of pure theoretical Reason. And
thus here, as also in the Critique of practical Reason, the
antinomies force us against our will to look beyond the
sensible and to seek in the supersensible the point of union for
all our a priori faculties; because no other expedient is left to
make our Reason harmonious with itself.

Remark I.

As we so often find occasion in Transcendental

Philosophy for distinguishing Ideas from concepts of the
Understanding, it may be of use to introduce technical terms to
correspond to this distinction. I believe that no one will object
if I propose some.—In the most universal signification of the
word, Ideas are representations referred to an object, according
to a certain (subjective or objective) principle, but so that they
can never become a cognition of it. They are either referred to
an intuition, according to a merely subjective principle of the
mutual harmony of the cognitive powers (the Imagination and
the Understanding), and they are then called aesthetical; or
they are referred to a concept according to an objective
principle, although they can never furnish a cognition of the
object and are called rational Ideas. In the latter case the
concept is a transcendent one, which is different from a
concept of the Understanding, to which an adequately
corresponding experience can always be supplied, and which
therefore is called immanent.
An aesthetical Idea cannot become a cognition, because it
is an intuition (of the Imagination) for which an adequate
concept can never be found. A rational Idea can never become
a cognition, because it involves a concept (of the
supersensible), corresponding to which an intuition can never
be given.
Now I believe we might call the aesthetical Idea an
inexponible representation of the Imagination, and a rational
Idea an indemonstrable concept of Reason. It is assumed of
both that they are not generated without grounds, but
(according to the above explanation of an Idea in general) in
conformity with certain principles of the cognitive faculties to
which they belong (subjective principles in the one case,
objective in the other).
Concepts of the Understanding must, as such, always be
demonstrable [if by demonstration we understand, as in
101
anatomy, merely presentation]; i.e. the object corresponding
to them must always be capable of being given in intuition
(pure or empirical); for thus alone could they become
cognitions. The concept of magnitude can be given a priori in
the intuition of space, e.g. of a right line, etc.; the concept of
cause in impenetrability, in the collision of bodies, etc.
Consequently both can be authenticated by means of an
empirical intuition, i.e. the thought of them can be proved
(demonstrated, verified) by an example; and this must be
possible, for otherwise we should not be certain that the
concept was not empty, i.e. devoid of any Object.
In Logic we ordinarily use the expressions demonstrable
or indemonstrable only in respect of propositions, but these
might be better designated by the titles respectively of
mediately and immediately certain propositions; for pure
Philosophy has also propositions of both kinds, i.e. true
propositions, some of which are susceptible of proof and
others not. It can, as philosophy, prove them on a priori
grounds, but it cannot demonstrate them; unless we wish to
depart entirely from the proper meaning of this word,
according to which to demonstrate (ostendere, exhibere) is
equivalent to presenting a concept in intuition (whether in
proof or merely in definition). If the intuition is a priori this is
called construction; but if it is empirical, then the Object is
displayed by means of which objective reality is assured to the
concept. Thus we say of an anatomist that he demonstrates the
human eye, if by a dissection of this organ he makes
intuitively evident the concept which he has previously treated
discursively.
It hence follows that the rational concept of the
supersensible substrate of all phenomena in general, or even of
that which must be placed at the basis of our arbitrary will in
respect of the moral law, viz. of transcendental freedom, is
already, in kind, an indemonstrable concept and a rational
Idea; while virtue is so, in degree. For there can be given in
experience, as regards its quality, absolutely nothing
corresponding to the former; whereas in the latter case no
empirical product attains to the degree of that causality, which
the rational Idea prescribes as the rule.
As in a rational Idea the Imagination with its intuitions
does not attain to the given concept, so in an aesthetical Idea
the Understanding by its concepts never attains completely to
that internal intuition which the Imagination binds up with a
given representation. Since, now, to reduce a representation of
the Imagination to concepts is the same thing as to expound it,
the aesthetical Idea may be called an inexponible
representation of the Imagination (in its free play). I shall have
occasion in the sequel to say something more of Ideas of this
kind; now I only note that both kinds of Ideas, rational and
aesthetical, must have their principles; and must have them in
Reason—the one in the objective, the other in the subjective
principles of its employment.
We can consequently explain genius as the faculty of
aesthetical Ideas; by which at the same time is shown the
reason why in the products of genius it is the nature (of the
subject) and not a premeditated purpose that gives the rule to
the art (of the production of the beautiful). For since the
beautiful must not be judged by concepts, but by the purposive
attuning of the Imagination to agreement with the faculty of
concepts in general, it cannot be rule and precept which can
serve as the subjective standard of that aesthetical but
unconditioned purposiveness in beautiful art, that can rightly
claim to please every one. It can only be that in the subject
which is nature and cannot be brought under rules or concepts,
i.e. the supersensible substrate of all his faculties (to which no
concept of the Understanding extends), and consequently that
with respect to which it is the final purpose given by the
intelligible [part] of our nature to harmonise all our cognitive
faculties. Thus alone is it possible that there should be a priori
at the basis of this purposiveness, for which we can prescribe
no objective principle, a principle subjective and yet of
universal validity.

Remark II.

The following important remark occurs here: There are

three kinds of Antinomies of pure Reason, which, however, all
agree in this, that they compel us to give up the otherwise very
natural hypothesis that objects of sense are things in
themselves, and force us to regard them merely as phenomena,
and to supply to them an intelligible substrate (something
supersensible of which the concept is only an Idea, and
supplies no proper knowledge). Without such antinomies
Reason could never decide upon accepting a principle
narrowing so much the field of its speculation, and could never
bring itself to sacrifices by which so many otherwise brilliant
hopes must disappear. For even now when, by way of
compensation for these losses, a greater field in a practical
aspect opens out before it, it appears not to be able without
grief to part from those hopes, and disengage itself from its old
attachment.
That there are three kinds of antinomies has its ground in
this, that there are three cognitive faculties,—Understanding,
Judgement, and Reason; of which each (as a superior cognitive
faculty) must have its a priori principles. For Reason, in so far
as it judges of these principles and their use, inexorably
requires, in respect of them all, the unconditioned for the given
conditioned; and this can never be found if we consider the
sensible as belonging to things in themselves, and do not
rather supply to it, as mere phenomenon, something
supersensible (the intelligible substrate of nature both external
and internal) as the reality in itself [Sache an sich selbst].
There are then: (1) For the cognitive faculty an antinomy of
Reason in respect of the theoretical employment of the
Understanding extended to the unconditioned; (2) for the
feeling of pleasure and pain an antinomy of Reason in respect
of the aesthetical employment of the Judgement; and (3) for
the faculty of desire an antinomy in respect of the practical
employment of the self-legislative Reason; so far as all these
faculties have their superior principles a priori, and, in
conformity with an inevitable requirement of Reason, must
judge and be able to determine their Object, unconditionally
according to those principles.
As for the two antinomies of the theoretical and practical
employment of the superior cognitive faculties, we have
already shown their unavoidableness, if judgements of this
kind are not referred to a supersensible substrate of the given
Objects, as phenomena; and also the possibility of their
solution, as soon as this is done. And as for the antinomies in
the employment of the Judgement, in conformity with the
requirements of Reason, and their solution which is here
given, there are only two ways of avoiding them. Either: we
must deny that any a priori principle lies at the basis of the
aesthetical judgement of taste; we must maintain that all claim
to necessary universal agreement is a groundless and vain
fancy, and that a judgement of taste only deserves to be
regarded as correct because it happens that many people agree
about it; and this, not because we assume an a priori principle
behind this agreement, but because (as in the taste of the
palate) of the contingent similar organisation of the different
subjects. Or: we must assume that the judgement of taste is
really a disguised judgement of Reason upon the perfection
discovered in a thing and the reference of the manifold in it to
a purpose, and is consequently only called aesthetical on
account of the confusion here attaching to our reflection,
although it is at bottom teleological. In the latter case we could
declare the solution of the antinomies by means of
transcendental Ideas to be needless and without point, and thus
could harmonise these laws of taste with Objects of sense, not
as mere phenomena but as things in themselves. But we have
shown in several places in the exposition of judgements of
taste how little either of these expedients will satisfy.
However, if it be granted that our deduction at least
proceeds by the right method, although it be not yet plain
enough in all its parts, three Ideas manifest themselves. First,
there is the Idea of the supersensible in general, without any
further determination of it, as the substrate of nature. Secondly,
there is the Idea of the same as the principle of the subjective
purposiveness of nature for our cognitive faculty. And thirdly,
there is the Idea of the same as the principle of the purposes of
freedom, and of the agreement of freedom with its purposes in
the moral sphere.

§ 58. Of the Idealism of the purposiveness of both Nature

and Art as the unique principle of the aesthetical
Judgement

To begin with, we can either place the principle of taste in

the fact that it always judges in accordance with grounds
which are empirical and therefore are only given a posteriori
by sense, or concede that it judges on a priori grounds. The
former would be the empiricism of the Critique of Taste; the
latter its rationalism. According to the former the Object of
our satisfaction would not differ from the pleasant; according
to the latter, if the judgement rests on definite concepts, it
would not differ from the good. Thus all beauty would be
banished from the world, and only a particular name,
expressing perhaps a certain mingling of the two above-named
kinds of satisfaction, would remain in its place. But we have
shown that there are also a priori grounds of satisfaction
which can subsist along with the principle of rationalism,
although they cannot be comprehended in definite concepts.
On the other hand, the rationalism of the principle of taste
is either that of the realism of the purposiveness, or of its
idealism. Because a judgement of taste is not a cognitive
judgement, and beauty is not a characteristic of the Object,
considered in itself, the rationalism of the principle of taste can
never be placed in the fact that the purposiveness in this
judgement is thought as objective, i.e. that the judgement
theoretically, and therefore also logically (although only in a
confused way), refers to the perfection of the Object. It only
refers aesthetically to the agreement of the representation of
the Object in the Imagination with the essential principles of
Judgement in general in the subject. Consequently, even
according to the principle of rationalism, the judgement of
taste and the distinction between its realism and idealism can
only be settled thus. Either in the first case, this subjective
purposiveness is assumed as an actual (designed) purpose of
nature (or art) harmonising with our Judgement; or, in the
second case, as a purposive harmony with the needs of
Judgement, in respect of nature and its forms produced
according to particular laws, which shows itself, without
purpose, spontaneously, and contingently.
The beautiful formations in the kingdom of organised
nature speak loudly for the realism of the aesthetical
purposiveness of nature; since we might assume that behind
the production of the beautiful there is an Idea of the beautiful
in the producing cause, viz. a purpose in respect of our
Imagination. Flowers, blossoms, even the shapes of entire
plants; the elegance of animal formations of all kinds,
unneeded for their proper use, but, as it were, selected for our
taste; especially the charming variety so satisfying to the eye
and the harmonious arrangement of colours (in the pheasant,
in shell-fish, in insects, even in the commonest flowers),
which, as it only concerns the surface and not the figure of
these creations (though perhaps requisite in regard of their
internal purposes), seems to be entirely designed for external
inspection; these things give great weight to that mode of
explanation which assumes actual purposes of nature for our
aesthetical Judgement.
On the other hand, not only is Reason opposed to this
assumption in its maxims, which bid us always avoid as far as
possible unnecessary multiplication of principles; but nature
everywhere shows in its free formations much mechanical
tendency to the productions of forms which seem, as it were,
to be made for the aesthetical exercise of our Judgement,
without affording the least ground for the supposition that
there is need of anything more than its mechanism, merely as
nature, according to which, without any Idea lying at their
root, they can be purposive for our judgement. But I
understand by free formations of nature those whereby from a
fluid at rest, through the volatilisation or separation of a
portion of its constituents (sometimes merely of caloric), the
remainder in becoming solid assumes a definite shape or tissue
(figure or texture), which is different according to the specific
difference of the material, but in the same material is constant.
Here it is always presupposed that we are speaking of a perfect
fluid, i.e. that the material in it is completely dissolved, and
that it is not a mere medley of solid particles in a state of
suspension.
Formation, then, takes place by a shooting together, i.e. by
a sudden solidification, not by a gradual transition from the
fluid to the solid state, but all at once by a saltus; which
transition is also called crystallisation. The commonest
example of this kind of formation is the freezing of water,
where first icicles are produced, which combine at angles of
60°, while others attach themselves to each vertex, until it all
becomes ice; and so that, while this is going on, the water does
not gradually become viscous, but is as perfectly fluid as if its
temperature were far higher, although it is absolutely ice-cold.
The matter that disengages itself, which is dissipated suddenly
at the moment of solidification, is a considerable quantum of
caloric, the disappearance of which, as it was only required for
preserving fluidity, leaves the new ice not in the least colder
than the water which shortly before was fluid.
Many salts, and also rocks, of a crystalline figure, are
produced thus from a species of earth dissolved in water, we
do not exactly know how. Thus are formed the glandular
configurations of many minerals, the cubical sulphide of lead,
the ruby silver ore, etc., in all probability in water and by the
shooting together of particles, as they become forced by some
cause to dispense with this vehicle and to unite in definite
external shapes.
But also all kinds of matter, which have been kept in a
fluid state by heat, and have become solid by cooling, show
internally, when fractured, a definite texture. This makes us
judge that if their own weight or the disturbance of the air had
not prevented it, they would also have exhibited on the outer
surface their specifically peculiar shapes. This has been
observed in some metals on their inner surface, which have
been hardened externally by fusion but are fluid in the interior,
by the drawing off the internal fluid and the consequent
undisturbed crystallisation of the remainder. Many of these
mineral crystallisations, such as spars, hematite, arragonite,
etc., often present beautiful shapes, the like of which art can
102
only conceive; and the halo in the cavern of Antiparos is
merely produced by water trickling down strata of gypsum.
The fluid state is, to all appearance, older than the solid
state, and plants as well as animal bodies are fashioned out of
fluid nutritive matter, so far as this forms itself in a state of
rest. This last of course primarily combines and forms itself in
freedom according to a certain original disposition directed
towards purposes (which, as will be shown in Part II., must not
be judged aesthetically but teleologically according to the
principle of realism), but also perhaps in conformity with the
universal law of the affinity of materials. Again, the watery
fluids dissolved in an atmosphere that is a mixture of different
gases, if they separate from the latter on account of cooling,
produce snow figures, which in correspondence with the
character of the special mixture of gases, often seem very
artistic and are extremely beautiful. So, without detracting
from the teleological principle by which we judge of
organisation, we may well think that the beauty of flowers, of
the plumage of birds, or of shell-fish, both in shape and colour,
may be ascribed to nature and its faculty of producing forms in
an aesthetically purposive way, in its freedom, without
particular purposes adapted thereto, according to chemical
laws by the arrangement of the material requisite for the
organisation in question.
But what shows the principle of the Ideality of the
purposiveness in the beauty of nature, as that which we always
place at the basis of an aesthetical judgement, and which
allows us to employ, as a ground of explanation for our
representative faculty, no realism of purpose, is the fact that in
judging beauty we invariably seek its gauge in ourselves a
priori, and that our aesthetical Judgement is itself legislative in
respect of the judgement whether anything is beautiful or not.
This could not be, on the assumption of the Realism of the
purposiveness of nature; because in that case we must have
learned from nature what we ought to find beautiful, and the
aesthetical judgement would be subjected to empirical
principles. For in such an act of judging the important point is
not, what nature is, or even, as a purpose, is in relation to us,
but how we take it. There would be an objective purposiveness
in nature if it had fashioned its forms for our satisfaction; and
not a subjective purposiveness which depended upon the play
of the Imagination in its freedom, where it is we who receive
nature with favour, not nature which shows us favour. The
property of nature that gives us occasion to perceive the inner
purposiveness in the relation of our mental faculties in judging
certain of its products—a purposiveness which is to be
explained on supersensible grounds as necessary and universal
—cannot be a natural purpose or be judged by us as such; for
otherwise the judgement hereby determined would not be free,
and would have at its basis heteronomy, and not, as beseems a
judgement of taste, autonomy.
In beautiful Art the principle of the Idealism of
purposiveness is still clearer. As in the case of the beautiful in
Nature, an aesthetical Realism of this purposiveness cannot be
perceived by sensations (for then the art would be only
pleasant, not beautiful). But that the satisfaction produced by
aesthetical Ideas must not depend on the attainment of definite
purposes (as in mechanically designed art), and that
consequently, in the very rationalism of the principle, the
ideality of the purposes and not their reality must be
fundamental, appears from the fact that beautiful Art, as such,
must not be considered as a product of Understanding and
Science, but of Genius, and therefore must get its rule through
aesthetical Ideas, which are essentially different from rational
Ideas of definite purposes.
Just as the ideality of the objects of sense as phenomena is
the only way of explaining the possibility of their forms being
susceptible of a priori determination, so the idealism of
purposiveness, in judging the beautiful in nature and art, is the
only hypothesis under which Criticism can explain the
possibility of a judgement of taste which demands a priori
validity for every one (without grounding on concepts the
purposiveness that is represented in the Object).

§ 59. Of Beauty as the symbol of Morality

Intuitions are always required to establish the reality of

our concepts. If the concepts are empirical, the intuitions are
called examples. If they are pure concepts of Understanding,
the intuitions are called schemata. If we desire to establish the
objective reality of rational concepts, i.e. of Ideas, on behalf of
theoretical cognition, then we are asking for something
impossible, because absolutely no intuition can be given which
shall be adequate to them.
All hypotyposis (presentation, subjectio sub adspectum),
or sensible illustration, is twofold. It is either schematical,
when to a concept comprehended by the Understanding the
corresponding intuition is given a priori; or it is symbolical. In
the latter case to a concept only thinkable by the Reason, to
which no sensible intuition can be adequate, an intuition is
supplied with which accords a procedure of the Judgement
analogous to what it observes in schematism: it accords with
it, that is, in respect of the rule of this procedure merely, not of
the intuition itself; consequently in respect of the form of
reflection merely, and not of its content.
There is a use of the word symbolical that has been
adopted by modern logicians, which is misleading and
incorrect, i.e. to speak of the symbolical mode of
representation as if it were opposed to the intuitive; for the
symbolical is only a mode of the intuitive. The latter (the
intuitive), that is, may be divided into the schematical and the
symbolical modes of representation. Both are hypotyposes, i.e.
presentations (exhibitiones); not mere characterisations, or
designations of concepts by accompanying sensible signs
which contain nothing belonging to the intuition of the Object,
and only serve as a means for reproducing the concepts,
according to the law of association of the Imagination, and
consequently in a subjective point of view. These are either
words, or visible (algebraical, even mimetical) signs, as mere
103
expressions for concepts.
All intuitions, which we supply to concepts a priori, are
therefore either schemata or symbols, of which the former
contain direct, the latter indirect, presentations of the concept.
The former do this demonstratively; the latter by means of an
analogy (for which we avail ourselves even of empirical
intuitions) in which the Judgement exercises a double
function; first applying the concept to the object of a sensible
intuition, and then applying the mere rule of the reflection
made upon that intuition to a quite different object of which
the first is only the symbol. Thus a monarchical state is
represented by a living body, if it is governed by national laws,
and by a mere machine (like a hand-mill) if governed by an
individual absolute will; but in both cases only symbolically.
For between a despotic state and a hand-mill there is, to be
sure, no similarity; but there is a similarity in the rules
according to which we reflect upon these two things and their
causality. This matter has not been sufficiently analysed
hitherto, for it deserves a deeper investigation; but this is not
the place to linger over it. Our language [i.e. German] is full of
indirect presentations of this sort, in which the expression does
not contain the proper schema for the concept, but merely a
symbol for reflection. Thus the words ground (support, basis),
to depend (to be held up from above), to flow from something
(instead of, to follow), substance (as Locke expresses it, the
support of accidents), and countless others, are not schematical
but symbolical hypotyposes and expressions for concepts, not
by means of a direct intuition, but only by analogy with it, i.e.
by the transference of reflection upon an object of intuition to
a quite different concept to which perhaps an intuition can
never directly correspond. If we are to give the name of
cognition to a mere mode of representation (which is quite
permissible if the latter is not a principle of the theoretical
determination of what an object is in itself, but of the practical
determination of what the Idea of it should be for us and for its
purposive use), then all our knowledge of God is merely
symbolical; and he who regards it as schematical, along with
the properties of Understanding, Will, etc., which only
establish their objective reality in beings of this world, falls
into Anthropomorphism, just as he who gives up every
intuitive element falls into Deism, by which nothing at all is
cognised, not even in a practical point of view.
Now I say the Beautiful is the symbol of the morally
Good, and that it is only in this respect (a reference which is
natural to every man and which every man postulates in others
as a duty) that it gives pleasure with a claim for the agreement
of every one else. By this the mind is made conscious of a
certain ennoblement and elevation above the mere sensibility
to pleasure received through sense, and the worth of others is
estimated in accordance with a like maxim of their Judgement.
That is the intelligible, to which, as pointed out in the
preceding paragraph, Taste looks; with which our higher
cognitive faculties are in accord; and without which a
downright contradiction would arise between their nature and
the claims made by taste. In this faculty the Judgement does
not see itself, as in empirical judging, subjected to a
heteronomy of empirical laws; it gives the law to itself in
respect of the objects of so pure a satisfaction, just as the
Reason does in respect of the faculty of desire. Hence, both on
account of this inner possibility in the subject and of the
external possibility of a nature that agrees with it, it finds itself
to be referred to something within the subject as well as
without him, something which is neither nature nor freedom,
but which yet is connected with the supersensible ground of
the latter. In this supersensible ground, therefore, the
theoretical faculty is bound together in unity with the practical,
in a way which though common is yet unknown. We shall
indicate some points of this analogy, while at the same time
we shall note the differences.
(1) The beautiful pleases immediately (but only in
reflective intuition, not, like morality, in its concept). (2) It
pleases apart from any interest (the morally good is indeed
necessarily bound up with an interest, though not with one
which precedes the judgement upon the satisfaction, but with
one which is first of all produced by it). (3) The freedom of the
Imagination (and therefore of the sensibility of our faculty) is
represented in judging the beautiful as harmonious with the
conformity to law of the Understanding (in the moral
judgement the freedom of the will is thought as the harmony
of the latter with itself according to universal laws of Reason).
(4) The subjective principle in judging the beautiful is
represented as universal, i.e. as valid for every man, though
not cognisable through any universal concept. (The objective
principle of morality is also expounded as universal, i.e. for
every subject and for every action of the same subject, and
thus as cognisable by means of a universal concept). Hence the
moral judgement is not only susceptible of definite
constitutive principles, but is possible only by grounding its
maxims on these in their universality.
A reference to this analogy is usual even with the common
Understanding [of men], and we often describe beautiful
objects of nature or art by names that seem to put a moral
appreciation at their basis. We call buildings or trees majestic
and magnificent, landscapes laughing and gay; even colours
are called innocent, modest, tender, because they excite
sensations which have something analogous to the
consciousness of the state of mind brought about by moral
judgements. Taste makes possible the transition, without any
violent leap, from the charm of Sense to habitual moral
interest; for it represents the Imagination in its freedom as
capable of purposive determination for the Understanding, and
so teaches us to find even in objects of sense a free satisfaction
apart from any charm of sense.

APPENDIX
§ 60. Of the method of Taste

The division of a Critique into Elementology and

Methodology, as preparatory to science, is not applicable to
the Critique of taste, because there neither is nor can be a
science of the Beautiful, and the judgement of taste is not
determinable by means of principles. As for the scientific
element in every art, which regards truth in the presentation of
its Object, this is indeed the indispensable condition (conditio
sine qua non) of beautiful art, but not beautiful art itself. There
is therefore for beautiful art only a manner (modus), not a
method of teaching (methodus). The master must show what
the pupil is to do and how he is to do it; and the universal
rules, under which at last he brings his procedure, serve rather
for bringing the main points back to his remembrance when
occasion requires, than for prescribing them to him.
Nevertheless regard must be had here to a certain ideal, which
art must have before its eyes, although it cannot be completely
attained in practice. It is only through exciting the Imagination
of the pupil to accordance with a given concept, by making
him note the inadequacy of the expression for the Idea, to
which the concept itself does not attain because it is an
aesthetical Idea, and by severe criticism, that he can be
prevented from taking the examples set before him as types
and models for imitation, to be subjected to no higher standard
or independent judgement. It is thus that genius, and with it the
freedom of the Imagination, is stifled by its very conformity to
law; and without these no beautiful art, and not even an
accurately judging individual taste, is possible.
The propaedeutic to all beautiful art, regarded in the
highest degree of its perfection, seems to lie, not in precepts,
but in the culture of the mental powers by means of those
elements of knowledge called humaniora, probably because
humanity on the one side indicates the universal feeling of
sympathy, and on the other the faculty of being able to
communicate universally our inmost [feelings]. For these
properties taken together constitute the characteristic social
104
spirit of humanity by which it is distinguished from the
limitations of animal life. The age and peoples, in which the
impulse towards a law-abiding social life, by which a people
becomes a permanent community, contended with the great
difficulties presented by the difficult problem of uniting
freedom (and therefore equality also) with compulsion (rather
of respect and submission from a sense of duty than of fear)—
such an age and such a people naturally first found out the art
of reciprocal communication of Ideas between the cultivated
and uncultivated classes and thus discovered how to
harmonise the large-mindedness and refinement of the former
with the natural simplicity and originality of the latter. In this
way they first found that mean between the higher culture and
simple nature which furnishes that true standard for taste as a
sense common to all men which no universal rules can supply.
With difficulty will a later age dispense with those
models, because it will be always farther from nature; and in
fine, without having permanent examples before it, a concept
will hardly be possible, in one and the same people, of the
happy union of the law-abiding constraint of the highest
culture with the force and truth of free nature which feels its
own proper worth.
Now taste is at bottom a faculty for judging of the sensible
illustration of moral Ideas (by means of a certain analogy
involved in our reflection upon both these); and it is from this
faculty also and from the greater susceptibility grounded
thereon for the feeling arising from the latter (called moral
feeling), that the pleasure is derived which taste regards as
valid for mankind in general and not merely for the private
feeling of each. Hence it appears plain that the true
propaedeutic for the foundation of taste is the development of
moral Ideas and the culture of the moral feeling; because it is
only when sensibility is brought into agreement with this that
genuine taste can assume a definite invariable form.
THE CRITIQUE OF
JUDGEMENT
 PART II

CRITIQUE OF THE TELEOLOGICAL

JUDGEMENT
§ 61. Of the objective purposiveness of Nature

We have on transcendental principles good ground to

assume a subjective purposiveness in nature, in its particular
laws, in reference to its comprehensibility by human
Judgement and to the possibility of the connexion of particular
experiences in a system. This may be expected as possible in
many products of nature, which, as if they were devised quite
specially for our Judgement, contain a specific form
conformable thereto; which through their manifoldness and
unity serve at once to strengthen and to sustain the mental
powers (that come into play in the employment of this
faculty); and to which therefore we give the name of beautiful
forms.
But that the things of nature serve one another as means to
purposes, and that their possibility is only completely
intelligible through this kind of causality—for this we have
absolutely no ground in the universal Idea of nature, as the
complex of the objects of sense. In the above-mentioned case,
the representation of things, because it is something in
ourselves, can be quite well thought a priori as suitable and
useful for the internally purposive determination of our
cognitive faculties; but that purposes, which neither are our
own nor belong to nature (for we do not regard nature as an
intelligent being), could or should constitute a particular kind
of causality, at least a quite special conformity to law,—this
we have absolutely no a priori reason for presuming. Yet
more, experience itself cannot prove to us the actuality of this;
there must then have preceded a rationalising subtlety which
only sportively introduces the concept of purpose into the
nature of things, but which does not derive it from Objects or
from their empirical cognition. To this latter it is of more
service to make nature comprehensible according to analogy
with the subjective ground of the connexion of our
representations, than to cognise it from objective grounds.
Further, objective purposiveness, as a principle of the
possibility of things of nature, is so far removed from
necessary connexion with the concept of nature, that it is much
oftener precisely that upon which one relies to prove the
contingency of nature and of its form. When, e.g. we adduce
the structure of a bird, the hollowness of its bones, the
disposition of its wings for motion and of its tail for steering,
etc., we say that all this is contingent in the highest degree
according to the mere nexus effectivus of nature, without
calling in the aid of a particular kind of causality, namely that
of purpose (nexus finalis). In other words, nature, considered
as mere mechanism, could have produced its forms in a
thousand other ways without stumbling upon the unity which
is in accordance with such a principle. It is not in the concept
of nature but quite apart from it that we can hope to find the
least ground a priori for this.
Nevertheless the teleological act of judgement is rightly
brought to bear, at least problematically, upon the investigation
of nature; but only in order to bring it under principles of
observation and inquiry according to the analogy with the
causality of purpose, without any pretence to explain it
thereby. It belongs therefore to the reflective and not to the
determinant judgement. The concept of combinations and
forms of nature in accordance with purposes is then at least
one principle more for bringing its phenomena under rules
where the laws of simply mechanical causality do not suffice.
For we bring in a teleological ground, where we attribute
causality in respect of an Object to the concept of an Object, as
if it were to be found in nature (not in ourselves); or rather
when we represent to ourselves the possibility of the Object
after the analogy of that causality which we experience in
ourselves, and consequently think nature technically as
through a special faculty. If we did not ascribe to it such a
method of action, its causality would have to be represented as
blind mechanism. If, on the contrary, we supply to nature
causes acting designedly, and consequently place at its basis
teleology, not merely as a regulative principle for the mere
judging of phenomena, to which nature can be thought as
subject in its particular laws, but as a constitutive principle of
the derivation of its products from their causes; then would the
concept of a natural purpose no longer belong to the reflective
but to the determinant Judgement. Then, in fact, it would not
belong specially to the Judgement (like the concept of beauty
regarded as formal subjective purposiveness), but as a rational
concept it would introduce into natural science a new
causality, which we only borrow from ourselves and ascribe to
other beings, without meaning to assume them to be of the
same kind with ourselves.
 FIRST DIVISION
ANALYTIC OF THE TELEOLOGICAL
JUDGEMENT

§ 62. Of the objective purposiveness which is merely formal

as distinguished from that which is material

All geometrical figures drawn on a principle display a

manifold, oft admired, objective purposiveness; i.e. in
reference to their usefulness for the solution of several
problems by a single principle, or of the same problem in an
infinite variety of ways. The purposiveness is here obviously
objective and intellectual, not merely subjective and
aesthetical. For it expresses the suitability of the figure for the
production of many intended figures, and is cognised through
Reason. But this purposiveness does not make the concept of
the object itself possible, i.e. it is not regarded as possible
merely with reference to this use.
In so simple a figure as the circle lies the key to the
solution of a multitude of problems, each of which would
demand various appliances; whereas the solution results of
itself, as it were, as one of the infinite number of elegant
properties of this figure. Are we, for example, asked to
construct a triangle, being given the base and vertical angle?
The problem is indeterminate, i.e. it can be solved in an
infinite number of ways. But the circle embraces them
altogether as the geometrical locus of the vertices of triangles
satisfying the given conditions. Again, suppose that two lines
are to cut one another so that the rectangle under the segments
of the one should be equal to the rectangle under the segments
of the other; the solution of the problem from this point of
view presents much difficulty. But all chords intersecting
inside a circle divide one another in this proportion. Other
curved lines suggest other purposive solutions of which
nothing was thought in the rule that furnished their
construction. All conic sections in themselves and when
compared with one another are fruitful in principles for the
solution of a number of possible problems, however simple is
the definition which determines their concept.—It is a true joy
to see the zeal with which the old geometers investigated the
properties of lines of this class, without allowing themselves to
be led astray by the questions of narrow-minded persons, as to
what use this knowledge would be. Thus they worked out the
properties of the parabola without knowing the law of
gravitation, which would have suggested to them its
application to the trajectory of heavy bodies (for the motion of
a heavy body can be seen to be parallel to the curve of a
parabola). Again, they found out the properties of an ellipse
without surmising that any of the heavenly bodies had weight,
and without knowing the law of force at different distances
from the point of attraction, which causes it to describe this
curve in free motion. While they thus unconsciously worked
for the science of the future, they delighted themselves with a
purposiveness in the [essential] being of things which yet they
were able to present completely a priori in its necessity. Plato,
himself master of this science, hinted at such an original
constitution of things in the discovery of which we can
dispense with all experience, and at the power of the mind to
produce from its supersensible principle the harmony of
beings (where the properties of number come in, with which
the mind plays in music). This [he touches upon] in the
inspiration that raised him above the concepts of experience to
Ideas, which seem to him to be explicable only through an
intellectual affinity with the origin of all beings. No wonder
that he banished from his school the man who was ignorant of
geometry, since he thought he could derive from pure
intuition, which has its home in the human spirit, that which
Anaxagoras drew from empirical objects and their purposive
combination. For in the very necessity of that which is
purposive, and is constituted just as if it were designedly
intended for our use,—but at the same time seems to belong
originally to the being of things without any reference to our
use—lies the ground of our great admiration of nature, and
that not so much external as in our own Reason. It is surely
excusable that this admiration should through
misunderstanding gradually rise to the height of fanaticism.
 But this intellectual purposiveness, although no doubt
objective (not subjective like aesthetical purposiveness), is in
reference to its possibility merely formal (not real). It can only
be conceived as purposiveness in general without any
[definite] purpose being assumed as its basis, and
consequently without teleology being needed for it. The figure
of a circle is an intuition which is determined by means of the
Understanding according to a principle. The unity of this
principle which I arbitrarily assume and use as fundamental
concept, applied to a form of intuition (space) which is met
with in myself as a representation and yet a priori, renders
intelligible the unity of many rules resulting from the
construction of that concept, which are purposive for many
possible designs. But this purposiveness does not imply a
purpose or any other ground whatever. It is quite different if I
meet with order and regularity in complexes of things, external
to myself, enclosed within certain boundaries; as, e.g. in a
garden, the order and regularity of the trees, flower-beds, and
walks. These I cannot expect to derive a priori from my
bounding of space made after a rule of my own; for this order
and regularity are existing things which must be given
empirically in order to be known, and not a mere
representation in myself determined a priori according to a
principle. So then the latter (empirical) purposiveness, as real,
is dependent on the concept of a purpose.
But the ground of admiration for a perceived
purposiveness, although it be in the being of things (so far as
their concepts can be constructed), may very well be seen, and
seen to be legitimate. The manifold rules whose unity (derived
from a principle) excites admiration, are all synthetical and do
not follow from the concept of the Object, e.g. of a circle; but
require this Object to be given in intuition. Hence this unity
gets the appearance of having empirically an external basis of
rules distinct from our representative faculty; as if therefore
the correspondence of the Object to that need of rules which is
proper to the Understanding were contingent in itself, and
therefore only possible by means of a purpose expressly
directed thereto. Now because this harmony, notwithstanding
all this purposiveness, is not cognised empirically but a priori,
it should bring us of itself to this point—that space, through
whose determination (by means of the Imagination, in
accordance with a concept) the Object is alone possible, is not
a characteristic of things external to me, but a mere mode of
representation in myself. Hence, in the figure which I draw in
conformity with a concept, i.e. in my own mode of
representing that which is given to me externally, whatever it
may be in itself, it is I that introduce the purposiveness; I get
no empirical instruction from the Object about the
purposiveness, and so I require in it no particular purpose
external to myself. But because this consideration already calls
for a critical employment of Reason, and consequently cannot
be involved in the judging of the Object according to its
properties; so this latter [judging] suggests to me immediately
nothing but the unification of heterogeneous rules (even
according to their very diversity) in a principle. This principle,
without requiring any particular a priori basis external to my
concept, or indeed, generally speaking, to my representation,
is yet cognised a priori by me as true. Now wonder is a shock
of the mind arising from the incompatibility of a
representation, and the rule given by its means, with the
principles already lying at its basis; which provokes a doubt as
to whether we have rightly seen or rightly judged. Admiration,
however, is wonder which ever recurs, despite the
disappearance of this doubt. Consequently the latter is a quite
natural effect of that observed purposiveness in the being of
things (as phenomena). It cannot indeed be censured, whilst
the unification of the form of sensible intuition (space)—with
the faculty of concepts (the Understanding)—is inexplicable to
us; and that not only on account of the union being just of the
kind that it is, but because it is enlarging for the mind to
surmise [the existence of] something lying outside our sensible
representations in which, although unknown to us, the ultimate
ground of that agreement may be met with. We are, it is true,
not necessitated to cognise this if we have only to do a priori
with the formal purposiveness of our representations; but the
fact that we are compelled to look out beyond it inspires at the
same time an admiration for the object that impels us thereto.
We are accustomed to speak of the above-mentioned
properties of geometrical figures or of numbers as beautiful,
on account of a certain a priori purposiveness they have for all
kinds of cognitive uses, this purposiveness being quite
unexpected on account of the simplicity of the construction.
We speak, e.g. of this or that beautiful property of the circle,
which was discovered in this or that way. But there is no
aesthetical act of judgement through which we find it
purposive, no act of judgement without a concept which
renders noticeable a mere subjective purposiveness in the free
play of our cognitive faculties; but an intellectual act
according to concepts which enables us clearly to cognise an
objective purposiveness, i.e. availableness for all kinds of
(infinitely manifold) purposes. We must rather call this relative
perfection than a beauty of the mathematical figure. To speak
thus of an intellectual beauty cannot in general be permissible;
for otherwise the word beauty would lose all determinate
significance, or the intellectual satisfaction all superiority over
the sensible. We should rather call a demonstration of such
properties beautiful, because through it the Understanding as
the faculty of concepts, and the Imagination as the faculty of
presenting them, feel themselves strengthened a priori. (This,
when viewed in connexion with the precision introduced by
Reason, is spoken of as elegant.) Here, however, the
satisfaction, although it is based on concepts, is subjective;
while perfection brings with itself an objective satisfaction.

§ 63. Of the relative, as distinguished from the inner,

purposiveness of nature

Experience leads our Judgement to the concept of an

objective and material purposiveness, i.e. to the concept of a
105
purpose of nature, only when we have to judge of a relation
of cause to effect which we find ourselves able to apprehend
as legitimate only by presupposing the Idea of the effect of the
causality of the cause as the fundamental condition, in the
cause, of the possibility of the effect. This can take place in
two ways. We may regard the effect directly as an art product,
or only as material for the art of other possible natural beings;
in other words, either as a purpose or as a means towards the
purposive employment of other causes. This latter
purposiveness is called utility (for man) or mere advantage
(for other creatures), and is merely relative; while the former is
an inner purposiveness of the natural being.
For example, rivers bring down with them all kinds of
earth serviceable for the growth of plants which sometimes is
deposited inland, often also at their mouths. The tide brings
this mud to many coasts over the land or deposits it on the
shore; and so, more especially if men give their aid so that the
ebb shall not carry it back again, the fruit-bearing land
increases in area, and the vegetable kingdom gains the place
which formerly was the habitation of fish and shells. In this
way has nature itself brought about most of the extensions of
the land, and still continues to do so, although very slowly.—
Now the question is whether this is to be judged a purpose of
nature, because it contains utility for men. We cannot put it
down to the account of the vegetable kingdom, because just as
much is subtracted from sea-life as is added to land-life.
Or, to give an example of the advantageousness of certain
natural things as means for other creatures (if we suppose
them to be means), no soil is more suitable to pine trees than a
sandy soil. Now the deep sea, before it withdrew from the
land, left behind large tracts of sand in our northern regions, so
that on this soil, so unfavourable for all cultivation, widely
extended pine forests were enabled to grow, for the
unreasoning destruction of which we frequently blame our
ancestors. We may ask if this original deposit of tracts of sand
was a purpose of nature for the benefit of the possible pine
forests? So much is clear, that if we regard this as a purpose of
nature, we must also regard the sand as a relative purpose, in
reference to which the ocean strand and its withdrawal were
means: for in the series of the mutually subordinated members
of a purposive combination, every member must be regarded
as a purpose (though not as a final purpose), to which its
proximate cause is the means. So too if cattle, sheep, horses,
etc., are to exist, there must be grass on the earth, but there
must also be saline plants in the desert if camels are to thrive;
and again these and other herbivorous animals must be met
with in numbers if there are to be wolves, tigers, and lions.
Consequently the objective purposiveness, which is based
upon advantage, is not an objective purposiveness of things in
themselves; as if the sand could not be conceived for itself as
an effect of a cause, viz. the sea, without attributing to the
latter a purpose, and regarding the effect, namely, the sand, as
a work of art. It is a merely relative purposiveness contingent
upon the thing to which it is ascribed; and although in the
examples we have cited, the different kinds of grass are to be
judged as in themselves organised products of nature, and
consequently as artificial, yet are they to be regarded, in
reference to the beasts which feed upon them, as mere raw
material.
But above all, though man, through the freedom of his
causality, finds certain natural things of advantage for his
designs—designs often foolish, such as using the variegated
plumage of birds to adorn his clothes, or coloured earths and
the juices of plants for painting his face; often again
reasonable as when the horse is used for riding, the ox or (as in
Minorca) the ass or pig for ploughing—yet we cannot even
here assume a relative natural purpose. For his Reason knows
how to give things a conformity with his own arbitrary fancies
for which he was not at all predestined by nature. Only, if we
assume that men are to live upon the earth, then the means
must be there without which they could not exist as animals,
and even as rational animals (in however low a degree of
rationality); and thereupon those natural things, which are
indispensable in this regard, must be considered as natural
purposes.
We can hence easily see that external purposiveness
(advantage of one thing in respect of others) can be regarded
as an external natural purpose only under the condition, that
the existence of that [being], to which it is immediately or
distantly advantageous, is in itself a purpose of nature. Since
that can never be completely determined by mere
contemplation of nature, it follows that relative purposiveness,
although it hypothetically gives indications of natural
purposes, yet justifies no absolute teleological judgement.
Snow in cold countries protects the crops from the frost; it
makes human intercourse easier (by means of sleighs). The
Laplander finds in his country animals by whose aid this
intercourse is brought about, i.e. reindeer, who find sufficient
sustenance in a dry moss which they have to scratch out for
themselves from under the snow, and who are easily tamed
and readily permit themselves to be deprived of that freedom
in which they could have remained if they chose. For other
people in the same frozen regions marine animals afford rich
stores; in addition to the food and clothing which are thus
supplied, and the wood which is floated in by the sea to their
dwellings, these marine animals provide material for fuel by
which their huts are warmed. Here is a wonderful concurrence
of many references of nature to one purpose; and all this
applies to the cases of the Greenlander, the Lapp, the
Samoyede, the inhabitant of Yakutsk, etc. But then we do not
see why, generally, men must live there at all. Therefore to say
that vapour falls out of the atmosphere in the form of snow,
that the sea has its currents which float down wood that has
grown in warmer lands, and that there are in it great sea
monsters filled with oil, because the idea of advantage for
certain poor creatures is fundamental for the cause which
collects all these natural products, would be a very
venturesome and arbitrary judgement. For even if there were
none of this natural utility, we should miss nothing as regards
the adequateness of natural causes to nature’s constitution;
much more even to desire such a tendency in, and to attribute
such a purpose to, nature would be the part of a presumptuous
and inconsiderate fancy. For indeed it might be observed that it
could only have been the greatest unsociability among men
which thus scattered them into such inhospitable regions.

§ 64. Of the peculiar character of things as natural purposes

In order to see that a thing is only possible as a purpose,

that is, to be forced to seek the causality of its origin not in the
mechanism of nature but in a cause whose faculty of action is
determined through concepts, it is requisite that its form be not
possible according to mere natural laws, i.e. laws which can be
cognised by us through the Understanding alone when applied
to objects of Sense; but that even the empirical knowledge of it
as regards its cause and effect presupposes concepts of
Reason. This contingency of its form in all empirical natural
laws in reference to Reason affords a ground for regarding its
causality as possible only through Reason. For Reason, which
must cognise the necessity of every form of a natural product
in order to comprehend even the conditions of its genesis,
cannot assume such [natural] necessity in that particular given
form. The causality of its origin is then referred to the faculty
of acting in accordance with purposes (a will); and the Object
which can only thus be represented as possible is represented
as a purpose.
If in a seemingly uninhabited country a man perceived a
geometrical figure, say a regular hexagon, inscribed on the
sand, his reflection busied with such a concept would attribute,
although obscurely, the unity in the principle of its genesis to
Reason, and consequently would not regard as a ground of the
possibility of such a shape the sand, or the neighbouring sea,
or the winds, or beasts with familiar footprints, or any other
irrational cause. For the chance against meeting with such a
concept, which is only possible through Reason, would seem
so infinitely great, that it would be just as if there were no
natural law, no cause in the mere mechanical working of
nature capable of producing it; but as if only the concept of
such an Object, as a concept which Reason alone can supply
and with which it can compare the thing, could contain the
causality for such an effect. This then would be regarded as a
purpose, but as a product of art, not as a natural purpose
106
(vestigium hominis video).
But in order to regard a thing cognised as a natural
product as a purpose also—consequently as a natural purpose,
if this is not a contradiction—something more is required. I
would say provisionally: a thing exists as a natural purpose, if
107
it is [although in a double sense] both cause and effect of
itself. For herein lies a causality the like of which cannot be
combined with the mere concept of a nature without
attributing to it a purpose; it can certainly be thought without
contradiction, but cannot be comprehended. We shall elucidate
the determination of this Idea of a natural purpose by an
example, before we analyse it completely.
In the first place, a tree generates another tree according to
a known natural law. But the tree produced is of the same
genus; and so it produces itself generically. On the one hand,
as effect it is continually self-produced; on the other hand, as
cause it continually produces itself, and so perpetuates itself
generically.
Secondly, a tree produces itself as an individual. This kind
of effect no doubt we call growth; but it is quite different from
any increase according to mechanical laws, and is to be
reckoned as generation, though under another name. The
matter that the tree incorporates it previously works up into a
specifically peculiar quality, which natural mechanism
external to it cannot supply; and thus it develops itself by aid
of a material which, as compounded, is its own product. No
doubt, as regards the constituents got from nature without, it
must only be regarded as an educt; but yet in the separation
and recombination of this raw material we see such an
originality in the separating and formative faculty of this kind
of natural being, as is infinitely beyond the reach of art, if the
attempt is made to reconstruct such vegetable products out of
elements obtained by their dissection or material supplied by
nature for their sustenance.
Thirdly, each part of a tree generates itself in such a way
that the maintenance of any one part depends reciprocally on
the maintenance of the rest. A bud of one tree engrafted on the
twig of another produces in the alien stock a plant of its own
kind, and so also a scion engrafted on a foreign stem. Hence
we may regard each twig or leaf of the same tree as merely
engrafted or inoculated into it, and so as an independent tree
attached to another and parasitically nourished by it. At the
same time, while the leaves are products of the tree they also
in turn give support to it; for the repeated defoliation of a tree
kills it, and its growth thus depends on the action of the leaves
upon the stem. The self-help of nature in case of injury in the
vegetable creation, when the want of a part that is necessary
for the maintenance of its neighbours is supplied by the
remaining parts; and the abortions or malformations in growth,
in which certain parts, on account of casual defects or
hindrances, form themselves in a new way to maintain what
exists, and so produce an anomalous creature, I shall only
mention in passing, though they are among the most
wonderful properties of organised creatures.

§ 65. Things regarded as natural purposes are organised

beings

According to the character alleged in the preceding

section, a thing, which, though a natural product, is to be
cognised as only possible as a natural purpose, must bear itself
alternately as cause and as effect. This, however, is a
somewhat inexact and indeterminate expression which needs
derivation from a determinate concept.
Causal combination as thought merely by the
Understanding is a connexion constituting an ever-progressive
series (of causes and effects); and things which as effects
presuppose others as causes cannot be reciprocally at the same
time causes of these. This sort of causal combination we call
that of effective causes (nexus effectivus). But on the other
hand, a causal combination according to a concept of Reason
(of purposes) can also be thought, which regarded as a series
would lead either forwards or backwards; in this the thing that
has been called the effect may with equal propriety be termed
the cause of that of which it is the effect. In the practical
department of human art we easily find connexions such as
this; e.g. a house, no doubt, is the cause of the money received
for rent, but also conversely the representation of this possible
income was the cause of building the house. Such a causal
connexion we call that of final causes (nexus finalis). We may
perhaps suitably name the first the connexion of real causes,
the second of those which are ideal; because from this
nomenclature it is at once comprehended that there can be no
more than these two kinds of causality.
For a thing to be a natural purpose in the first place it is
requisite that its parts (as regards their being and their form)
are only possible through their reference to the whole. For the
thing itself is a purpose and so is comprehended under a
concept or an Idea which must determine a priori all that is to
be contained in it. But so far as a thing is only thought as
possible in this way, it is a mere work of art; i.e. a product of
one rational cause distinct from the matter (of the parts),
whose causality (in the collection and combination of the
parts) is determined through its Idea of a whole possible by
their means (and consequently not through external nature).
But if a thing as a natural product is to involve in itself
and in its internal possibility a reference to purposes,—i.e. to
be possible only as a natural purpose, and without the causality
of the concepts of rational beings external to itself,—then it is
requisite secondly that its parts should so combine in the unity
of a whole that they are reciprocally cause and effect of each
other’s form. Only in this way can the Idea of the whole
conversely (reciprocally) determine the form and combination
of all the parts; not indeed as cause—for then it would be an
artificial product—but as the ground of cognition, for him who
is judging it, of the systematic unity and combination of all the
manifold contained in the given material.
For a body then which is to be judged in itself and its
internal possibility as a natural purpose, it is requisite that its
parts mutually depend upon each other both as to their form
and their combination, and so produce a whole by their own
causality; while conversely the concept of the whole may be
regarded as its cause according to a principle (in a being
possessing a causality according to concepts adequate to such
a product). In this case then the connexion of effective causes
may be judged as an effect through final causes.
In such a product of nature every part not only exists by
means of the other parts, but is thought as existing for the sake
of the others and the whole, that is as an (organic) instrument.
Thus, however, it might be an artificial instrument, and so
might be represented only as a purpose that is possible in
general; but also its parts are all organs reciprocally producing
each other. This can never be the case with artificial
instruments, but only with nature which supplies all the
material for instruments (even for those of art). Only a product
of such a kind can be called a natural purpose, and this
because it is an organised and self-organising being.
In a watch one part is the instrument for moving the other
parts, but the wheel is not the effective cause of the production
of the others; no doubt one part is for the sake of the others,
but it does not exist by their means. In this case the producing
cause of the parts and of their form is not contained in the
nature (of the material), but is external to it in a being which
can produce effects according to Ideas of a whole possible by
means of its causality. Hence a watch wheel does not produce
other wheels, still less does one watch produce other watches,
utilising (organising) foreign material for that purpose; hence
it does not replace of itself parts of which it has been deprived,
nor does it make good what is lacking in a first formation by
the addition of the missing parts, nor if it has gone out of order
does it repair itself—all of which, on the contrary, we may
expect from organised nature.—An organised being is then not
a mere machine, for that has merely moving power, but it
possesses in itself formative power of a self-propagating kind
which it communicates to its materials though they have it not
of themselves; it organises them, in fact, and this cannot be
explained by the mere mechanical faculty of motion.
We say of nature and its faculty in organised products far
too little if we describe it as an analogon of art; for this
suggests an artificer (a rational being) external to it. Much
rather does it organise itself and its organised products in
every species, no doubt after one general pattern but yet with
suitable deviations, which self-preservation demands
according to circumstances. We perhaps approach nearer to
this inscrutable property, if we describe it as an analogon of
life; but then we must either endow matter, as mere matter,
with a property which contradicts its very being (hylozoism),
or associate therewith an alien principle standing in
communion with it (a soul). But in the latter case we must, if
such a product is to be a natural product, either presuppose
organised matter as the instrument of that soul, which does not
make the soul a whit more comprehensible; or regard the soul
as artificer of this structure and so remove the product from
(corporeal) nature. To speak strictly, then, the organisation of
108
nature has in it nothing analogous to any causality we know.
Beauty in nature can be rightly described as an analogon of
art, because it is ascribed to objects only in reference to
reflection upon their external aspect, and consequently only on
account of the form of their external surface. But internal
natural perfection, as it belongs to those things which are only
possible as natural purposes, and are therefore called
organised beings, is not analogous to any physical, i.e. natural,
faculty known to us; nay even, regarding ourselves as, in the
widest sense, belonging to nature, it is not even thinkable or
explicable by means of any exactly fitting analogy to human
art.
The concept of a thing as in itself a natural purpose is
therefore no constitutive concept of Understanding or of
Reason, but it can serve as a regulative concept for the
reflective Judgement, to guide our investigation about objects
of this kind by a distant analogy with our own causality
according to purposes generally, and in our meditations upon
their ultimate ground. This latter use, however, is not in
reference to the knowledge of nature or of its original ground,
but rather to our own practical faculty of Reason, in analogy
with which we considered the cause of that purposiveness.
Organised beings are then the only beings in nature which,
considered in themselves and apart from any relation to other
things, can be thought as possible only as purposes of nature.
Hence they first afford objective reality to the concept of a
purpose of nature, as distinguished from a practical purpose;
and so they give to the science of nature the basis for a
teleology, i.e. a mode of judgement about natural Objects
according to a special principle which otherwise we should in
no way be justified in introducing (because we cannot see a
priori the possibility of this kind of causality).

§ 66. Of the principle of judging of internal purposiveness in

organised beings

This principle, which is at the same time a definition, is as

follows: An organised product of nature is one in which every
part is reciprocally purpose, [end] and means. In it nothing is
vain, without purpose, or to be ascribed to a blind mechanism
of nature.
 This principle, as regards its occasion, is doubtless derived
from experience, viz. from that methodised experience called
observation; but on account of the universality and necessity
which it ascribes to such purposiveness it cannot rest solely on
empirical grounds, but must have at its basis an a priori
principle, although it be merely regulative and these purposes
lie only in the idea of the judging [subject] and not in an
effective cause. We may therefore describe the aforesaid
principle as a maxim for judging of the internal purposiveness
of organised beings.
It is an acknowledged fact that the dissectors of plants and
animals, in order to investigate their structure and to find out
the reasons, why and for what end such parts, such a
disposition and combination of parts, and just such an internal
form have been given them, assume as indisputably necessary
the maxim that nothing in such a creature is vain; just as they
lay down as the fundamental proposition of the universal
science of nature, that nothing happens by chance. In fact, they
can as little free themselves from this teleological proposition
as from the universal physical proposition; for as without the
latter we should have no experience at all, so without the
former we should have no guiding thread for the observation
of a species of natural things which we have thought
teleologically under the concept of natural purposes.
Now this concept brings the Reason into a quite different
order of things from that of a mere mechanism of nature,
which is no longer satisfying here. An Idea is to be the ground
of the possibility of the natural product. But because this is an
absolute unity of representation, instead of the material being a
plurality of things that can supply by itself no definite unity of
composition,—if that unity of the Idea is to serve at all as the a
priori ground of determination of a natural law of the causality
of such a form of composition,—the purpose of nature must be
extended to everything included in its product. For if we once
refer action of this sort on the whole to any supersensible
ground of determination beyond the blind mechanism of
nature, we must judge of it altogether according to this
principle; and we have then no reason to regard the form of
such a thing as partly dependent on mechanism—for by such
mixing up of disparate principles no certain rule of judging
would be left.
For example, it may be that in an animal body many parts
can be conceived as concretions according to mere mechanical
laws (as the hide, the bones, the hair). And yet the cause which
brings together the required matter, modifies it, forms it, and
puts it in its appropriate place, must always be judged of
teleologically; so that here everything must be considered as
organised, and everything again in a certain relation to the
thing itself is an organ.

§ 67. Of the principle of the teleological judging of nature in

general as a system of purposes

We have already said above that the external

purposiveness of natural things affords no sufficient warrant
for using them as purposes of nature in order to explain their
presence, and for regarding their contingently purposive
effects as the grounds of their presence according to the
principle of final causes. Thus we cannot take for natural
purposes, rivers because they promote intercourse among
inland peoples, mountains because they contain the sources of
the rivers and for their maintenance in rainless seasons have a
store of snow, or the slope of the land which carries away the
water and leaves the country dry; because although this shape
of the earth’s surface be very necessary for the origin and
maintenance of the vegetable and animal kingdoms, it has
nothing in itself for the possibility of which we are forced to
assume a causality according to purposes. The same is true of
plants which man uses for his needs or his pleasures; of beasts,
the camel, the ox, the horse, dog, etc., which are indispensable
to him as well for food as because they are used in his service
in many different ways. In the case of things which we have
no reason for regarding in themselves as purposes, such
external relation can only be hypothetically judged as
purposive.
To judge of a thing as a natural purpose on account of its
internal form is something very different from taking the
existence of that thing to be a purpose of nature. For the latter
assertion we require not merely the concept of a possible
purpose, but the knowledge of the final purpose (scopus) of
nature. But this requires a reference of such knowledge to
something supersensible far transcending all our teleological
109
knowledge of nature, for the purpose of [the existence of]
nature must itself be sought beyond nature. The internal form
of a mere blade of grass is sufficient to show that for our
human faculty of judgement its origin is possible only
according to the rule of purposes. But if we change our point
of view and look to the use which other natural beings make of
it, abandon the consideration of its internal organisation and
only look to its externally purposive references, we shall arrive
at no categorical purpose; all this purposive reference rests on
an ever more distant condition, which, as unconditioned (the
presence of a thing as final purpose), lies quite outside the
physico-teleological view of the world. For example, grass is
needful for the ox, which again is needful for man as a means
of existence, but then we do not see why it is necessary that
men should exist (a question this, which we shall not find so
easy to answer if we sometimes cast our thoughts on the New
Hollanders or the inhabitants of Tierra del Fuego). So
conceived, the thing is not even a natural purpose, for neither
it (nor its whole genus) is to be regarded as a natural product.
Hence it is only so far as matter is organised that it
necessarily carries with it the concept of a natural purpose,
because this its specific form is at the same time a product of
nature. But this concept leads necessarily to the Idea of
collective nature as a system in accordance with the rule of
purposes, to which Idea all the mechanism of nature must be
subordinated according to principles of Reason (at least in
order to investigate natural phenomena therein). The principle
of Reason belongs to it only as a subjective principle or a
maxim: viz. everything in the World is some way good for
something; nothing is vain in it. By the example that nature
gives us in its organic products we are justified, nay called
upon, to expect of it and of its laws nothing that is not
purposive on the whole.
It is plain that this is not a principle for the determinant
but only for the reflective Judgement; that it is regulative and
not constitutive; and that we derive from it a clue by which we
consider natural things in reference to an already given ground
of determination according to a new law-abiding order; and
extend our natural science according to a different principle,
viz. that of final causes, but yet without prejudice to the
principle of mechanical causality. Furthermore, it is in no wise
thus decided, whether anything of which we judge by this
principle, is a designed purpose of nature; whether the grass is
for the ox or the sheep, or whether these and the other things
of nature are here for men. It is well also from this side to
consider the things which are unpleasant to us and are contrary
to purpose in particular references. Thus, for example, we can
say: The vermin that torment men in their clothes, their hair, or
their beds, may be, according to a wise appointment of nature,
a motive to cleanliness which is in itself an important means
for the preservation of health. Or again the mosquitoes and
other stinging insects that make the wildernesses of America
so oppressive to the savages, may be so many goads to activity
for these primitive men, [inducing them] to drain the marshes
and bring light into the forests which intercept every breath of
air, and in this way, as well as by cultivating the soil, to make
their habitations more healthy. The same thing, which appears
to men contradictory to nature in its inner organisation, if
viewed in this light gives an entertaining, sometimes an
instructive, outlook into a teleological order of things, to
which, without such a principle, mere physical observation
would not lead us by itself. Thus some persons regard the
tapeworm as given to the men or animals in whom it resides,
as a kind of set-off for some defect in their vital organs; now I
would ask if dreams (without which we never sleep, though
we seldom remember them) may not be a purposive ordinance
of nature? For during the relaxation of all the moving powers
of the body, they serve to excite internally the vital organs by
the medium of the Imagination and its great activity (which in
this state generally rises to the height of affection). During
sleep the Imagination commonly is more actively at play when
the stomach is overloaded, in which case this excitement is the
more necessary. Consequently, then, without this internal
power of motion and this fatiguing unrest, on account of which
we complain about our dreams (though in fact they are rather
remedial), sleep even in a sound state of health would be a
complete extinction of life.
Also the beauty of nature, i.e. its connexion with the free
play of our cognitive faculties in apprehending and judging of
its appearance, can be regarded as a kind of objective
purposiveness of nature in its whole [content] as a system of
which man is a member; if once the teleological judging of the
same by means of the natural purposes which organised beings
suggest to us, has justified for us the Idea of a great system of
110
purposes of nature. We can regard it as a favour which
nature has felt for us, that in addition to what is useful it has so
profusely dispensed beauty and charm; and we can therefore
love it, as well as regard it with respect on account of its
immensity, and feel ourselves ennobled by such regard; just as
if nature had established and adorned its splendid theatre
precisely with this view.
We shall say only one thing more in this paragraph. If we
have once discovered in nature a faculty of bringing forth
products that can only be thought by us in accordance with the
concept of final causes, we go further still. We venture to
judge that things belong to a system of purposes, which yet do
not (either in themselves or in their purposive relations)
necessitate our seeking for any principle of their possibility
beyond the mechanism of causes working blindly. For the first
Idea, as concerns its ground, already brings us beyond the
world of sense; since the unity of the supersensible principle
must be regarded as valid in this way not merely for certain
species of natural beings, but for the whole of nature as a
system.

§ 68. Of the principle of Teleology as internal principle of

natural science

The principles of a science are either internal to it and are

then called domestic (principia domestica), or are based on
concepts that can only find their place outside it and so are
foreign principles (peregrina). Sciences that contain the latter,
place at the basis of their doctrines auxiliary propositions
(lemmata), i.e. they borrow some concept, and with it a ground
of arrangement, from another science.
Every science is in itself a system, and it is not enough in
it to build in accordance with principles and thus to employ a
technical procedure, but we must go to work with it
architectonically, as a building subsisting for itself; we must
not treat it as an additional wing or part of another building,
but as a whole in itself, although we may subsequently make a
passage from it into that other or conversely.
If then we introduce into the context of natural science the
concept of God in order to explain the purposiveness in nature,
and subsequently use this purposiveness to prove that there is
a God, there is no internal consistency in either science [i.e.
either in natural science or theology]; and a delusive circle
brings them both into uncertainty, because they have allowed
their boundaries to overlap.
The expression, a purpose of nature, already sufficiently
prevents the confusion of mixing up natural science and the
occasion that it gives for judging teleologically of its objects,
with the consideration of God, and so of a theological
derivation of them. We must not regard it as insignificant, if
one interchanges this expression with that of a divine purpose
in the ordering of nature, or gives out the latter as more
suitable and proper for a pious soul, because it must come in
the end to deriving these purposive forms in nature from a
wise author of the world. On the contrary, we must carefully
and modestly limit ourselves to the expression, a purpose of
nature, which asserts exactly as much as we know. Before we
ask after the cause of nature itself, we find in nature, and in the
course of its development, products of the same kind which
are developed in it according to known empirical laws, in
accordance with which natural science must judge of its
objects, and, consequently, must seek in nature their causality
according to the rule of purposes. So then it must not
transgress its bounds in order to introduce into itself as a
domestic principle that, to whose concept no experience can
be commensurate, upon which we are only entitled to venture
after the completion of natural science.
 Natural characteristics which demonstrate themselves a
priori, and consequently admit of insight into their possibility
from universal principles without any admixture of
experience, although they carry with them a technical
purposiveness, yet cannot, because they are absolutely
necessary, be referred to the Teleology of nature, as to a
method belonging to Physic for solving its problems.
Arithmetical or geometrical analogies, as well as universal
mechanical laws,—however strange and admirable may seem
to us the union of different rules, quite independent of one
another according to all appearance, in a single principle,—
possess on that account no claim to be teleological grounds of
explanation in Physic. Even if they deserve to be brought into
consideration in the universal theory of the purposiveness of
things of nature, yet they belong to another [science], i.e.
Metaphysic, and constitute no internal principle of natural
science; as with the empirical laws of natural purposes in
organised beings, it is not only permissible but unavoidable to
use the teleological mode of judging as a principle of the
doctrine of nature in regard to a particular class of its objects.
So to the end that Physic may keep within its own bounds,
it abstracts itself entirely from the question, whether natural
purposes are designed or undesigned; for that would be to
meddle in an extraneous business, in Metaphysic. It is enough
that there are objects, alone explicable according to natural
laws which we can only think by means of the Idea of
purposes as principle, and also alone internally cognisable as
concerns their internal form, in this way. In order, therefore, to
remove the suspicion of the slightest assumption,—as if we
wished to mix with our grounds of cognition something not
belonging to Physic at all, viz. a supernatural cause,—we
speak in Teleology, indeed, of nature as if the purposiveness
therein were designed, but in such a way that this design is
ascribed to nature, i.e. to matter. Now in this way there can be
no misunderstanding, because no design in the proper meaning
of the word can possibly be ascribed to inanimate matter; we
thus give notice that this word here only expresses a principle
of the reflective not of the determinant Judgement, and so is to
introduce no particular ground of causality; but only adds for
the use of the Reason a different kind of investigation from
that according to mechanical laws, in order to supplement the
inadequacy of the latter even for empirical research into all
particular laws of nature. Hence we speak quite correctly in
Teleology, so far as it is referred to Physic, of the wisdom, the
economy, the forethought, the beneficence of Nature, without
either making an intelligent being of it, for that would be
preposterous; or even without presuming to place another
intelligent Being above it as its Architect, for that would be
111
presumptuous. But there should be only signified thereby a
kind of causality of nature after the analogy of our own in the
technical use of Reason, in order to have before us the rule
according to which certain products of nature must be
investigated.
But now why is it that Teleology usually forms no proper
part of theoretical natural science, but is regarded as a
propaedeutic or transition to Theology? This is done in order
to restrict the study of nature, mechanically considered, to that
which we can so subject to observation or experiment that we
are able to produce it ourselves as nature does, or at least by
similar laws. For we see into a thing completely only so far as
we can make it in accordance with our concepts and bring it to
completion. But organisation, as an inner purpose of nature,
infinitely surpasses all our faculty of presenting the like by
means of art. And as concerns the external contrivances of
nature regarded as purposive (wind, rain, etc.), Physic, indeed,
considers their mechanism, but it cannot at all present their
reference to purposes, so far as this is a condition necessarily
belonging to cause; for this necessity of connexion has to do
altogether with the combination of our concepts and not with
the constitution of things.
 SECOND DIVISION
DIALECTIC OF THE TELEOLOGICAL
JUDGEMENT

§ 69. What is an antinomy of the Judgement?

The determinant Judgement has for itself no principles

which are the foundation of concepts of Objects. It has no
autonomy, for it subsumes only under given laws or concepts
as principles. Hence it is exposed to no danger of an antinomy
of its own or to a conflict of its principles. So [we saw that] the
transcendental Judgement which contains the conditions of
subsuming under categories was for itself not nomothetic, but
that it only indicated the conditions of sensuous intuition,
under which reality (application) can be supplied to a given
concept, as law of the Understanding, whereby the Judgement
could never fall into discord with itself (at least as far as its
principles are concerned).
But the reflective Judgement must subsume under a law,
which is not yet given, and is therefore in fact only a principle
of reflection upon objects, for which we are objectively quite
in want of a law or of a concept of an Object that would be
adequate as a principle for the cases that occur. Since now no
use of the cognitive faculties can be permitted without
principles, the reflective Judgement must in such cases serve
as a principle for itself. This, because it is not objective and
can supply no ground of cognition of the Object adequate for
design, must serve as a mere subjective principle, for the
purposive employment of our cognitive faculties, i.e. for
reflecting upon a class of objects. Therefore in reference to
such cases the reflective Judgement has its maxims—
necessary maxims—on behalf of the cognition of natural laws
in experience, in order to attain by their means to concepts,
even concepts of Reason; since it has absolute need of such in
order to learn merely to cognise nature according to its
empirical laws.—Between these necessary maxims of the
reflective Judgement there may be a conflict and consequently
an antinomy, upon which a Dialectic bases itself. If each of
two conflicting maxims has its ground in the nature of the
cognitive faculties, this may be called a natural Dialectic, and
an unavoidable illusion which we must expose and resolve in
our Critique, to the end that it may not deceive us.

§ 70. Representation of this antinomy

So far as Reason has to do with nature, as the complex of

objects of external sense, it can base itself partly upon laws
which the Understanding itself prescribes a priori to nature,
partly upon laws which it can extend indefinitely by means of
the empirical determinations occurring in experience. To apply
the former kind of laws, i.e. the universal laws of material
nature in general, the Judgement needs no special principle of
reflection, since it is there determinant because an objective
principle is given to it through Understanding. But as regards
the particular laws that can only be made known to us through
experience, there can be under them such great manifoldness
and diversity, that the Judgement must serve as its own
principle in order to investigate and search into the phenomena
of nature in accordance with a law. Such a guiding thread is
needed, if we are only to hope for a connected empirical
cognition according to a thoroughgoing conformity of nature
to law, even its unity according to empirical laws. In this
contingent unity of particular laws it may very well happen
that the Judgement in its reflection proceeds from two
maxims. One of these is suggested to it a priori by the mere
Understanding; but the other is prompted by particular
experiences, which bring the Reason into play in order to form
a judgement upon corporeal nature and its laws in accordance
with a particular principle. Hence it comes about that these
two kinds of maxims seem to be incapable of existing
together, and consequently a Dialectic arises which leads the
Judgement into error in the principle of its reflection.
The first maxim of Judgement is the proposition: all
production of material things and their forms must be judged
to be possible according to merely mechanical laws.
 The second maxim is the counter-proposition: some
products of material nature cannot be judged to be possible
according to merely mechanical laws. (To judge them requires
quite a different law of causality, namely, that of final causes.)
If these regulative principles of investigation be converted
into constitutive principles of the possibility of Objects, they
will run thus:
Proposition: All production of material things is possible
according to merely mechanical laws.
Counter-proposition: Some production of material things
is not possible according to merely mechanical laws.
In this latter aspect, as objective principles for the
determinant Judgement, they would contradict each other; and
consequently one of the two propositions must necessarily be
false. We shall then, it is true, have an antinomy, but not of
Judgement; there will be a conflict in the legislation of
Reason. Reason, however, can prove neither the one nor the
other of these fundamental propositions, because we can have
a priori no determinant principle of the possibility of things
according to mere empirical laws of nature.
On the other hand, as regards the first-mentioned maxims
of a reflective Judgement, they involve no contradiction in
fact. For if I say, I must judge, according to merely mechanical
laws, of the possibility of all events in material nature, and
consequently of all forms regarded as its products, I do not
therefore say: They are possible in this way alone (apart from
any other kind of causality). All that is implied is: I must
always reflect upon them according to the principle of the
mere mechanism of nature, and consequently investigate this
as far as I can; because unless this lies at the basis of
investigation, there can be no proper knowledge of nature at
all. But this does not prevent us, if occasion offers, from
following out the second maxim in the case of certain natural
forms (and even by occasion of these in the whole of nature),
in order to reflect upon them according to the principle of final
causes, which is quite a different thing from explaining them
according to the mechanism of nature. Reflection in
accordance with the first maxim is thus not abrogated; on the
contrary, we are told to follow it as far as we can. Nor is it said
that these forms would not be possible in accordance with the
mechanism of nature. It is only asserted that human Reason in
following up this maxim and in this way could never find the
least ground for that which constitutes the specific [character]
of a natural purpose, although it would increase its knowledge
of natural laws. Thus it is left undecided whether or not in the
unknown inner ground of nature, physico-mechanical and
purposive combination may be united in the same things in
one principle. We only say that our Reason is not in a position
so to unite them; and that therefore the Judgement (as
reflective—from subjective grounds, not as determinant, in
consequence of an objective principle of the possibility of
things in themselves) is compelled to think a different
principle from that of natural mechanism as the ground of the
possibility of certain forms in nature.

§ 71. Preliminary to the solution of the above antinomy

We can in no way prove the impossibility of the

production of organised natural products by the mere
mechanism of nature, because we cannot see into the first
inner ground of the infinite multiplicity of the particular laws
of nature, which are contingent for us since they are only
empirically known; and so we cannot arrive at the inner all-
sufficient principle of the possibility of a nature (a principle
which lies in the supersensible). Whether therefore the
productive faculty of nature is sufficient for that which we
judge to be formed or combined in accordance with the Idea of
purposes, as well as for that which we believe to require
merely a mechanical system [Maschinenwesen] of nature; or
whether there lies at the basis of things which we must
necessarily judge as properly natural purposes, a quite
different kind of original causality, which cannot be contained
in material nature or in its intelligible substrate, viz. an
architectonic Understanding—this is a question to which our
Reason, very narrowly limited in respect of the concept of
causality if it is to be specified a priori, can give no answer
whatever.—But it is just as certain and beyond doubt that, in
regard to our cognitive faculties, the mere mechanism of
nature can furnish no ground of explanation of the production
of organised beings. For the reflective Judgement it is
therefore a quite correct fundamental proposition, that for that
connexion of things according to final causes which is so
plain, there must be thought a causality distinct from that of
mechanism, viz. that of an (intelligent) cause of the world
acting in accordance with purposes; but for the determinant
Judgement this would be a hasty and unprovable proposition.
In the first case it is a mere maxim of the Judgement, wherein
the concept of that causality is a mere Idea, to which we by no
means undertake to concede reality, but which we use as a
guide to reflection, which remains thereby always open to all
mechanical grounds of explanation and does not withdraw out
of the world of Sense. In the second case the proposition
would be an objective principle prescribed by Reason, to
which the determinant Judgement must subject itself, whereby
however it withdraws beyond the world of Sense into the
transcendent and perhaps is led into error.
All appearance of an antinomy between the maxims of the
proper physical (mechanical) and the teleological (technical)
methods of explanation rests therefore on this; that we confuse
a fundamental proposition of the reflective with one of the
determinant Judgement, and the autonomy of the first (which
has mere subjective validity for our use of Reason in respect of
particular empirical laws) with the heteronomy of the second,
which must regulate itself according to laws (universal or
particular) given to it by the Understanding.

§ 72. Of the different systems which deal with the

purposiveness of nature

No one has ever doubted the correctness of the

proposition that judgement must be passed upon certain things
of nature (organised beings) and their possibility in accordance
with the concept of final causes, even if we only desire a
guiding thread to learn how to cognise their constitution
through observation, without aspiring to an investigation into
their first origin. The question therefore can only be: whether
this fundamental proposition is merely subjectively valid, i.e.
is a mere maxim of our Judgement; or whether it is an
objective principle of nature, in accordance with which, apart
from its mechanism (according to the mere laws of motion),
quite a different kind of causality attaches to it, viz. that of
final causes, under which these laws (of moving forces) stand
only as intermediate causes.
We could leave this question or problem quite undecided
and unsolved speculatively; because if we content ourselves
with speculation within the bounds of mere natural knowledge,
we have enough in these maxims for the study of nature and
for the tracking out of its hidden secrets, as far as human
powers reach. There is then indeed a certain presentiment of
our Reason or a hint as it were given us by nature, that, by
means of this concept of final causes, we go beyond nature,
and could unite it to the highest point in the series of causes, if
we were to abandon or at least to lay aside for a time the
investigation of nature (although we may not have advanced
far in it), and seek thenceforth to find out whither this stranger
in natural science, viz. the concept of natural purposes, would
lead us.
But here these undisputed maxims pass over into
problems opening out a wide field for difficulties. Does
purposive connexion in nature prove a particular kind of
causality? Or is it not rather, considered in itself and in
accordance with objective principles, similar to the mechanism
of nature, resting on one and the same ground? Only, as this
ground in many natural products is often hidden too deep for
our investigation, we make trial of a subjective principle, that
of art, i.e. of causality according to Ideas, and we ascribe it to
nature by analogy. This expedient succeeds in many cases, but
seems in some to mislead, and in no case does it justify us in
introducing into natural science a particular kind of operation
quite distinct from the causality according to the mere
mechanical laws of nature. We give the name of Technic to the
procedure (the causality) of nature, on account of the
appearance of purpose that we find in its products; and we
shall divide this into designed (technica intentionalis) and
undesigned (technica naturalis). The first is meant to signify
that the productive faculty of nature according to final causes
must be taken for a particular kind of causality; the second that
it is at bottom quite similar to the mechanism of nature, and
that its contingent agreement with our artistic concepts and
their rules should be explained as a mere subjective condition
of judging it, and not, falsely, as a particular kind of natural
production.
If we now speak of systems explanatory of nature in
regard of final causes, it must be remarked that they all
controvert each other dogmatically, i.e. as to objective
principles of the possibility of things, whether there are causes
which act designedly or whether they are quite without design.
They do not dispute as to the subjective maxims, by which we
merely judge of the causes of such purposive products. In this
latter case disparate principles could very well be unified; but
in the former, contradictorily opposed laws annul each other
and cannot subsist together.
There are two sorts of systems as to the Technic of nature,
i.e. its productive power in accordance with the rule of
purposes; viz. Idealism or Realism of natural purposes. The
first maintains that all purposiveness of nature is undesigned;
the second that some (in organised beings) is designed. From
this latter the hypothetical consequence can be deduced that
the Technic of Nature, as concerns all its other products in
reference to the whole of nature, is also designed, i.e. is a
purpose.
(1) The Idealism of purposiveness (I always understand
here by this, objective purposiveness) is either that of the
casuality or the fatality of the determination of nature in the
purposive form of its products. The former principle treats of
the reference of matter to the physical basis of its form, viz.
the laws of motion; the second, its reference to the
hyperphysical basis of itself and of the whole of nature. The
system of casuality that is ascribed to Epicurus or Democritus
is, taken literally, so plainly absurd that it need not detain us.
Opposed to this is the system of fatality, of which Spinoza is
taken as the author, although it is much older according to all
appearance. This, as it appeals to something supersensible to
which our insight does not extend, is not so easy to controvert;
but that is because its concept of the original Being is not
possible to understand. But so much is clear, that on this
theory the purposive combination in the world must be taken
as undesigned; for although derived from an original Being, it
is not derived from its Understanding or from any design on its
part, but rather from the necessity of its nature and of the
world-unity which emanates therefrom. Consequently the
Fatalism of purposiveness is at the same time an Idealism.
(2) The Realism of the purposiveness of nature is also
either physical or hyperphysical. The former bases the
purposes in nature, by the analogy of a faculty acting with
design, on the life of matter (either its own or the life of an
inner principle in it, a world-soul) and is called Hylozoism.
The latter derives them from the original ground of the
universe, as from an intelligent Being (originally living), who
112
produces them with design, and is Theism.

§ 73. None of the above systems give what they pretend

What do all these systems desire? They desire to explain

our teleological judgements about nature, and they go so to
work therewith that some deny their truth and, consequently,
explain them as an Idealism of Nature (represented as Art);
others recognise them as true, and promise to establish the
possibility of a nature in accordance with the Idea of final
causes.
(1) The systems which defend the Idealism of final causes
in nature grant, it is true, on the one hand to their principle a
causality in accordance with the laws of motion (through
which [causality] natural things exist purposively); but they
deny to it intentionality, i.e. that it designedly determines itself
to this its purposive production; in other words, they deny that
the cause is a purpose. This is Epicurus’s method of
explanation, according to which the distinction between a
Technic of nature and mere mechanism is altogether denied.
Blind chance is taken as the explanatory ground not only of
the agreement of the developed products with our concepts of
the purpose, and consequently of [nature’s] Technic; but also
of the determination of the causes of this production in
accordance with the laws of motion, and consequently of their
mechanism. Thus nothing is explained, not even the illusion in
our teleological judgements, and consequently, the would-be
Idealism of these in no way established.
On the other hand, Spinoza wishes to dispense with all
inquiries into the ground of the possibility of purposes of
nature, and to take away all reality from this Idea. He allows
their validity in general not as products but as accidents
inhering in an original Being; and to this Being, as substrate of
those natural things, he ascribes not causality in regard to them
but mere subsistence. On account of its unconditioned
necessity, and also that of all natural things as accidents
inhering in it, he secures, it is true, to the forms of nature that
unity of ground which is requisite for all purposiveness; but at
the same time he tears away their contingence, without which
no unity of purpose can be thought, and with it all design,
inasmuch as he takes away all intelligence from the original
ground of natural things.
But Spinozism does not furnish what it desires. It desires
to afford an explanatory ground of the purposive connexion
(which it does not deny) of the things of nature, and it merely
speaks of the unity of the subject in which they all inhere. But
even if we concede to it that the beings of the world exist in
this way, such ontological unity is not therefore a unity of
purpose, and does not make this in any way comprehensible.
For this latter is a quite particular kind of unity which does not
follow from the connexion of things (the beings of the world)
in a subject (the original Being), but implies in itself reference
to a cause which has Understanding; and even if we unite all
these things in a simple subject, this never exhibits a purposive
reference. For we do not think of them, first, as the inner
effects of the substance, as if it were a cause; nor, secondly, of
this cause as a cause producing effects by means of its
Understanding. Without these formal conditions all unity is
mere natural necessity; and, if it is ascribed as well to things
which we represent as external to one another, blind necessity.
But if we wish to give the name of purposiveness of nature to
that which the schoolmen call the transcendental perfection of
things (in reference to their proper being), according to which
everything has in itself that which is requisite to make it one
thing and not another, then we are only like children playing
with words instead of concepts. For if all things must be
thought as purposes, then to be a thing is the same as to be a
purpose, and there is at bottom nothing which specially
deserves to be represented as a purpose.
We hence see at once that Spinoza by his reducing our
concepts of the purposive in nature to our own consciousness
of existing in an all-embracing (though simple) Being, and by
his seeking that form merely in the unity of this Being, must
have intended to maintain not the realism, but the idealism of
its purposiveness. Even this he was not able to accomplish,
because the mere representation of the unity of the substrate
cannot bring about the Idea of a purposiveness, even that
which is only undesigned.
(2) Those who not only maintain the Realism of natural
purposes, but also set about explaining it, believe that they can
comprehend, at least as regards its possibility, a practical kind
of causality, viz. that of causes working designedly; otherwise
they could not undertake to supply this explanation. For to
authorise even the most daring of hypotheses, at least the
possibility of what we assume as basis must be certain, and we
must be able to assure objective reality to its concept.
But the possibility of living matter cannot even be
thought; its concept involves a contradiction because
lifelessness, inertia, constitutes the essential character of
matter. The possibility of matter endowed with life, and of
collective nature regarded as an animal, can only be used in an
inadequate way (in the interests of the hypothesis of
purposiveness in the whole of nature), so far as it is manifested
by experience in the organisation of nature on a small scale;
but in no way can we have insight into its possibility a priori.
There must then be a circle in the explanation, if we wish to
derive the purposiveness of nature in organised beings from
the life of matter, and yet only know this life in organised
beings, and can form no concept of its possibility without
experience of this kind. Hylozoism, therefore, does not furnish
what it promises.
 Finally, Theism can just as little establish dogmatically the
possibility of natural purposes as a key to Teleology; although
it certainly is superior to all other grounds of explanation in
that, through the Understanding which it ascribes to the
original Being, it rescues in the best way the purposiveness of
nature from Idealism, and introduces a causality acting with
design for its production.
But we must first prove satisfactorily to the determinant
Judgement the impossibility of the unity of purpose in matter
resulting from its mere mechanism, before we are justified in
placing the ground of this beyond nature in a determinate way.
We can, however, advance no further than this. In accordance
with the constitution and limits of our cognitive faculties
(whilst we do not comprehend even the first inner ground of
this mechanism) we must in no wise seek in matter a principle
of determinate purposive references; but no other way of
judging of the origination of its products as natural purposes
remains to us than that by means of a supreme Understanding
as cause of the world. But this is only a ground for the
reflective, not for the determinant Judgement, and can justify
absolutely no objective assertion.

§ 74. The reason that we cannot treat the concept of a

Technic of nature dogmatically is the fact that a natural
purpose is inexplicable

We deal with a concept dogmatically (even though it

should be empirically conditioned) if we consider it as
contained under another concept of the Object which
113
constitutes a principle of Reason, and determine it in
conformity with this. But we deal with it merely critically, if
we consider it only in reference to our cognitive faculties and
consequently to the subjective conditions of thinking it,
without undertaking to decide anything about its Object.
Dogmatic procedure with a concept is then that which is
conformable to law for the determinant Judgement, critical
procedure for the reflective Judgement.
 Now the concept of a thing as a natural purpose is a
concept which subsumes nature under a causality only
thinkable through Reason, in order to judge in accordance with
this principle about that which is given of the Object in
experience. But in order to use it dogmatically for the
determinant Judgement, we must be assured first of the
objective reality of this concept, because otherwise we could
subsume no natural thing under it. Again, the concept of a
thing as a natural purpose is, no doubt, empirically
conditioned, i.e. only possible under certain conditions given
in experience, though not to be abstracted therefrom; but it is a
concept only possible in accordance with a rational principle
in the judgement about the object. Its objective reality,
therefore (i.e. that an object in conformity with it is possible),
cannot be comprehended and dogmatically established as such
a principle; and we do not know whether it is merely a
sophistical and objectively empty concept (conceptus
ratiocinans), or a rational concept, establishing a cognition
114
and confirmed by Reason (conceptus ratiocinatus).
Therefore it cannot be dogmatically treated for the determinant
Judgement, i.e. it is not only impossible to decide whether or
not things of nature considered as natural purposes require for
their production a causality of a quite peculiar kind (that acting
on design); but the question cannot even be put, because the
concept of a natural purpose is simply not susceptible of proof
through Reason as regards its objective reality. That is, it is not
constitutive for the determinant Judgement, but merely
regulative for the reflective.
That it is not susceptible of proof is clear because (as
concept of a natural product) it embraces in itself natural
necessity, and at the same time (as purpose) a contingency of
the form of the Object (in reference to the mere laws of nature)
in the very same thing. Hence, if there is to be no contradiction
here it must contain a ground for the possibility of the thing in
nature, and also a ground of the possibility of this nature itself
and of its reference to something which, not being empirically
cognisable nature (supersensible), is therefore for us not
cognisable at all. [This is requisite] if it is to be judged
according to a different kind of causality from that of natural
mechanism when we wish to establish its possibility. The
concept of a thing, then, as a natural purpose, is transcendent
for the determinant Judgement, if we consider the Object
through Reason (although for the reflective Judgement it
certainly may be immanent in respect of the objects of
experience). Hence for determinant judgements objective
reality cannot be supplied to it; and so it is intelligible how all
systems that one may project for the dogmatic treatment of the
concept of natural purposes and of nature itself [considered] as
a whole connected together by means of final causes, can
decide nothing either by objective affirmation or by objective
denial. For if things be subsumed under a concept that is
merely problematical, its synthetical predicates (e.g. in the
question whether the purpose of nature which we conceive for
the production of things is designed or undesigned) can furnish
only problematical judgements of the Object, whether
affirmative or negative; and we do not know whether we are
judging about something or about nothing. The concept of a
causality through purposes (of art) has at all events objective
reality, and also the concept of a causality according to the
mechanism of nature. But the concept of a causality of nature
according to the rule of purposes,—still more of a Being such
as cannot be given us in experience, a Being who is the
original cause of nature,—though it can be thought without
contradiction, yet is of no avail for dogmatic determinations.
For, since it cannot be derived from experience, and also is not
requisite for the possibility thereof, its objective reality can in
no way be assured. But even if this could be done, how can I
number among the products of nature things which are
definitely accounted products of divine art, when it is just the
incapacity of nature to produce such things according to its
own laws that made it necessary to invoke a cause different
from it?

§ 75. The concept of an objective purposiveness of nature

is a critical principle of Reason for the reflective
Judgement
 It is then one thing to say, “the production of certain
things of nature or that of collective nature is only possible
through a cause which determines itself to action according to
design”; and quite another to say, “I can according to the
peculiar constitution of my cognitive faculties judge
concerning the possibility of these things and their production,
in no other fashion than by conceiving for this a cause working
according to design, i.e. a Being which is productive in a way
analogous to the causality of an intelligence.” In the former
case I wish to establish something concerning the Object, and
am bound to establish the objective reality of an assumed
concept; in the latter, Reason only determines the use of my
cognitive faculties, conformably to their peculiarities and to
the essential conditions of their range and their limits. Thus the
former principle is an objective proposition for the
determinant Judgement, the latter merely a subjective
proposition for the reflective Judgement, i.e. a maxim which
Reason prescribes to it.
We are in fact indispensably obliged to ascribe the concept
of design to nature if we wish to investigate it, though only in
its organised products, by continuous observation; and this
concept is therefore an absolutely necessary maxim for the
empirical use of our Reason. It is plain that once such a
guiding thread for the study of nature is admitted and verified,
we must at least try the said maxim of Judgement in nature as
a whole; because thereby many of nature’s laws might
discover themselves, which otherwise, on account of the
limitation of our insight into its inner mechanism, would
remain hidden. But though in regard to this latter employment
that maxim of Judgement is certainly useful, it is not
indispensable, for nature as a whole is not given as organised
(in the narrow sense of the word above indicated). On the
other hand, in regard to those natural products, which must be
judged of as designed and not formed otherwise (if we are to
have empirical knowledge of their inner constitution), this
maxim of the reflective Judgement is essentially necessary;
because the very thought of them as organised beings is
impossible without combining therewith the thought of their
designed production.
 Now the concept of a thing whose existence or form we
represent to ourselves as possible under the condition of a
purpose is inseparably bound up with the concept of its
contingency (according to natural laws). Hence the natural
things that we find possible only as purposes supply the best
proof of the contingency of the world-whole; to the common
Understanding and to the philosopher alike they are the only
valid ground of proof for its dependence on and origin from a
Being existing outside the world—a Being who must also be
intelligent on account of that purposive form. Teleology then
finds the consummation of its investigations only in Theology.
But what now in the end does the most complete
Teleology prove? Does it prove that there is such an intelligent
Being? No. It only proves that according to the constitution of
our cognitive faculties and in the consequent combination of
experience with the highest principles of Reason, we can form
absolutely no concept of the possibility of such a world [as
this] save by thinking a designedly-working supreme cause
thereof. Objectively we cannot therefore lay down the
proposition, there is an intelligent original Being; but only
subjectively, for the use of our Judgement in its reflection
upon the purposes in nature, which can be thought according
to no other principle than that of a designing causality of a
highest cause.
If we wished to establish on teleological grounds the
above proposition dogmatically we should be beset with
difficulties from which we could not extricate ourselves. For
then the proposition must at bottom be reduced to the
conclusion, that the organised beings in the world are no
otherwise possible than by a designedly-working cause. And
we should unavoidably have to assert that, because we can
follow up these things in their causal combination only under
the Idea of purposes, and cognise them only according to their
conformity to law, we are thereby justified in assuming this as
a condition necessary for every thinking and cognising being
—a condition consequently attaching to the Object and not
merely to our subject. But such an assertion we do not succeed
in sustaining. For, since we do not, properly speaking, observe
the purposes in nature as designed, but only in our reflection
upon its products think this concept as a guiding thread for our
Judgement, they are not given to us through the Object. It is
quite impossible for us a priori to vindicate, as capable of
assumption, such a concept according to its objective reality. It
remains therefore a proposition absolutely resting upon
subjective conditions alone, viz. of the Judgement reflecting in
conformity with our cognitive faculties. If we expressed this
proposition dogmatically as objectively valid, it would be:
“There is a God.” But for us men there is only permissible the
limited formula: “We cannot otherwise think and make
comprehensible the purposiveness which must lie at the
bottom of our cognition of the internal possibility of many
natural things, than by representing it and the world in general
115
as a product of an intelligent cause, [a God].”
Now if this proposition, based on an inevitably necessary
maxim of our Judgement, is completely satisfactory from
every human point of view for both the speculative and
practical use of our Reason, I should like to know what we
lose by not being able to prove it as also valid for higher
beings, from objective grounds (which unfortunately are
beyond our faculties). It is indeed quite certain that we cannot
adequately cognise, much less explain, organised beings and
their internal possibility, according to mere mechanical
principles of nature; and we can say boldly it is alike certain
that it is absurd for men to make any such attempt or to hope
that another Newton will arise in the future, who shall make
comprehensible by us the production of a blade of grass
116
according to natural laws which no design has ordered. We
must absolutely deny this insight to men. But then how do we
know that in nature, if we could penetrate to the principle by
which it specifies the universal laws known to us, there cannot
lie hidden (in its mere mechanism) a sufficient ground of the
possibility of organised beings without supposing any design
in their production? would it not be judged by us
presumptuous to say this? Probabilities here are of no account
when we have to do with judgements of pure Reason.—We
cannot therefore judge objectively, either affirmatively or
negatively, concerning the proposition: “Does a Being acting
according to design lie at the basis of what we rightly call
natural purposes, as the cause of the world (and consequently
as its author)?” So much only is sure, that if we are to judge
according to what is permitted us to see by our own proper
nature (the conditions and limitations of our Reason), we can
place at the basis of the possibility of these natural purposes
nothing else than an intelligent Being. This alone is in
conformity with the maxim of our reflective Judgement and
therefore with a ground which, though subjective, is
inseparably attached to the human race.

§ 76. Remark

This consideration, which very well deserves to be

worked out in detail in Transcendental Philosophy, can come
in here only in passing, by way of elucidation (not as a proof
of what is here proposed).
Reason is a faculty of principles and proceeds in its
extremest advance to the unconditioned; on the other hand, the
Understanding stands at its service always only under a certain
condition which must be given. But without concepts of
Understanding, to which objective reality must be given, the
Reason cannot form any objective (synthetical) judgement;
and contains in itself, as theoretical Reason, absolutely no
constitutive but merely regulative principles. We soon see that
where the Understanding cannot follow, the Reason is
transcendent, and shows itself in Ideas formerly established (as
regulative principles), but not in objectively valid concepts.
But the Understanding which cannot keep pace with Reason
but yet is requisite for the validity of Objects, limits the
validity of these Ideas to the subject, although [extending it]
generally to all [subjects] of this kind. That is, the
Understanding limits their validity to the condition, that
according to the nature of our (human) cognitive faculties, or,
generally, according to the concept which we ourselves can
make of the faculty of a finite intelligent being, nothing else
can or must be thought; though this is not to assert that the
ground of such a judgement lies in the Object. We shall adduce
some examples which, though they are too important and
difficult to impose them on the reader as proved propositions,
yet will give him material for thought and may serve to
elucidate what we are here specially concerned with.
It is indispensably necessary for the human Understanding
to distinguish between the possibility and the actuality of
things. The ground for this lies in the subject and in the nature
of our cognitive faculties. Such a distinction (between the
possible and the actual) would not be given were there not
requisite for knowledge two quite different elements,
Understanding for concepts and sensible intuition for Objects
corresponding to them. If our Understanding were intuitive it
would have no objects but those which are actual. Concepts
(which merely extend to the possibility of an object) and
sensible intuitions (which give us something without allowing
us to cognise it thus as an object) would both disappear. But
now the whole of our distinction between the merely possible
and the actual rests on this, that the former only signifies the
positing of the representation of a thing in respect of our
concept, and, in general, in respect of the faculty of thought;
while the latter signifies the positing of the thing in itself
117
[outside this concept]. The distinction, then, of possible
things from actual is one which has merely subjective validity
for the human Understanding, because we can always have a
thing in our thoughts although it is [really] nothing, or we can
represent a thing as given although we have no concept of it.
The propositions therefore—that things can be possible
without being actual, and that consequently no conclusion can
be drawn as to actuality from mere possibility—are quite valid
for human Reason, without thereby proving that this
distinction lies in things themselves. That this does not follow,
and that consequently these propositions, though valid of
Objects (in so far as our cognitive faculty, as sensuously
conditioned, busies itself with Objects of sense), do not hold
for things in general, appears from the irrepressible demand of
Reason to assume something (the original ground) necessarily
existing as unconditioned, in which possibility and actuality
should no longer be distinguished, and for which Idea our
Understanding has absolutely no concept; i.e. it can find no
way of representing such a thing and its manner of existence.
For if the Understanding thinks such a thing (which it may do
at pleasure), the thing is merely represented as possible. If it is
conscious of it as given in intuition, then is it actual; but
nothing as to its possibility is thus thought. Hence the concept
of an absolutely necessary Being is no doubt an indispensable
Idea of Reason, but yet it is a problematical concept
unattainable by the human Understanding. It is indeed valid
for the employment of our cognitive faculties in accordance
with their peculiar constitution, but not valid of the Object.
Nor is it valid for every knowing being, because I cannot
presuppose in every such being thought and intuition as two
distinct conditions of the exercise of its cognitive faculties,
and consequently as conditions of the possibility and actuality
of things. An Understanding into which this distinction did not
enter, might say: All Objects that I know are, i.e. exist; and the
possibility of some, which yet do not exist (i.e. the
contingency or the contrasted necessity of those which do
exist), might never come into the representation of such a
being at all. But what makes it difficult for our Understanding
to treat its concepts here as Reason does, is merely that for it,
as human Understanding, that is transcendent (i.e. impossible
for the subjective conditions of its cognition) which Reason
makes into a principle appertaining to the Object.—Here the
maxim always holds, that all Objects whose cognition
surpasses the faculty of the Understanding are thought by us
according to the subjective conditions of the exercise of that
faculty which necessarily attach to our (human) nature. If
judgements laid down in this way (and there is no other
alternative in regard to transcendent concepts) cannot be
constitutive principles determining the Object as it is, they will
remain regulative principles adapted to the human point of
view, immanent in their exercise and sure.
Just as Reason in the theoretical consideration of nature
must assume the Idea of an unconditioned necessity of its
original ground, so also it presupposes in the practical [sphere]
its own (in respect of nature) unconditioned causality, or
freedom, in that it is conscious of its own moral command.
Here the objective necessity of the act, as a duty, is opposed to
that necessity which it would have as an event, if its ground
lay in nature and not in freedom (i.e. in the causality of
Reason). The morally absolutely necessary act is regarded as
physically quite contingent, since that which ought necessarily
to happen often does not happen. It is clear then that it is
owing to the subjective constitution of our practical faculty
that the moral laws must be represented as commands, and the
actions conforming to them as duties; and that Reason
expresses this necessity not by an “is” (happens), but by an
“ought to be.” This would not be the case were Reason
considered as in its causality independent of sensibility (as the
subjective condition of its application to objects of nature),
and so as cause in an intelligible world entirely in agreement
with the moral law. For in such a world there would be no
distinction between “ought to do” and “does,” between a
practical law of that which is possible through us, and the
theoretical law of that which is actual through us. Though,
therefore, an intelligible world in which everything would be
actual merely because (as something good) it is possible,
together with freedom as its formal condition, is for us a
transcendent concept, not available as a constitutive principle
to determine an Object and its objective reality; yet, because of
the constitution of our (in part sensuous) nature and faculty it
is, so far as we can represent it in accordance with the
constitution of our Reason, for us and for all rational beings
that have a connexion with the world of sense, a universal
regulative principle. This principle does not objectively
determine the constitution of freedom, as a form of causality,
but it makes the rule of actions according to that Idea a
command for every one, with no less validity than if it did so
determine it.
In the same way we may concede thus much as regards
the case in hand. Between natural mechanism and the Technic
of nature, i.e. its purposive connexion, we should find no
distinction, were it not that our Understanding is of the kind
that must proceed from the universal to the particular. The
Judgement then in respect of the particular can cognise no
purposiveness and, consequently, can form no determinant
judgements, without having a universal law under which to
subsume that particular. Now the particular, as such, contains
something contingent in respect of the universal, while yet
Reason requires unity and conformity to law in the
combination of particular laws of nature. This conformity of
the contingent to law is called purposiveness; and the
derivation of particular laws from the universal, as regards
their contingent element, is impossible a priori through a
determination of the concept of the Object. Hence, the concept
of the purposiveness of nature in its products is necessary for
human Judgement in respect of nature, but has not to do with
the determination of Objects. It is, therefore, a subjective
principle of Reason for the Judgement, which as regulative
(not constitutive) is just as necessarily valid for our human
Judgement as if it were an objective principle.

§ 77. Of the peculiarity of the human Understanding, by

means of which the concept of a natural purpose is
possible

We have brought forward in the Remark peculiarities of

our cognitive faculties (even the higher ones) which we are
easily led to transfer as objective predicates to the things
themselves. But they concern Ideas, no object adequate to
which can be given in experience, and they could only serve as
regulative principles in the pursuit of experience. This is the
case with the concept of a natural purpose, which concerns the
cause of the possibility of such a predicate, which cause can
only lie in the Idea. But the result corresponding to it (i.e. the
product) is given in nature; and the concept of a causality of
nature as of a being acting according to purposes seems to
make the Idea of a natural purpose into a constitutive
principle, which Idea has thus something different from all
other Ideas.
This difference consists, however, in the fact that the Idea
in question is not a rational principle for the Understanding but
for the Judgement. It is, therefore, merely the application of an
Understanding in general to possible objects of experience, in
cases where the judgement can only be reflective, not
determinant, and where, consequently, the object, although
given in experience, cannot be determinately judged in
conformity with the Idea (not to say with complete adequacy),
but can only be reflected on.
 There emerges, therefore, a peculiarity of our (human)
Understanding in respect of the Judgement in its reflection
upon things of nature. But if this be so, the Idea of a possible
Understanding different from the human must be fundamental
here. (Just so in the Critique of Pure Reason we must have in
our thoughts another possible [kind of] intuition, if ours is to
be regarded as a particular species for which objects are only
valid as phenomena.) And so we are able to say: Certain
natural products, from the special constitution of our
Understanding, must be considered by us, in regard to their
possibility, as if produced designedly and as purposes. But we
do not, therefore, demand that there should be actually given a
particular cause which has the representation of a purpose as
its determining ground; and we do not deny that an
Understanding, different from (i.e. higher than) the human,
might find the ground of the possibility of such products of
nature in the mechanism of nature, i.e. in a causal combination
for which an Understanding is not explicitly assumed as cause.
We have now to do with the relation of our Understanding
to the Judgement; viz. we seek for a certain contingency in the
constitution of our Understanding, to which we may point as a
peculiarity distinguishing it from other possible
Understandings.
This contingency is found, naturally enough, in the
particular, which the Judgement is to bring under the
universal of the concepts of Understanding. For the universal
of our (human) Understanding does not determine the
particular, and it is contingent in how many ways different
things which agree in a common characteristic may come
before our perception. Our Understanding is a faculty of
concepts, i.e. a discursive Understanding, for which it
obviously must be contingent of what kind and how very
different the particular may be that can be given to it in nature
and brought under its concepts. But now intuition also belongs
to knowledge, and a faculty of a complete spontaneity of
intuition would be a cognitive faculty distinct from sensibility,
and quite independent of it, in other words, an Understanding
in the most general sense. Thus we can think an intuitive
118
Understanding [negatively, merely as not discursive ], which
does not proceed from the universal to the particular, and so to
the individual (through concepts). For it that contingency of
the accordance of nature in its products according to particular
laws with the Understanding would not be met with; and it is
this contingency that makes it so hard for our Understanding
to reduce the manifold of nature to the unity of knowledge.
This reduction our Understanding can only accomplish by
bringing natural characteristics into a very contingent
correspondence with our faculty of concepts, of which an
intuitive Understanding would have no need.
Our Understanding has then this peculiarity as concerns
the Judgement, that in cognition by it the particular is not
determined by the universal and cannot therefore be derived
from it; but at the same time this particular in the manifold of
nature must accord with the universal (by means of concepts
and laws) so that it may be capable of being subsumed under
it. This accordance under such circumstances must be very
contingent and without definite principle as concerns the
Judgement.
In order now to be able at least to think the possibility of
such an accordance of things of nature with our Judgement
(which accordance we represent as contingent and
consequently as only possible by means of a purpose directed
thereto), we must at the same time think of another
Understanding, by reference to which and apart from any
purpose ascribed to it, we may represent as necessary that
accordance of natural laws with our Judgement, which for our
Understanding is only thinkable through the medium of
purposes.
In fact our Understanding has the property of proceeding
in its cognition, e.g. of the cause of a product, from the
analytical-universal (concepts) to the particular (the given
empirical intuition). Thus as regards the manifold of the latter
it determines nothing, but must await this determination by the
Judgement, which subsumes the empirical intuition (if the
object is a natural product) under the concept. We can however
think an Understanding which, being, not like ours, discursive,
but intuitive, proceeds from the synthetical-universal (the
intuition of a whole as such) to the particular, i.e. from the
whole to the parts. The contingency of the combination of the
parts, in order that a definite form of the whole shall be
possible, is not implied by such an Understanding and its
representation of the whole. Our Understanding requires this
because it must proceed from the parts as universally
conceived grounds to different forms possible to be subsumed
under them, as consequences. According to the constitution of
our Understanding a real whole of nature is regarded only as
the effect of the concurrent motive powers of the parts.
Suppose then that we wish not to represent the possibility of
the whole as dependent on that of the parts (after the manner
of our discursive Understanding), but according to the
standard of the intuitive (original) Understanding to represent
the possibility of the parts (according to their constitution and
combination) as dependent on that of the whole. In accordance
with the above peculiarity of our Understanding it cannot
happen that the whole shall contain the ground of the
possibility of the connexion of the parts (which would be a
contradiction in discursive cognition), but only that the
representation of a whole may contain the ground of the
possibility of its form and the connexion of the parts belonging
to it. Now such a whole would be an effect (product) the
representation of which is regarded as the cause of its
possibility; but the product of a cause whose determining
ground is merely the representation of its effect is called a
purpose. Hence it is merely a consequence of the particular
constitution of our Understanding, that it represents products
of nature as possible, according to a different kind of causality
from that of the natural laws of matter, namely, that of
purposes and final causes. Hence also this principle has not to
do with the possibility of such things themselves (even when
considered as phenomena) according to the manner of their
production, but merely with the judgement upon them which is
possible to our Understanding. Here we see at once why it is
that in natural science we are not long contented with an
explanation of the products of nature by a causality according
to purposes. For there we desire to judge of natural production
merely in a manner conformable to our faculty of judging, i.e.
to the reflective Judgement, and not in reference to things
themselves on behalf of the determinant Judgement. It is here
not at all requisite to prove that such an intellectus archetypus
is possible, but only that we are led to the Idea of it,—which
contains no contradiction,—in contrast to our discursive
Understanding which has need of images (intellectus ectypus)
and to the contingency of its constitution.
If we consider a material whole, according to its form, as
a product of the parts with their powers and faculties of
combining with one another (as well as of bringing in foreign
materials), we represent to ourselves a mechanical mode of
producing it. But in this way no concept emerges of a whole as
purpose, whose internal possibility presupposes throughout the
Idea of a whole on which depend the constitution and mode of
action of the parts, as we must represent to ourselves an
organised body. It does not follow indeed, as has been shown,
that the mechanical production of such a body is impossible;
for to say so would be to say that it would be impossible
(contradictory) for any Understanding to represent to itself
such a unity in the connexion of the manifold, without the Idea
of the unity being at the same time its producing cause, i.e.
without designed production. This, however, would follow in
fact if we were justified in regarding material beings as things
in themselves. For then the unity that constitutes the ground of
the possibility of natural formations would be simply the unity
of space. But space is no real ground of the products, but only
their formal condition, although it has this similarity to the real
ground which we seek that in it no part can be determined
except in relation to the whole (the representation of which
therefore lies at the ground of the possibility of the parts). But
now it is at least possible to consider the material world as
mere phenomenon, and to think as its substrate something like
a thing in itself (which is not phenomenon), and to attach to
this a corresponding intellectual intuition (even though it is not
ours). Thus there would be, although incognisable by us, a
supersensible real ground for nature, to which we ourselves
belong. In this we consider according to mechanical laws what
is necessary in nature regarded as an object of Sense; but we
consider according to teleological laws the agreement and
unity of its particular laws and its forms—which in regard to
mechanism we must judge contingent—regarded as objects of
Reason (in fact the whole of nature as a system). Thus we
should judge nature according to two different kinds of
principles without the mechanical way of explanation being
shut out by the teleological, as if they contradicted one
another.
From this we are enabled to see what otherwise, though
we could easily surmise it, could with difficulty be maintained
with certainty and proved, viz. that the principle of a
mechanical derivation of purposive natural products is
consistent with the teleological, but in no way enables us to
dispense with it. In a thing that we must judge as a natural
purpose (an organised being) we can no doubt try all the
known and yet to be discovered laws of mechanical
production, and even hope to make good progress therewith;
but we can never get rid of the call for a quite different ground
of production for the possibility of such a product, viz.
causality by means of purposes. Absolutely no human Reason
(in fact no finite Reason like ours in quality, however much it
may surpass it in degree) can hope to understand the
production of even a blade of grass by mere mechanical
causes. As regards the possibility of such an object, the
teleological connexion of causes and effects is quite
indispensable for the Judgement, even for studying it by the
clue of experience. For external objects as phenomena an
adequate ground related to purposes cannot be met with; this,
although it lies in nature, must only be sought in the
supersensible substrate of nature, from all possible insight into
which we are cut off. Hence it is absolutely impossible for us
to produce from nature itself grounds of explanation for
purposive combinations; and it is necessary by the constitution
of the human cognitive faculties to seek the supreme ground of
these purposive combinations in an original Understanding as
the cause of the world.

§ 78. Of the union of the principle of the universal

mechanism of matter with the teleological principle in
the Technic of nature

It is infinitely important for Reason not to let slip the

mechanism of nature in its products, and in their explanation
not to pass it by, because without it no insight into the nature
of things can be attained. Suppose it admitted that a supreme
Architect immediately created the forms of nature as they have
been from the beginning, or that He predetermined those
which in the course of nature continually form themselves on
the same model. Our knowledge of nature is not thus in the
least furthered, because we cannot know the mode of action of
that Being and the Ideas which are to contain the principles of
the possibility of natural beings, and we cannot by them
explain nature as from above downwards (a priori). And if,
starting from the forms of the objects of experience, from
below upwards (a posteriori), we wish to explain the
purposiveness, which we believe is met with in experience, by
appealing to a cause working in accordance with purposes,
then is our explanation quite tautological and we are only
mocking Reason with words. Indeed when we lose ourselves
with this way of explanation in the transcendent, whither
natural knowledge cannot follow, Reason is seduced into
poetical extravagance, which it is its peculiar destination to
avoid.
On the other hand, it is just as necessary a maxim of
Reason not to pass by the principle of purposes in the products
of nature. For, although it does not make their mode of
origination any more comprehensible, yet it is a heuristic
principle for investigating the particular laws of nature;
supposing even that we wish to make no use of it for
explaining nature itself,—in which we still always speak only
of natural purposes, although it apparently exhibits a designed
unity of purpose,—i.e. without seeking beyond nature the
ground of the possibility of these particular laws. But since we
must come in the end to this latter question, it is just as
necessary to think for nature a particular kind of causality
which does not present itself in it, as the mechanism of natural
causes which does. To the receptivity of several forms,
different from those of which matter is susceptible by
mechanism, must be added a spontaneity of a cause (which
therefore cannot be matter), without which no ground can be
assigned for those forms. No doubt Reason, before it takes this
step, must proceed with caution, and not try to explain
teleologically every Technic of nature, i.e. every productive
faculty of nature which displays in itself (as in regular bodies)
purposiveness of figure to our mere apprehension; but must
always regard such as so far mechanically possible. But on
that account to wish entirely to exclude the teleological
principle, and to follow simple mechanism only—in cases
where, in the rational investigation of the possibility of natural
forms through their causes, purposiveness shows itself quite
undeniably as the reference to a different kind of causality—to
do this must make Reason fantastic, and send it wandering
among chimeras of unthinkable natural faculties; just as a
mere teleological mode of explanation which takes no account
of natural mechanism makes it visionary.
In the same natural thing both principles cannot be
connected as fundamental propositions of explanation
(deduction) of one by the other, i.e. they do not unite for the
determinant Judgement as dogmatical and constitutive
principles of insight into nature. If I choose, e.g. to regard a
maggot as the product of the mere mechanism of nature (of the
new formation that it produces of itself, when its elements are
set free by corruption), I cannot derive the same product from
the same matter as from a causality that acts according to
purposes. Conversely, if I regard the same product as a natural
purpose, I cannot count on any mechanical mode of its
production and regard this as the constitutive principle of my
judgement upon its possibility, and so unite both principles.
One method of explanation excludes the other; even supposing
that objectively both grounds of the possibility of such a
product rested on a single ground, to which we did not pay
attention. The principle which should render possible the
compatibility of both in judging of nature must be placed in
that which lies outside both (and consequently outside the
possible empirical representation of nature), but yet contains
their ground, i.e. in the supersensible; and each of the two
methods of explanation must be referred thereto. Now of this
we can have no concept but the indeterminate concept of a
ground, which makes the judging of nature by empirical laws
possible, but which we cannot determine more nearly by any
predicate. Hence the union of both principles cannot rest upon
a ground of explanation of the possibility of a product
according to given laws, for the determinant Judgement, but
only upon a ground of its exposition for the reflective
Judgement.—To explain is to derive from a principle, which
therefore we must clearly know and of which we can give an
account. No doubt the principle of the mechanism of nature
and that of its causality in one and the same natural product
must coalesce in a single higher principle, which is their
common source, because otherwise they could not subsist side
by side in the observation of nature. But if this principle,
objectively common to the two, which therefore warrants the
association of the maxims of natural investigation depending
on both, be such that, though it can be pointed to, it cannot be
determinately known nor clearly put forward for use in cases
which arise, then from such a principle we can draw no
explanation, i.e. no clear and determinate derivation of the
possibility of a natural product in accordance with those two
heterogeneous principles. But now the principle common to
the mechanical and teleological derivations is the
supersensible, which we must place at the basis of nature,
regarded as phenomenon. And of this, in a theoretical point of
view, we cannot form the smallest positive determinate
concept. It cannot, therefore, in any way be explained how,
according to it as principle, nature (in its particular laws)
constitutes for us one system, which can be cognised as
possible either by the principle of physical development or by
that of final causes. If it happens that objects of nature present
themselves which cannot be thought by us, as regards their
possibility, according to the principle of mechanism (which
always has a claim on a natural being), without relying on
teleological propositions, we can only make an hypothesis.
Namely, we suppose that we may hopefully investigate natural
laws with reference to both (according as the possibility of its
product is cognisable by our Understanding by one or the
other principle), without stumbling at the apparent
contradiction which comes into view between the principles
by which they are judged. For at least the possibility is assured
that both may be united objectively in one principle, since they
concern phenomena that presuppose a supersensible ground.
Mechanism, then, and the teleological (designed) Technic
of nature, in respect of the same product and its possibility,
may stand under a common supreme principle of nature in
particular laws. But since this principle is transcendent we
cannot, because of the limitation of our Understanding, unite
both principles in the explanation of the same production of
nature even if the inner possibility of this product is only
intelligible [verständlich] through a causality according to
purposes (as is the case with organised matter). We revert then
to the above fundamental proposition of Teleology. According
to the constitution of the human Understanding, no other than
designedly-working causes can be assumed for the possibility
of organised beings in nature; and the mere mechanism of
nature cannot be adequate to the explanation of these its
products. But we do not attempt to decide anything by this
fundamental proposition as to the possibility of such things
themselves.
This is only a maxim of the reflective, not of the
determinant Judgement; consequently only subjectively valid
for us, not objectively for the possibility of things themselves
of this kind (in which both kinds of production may well
cohere in one and the same ground). Further, without any
concept,—besides the teleologically conceived method of
production,—of a simultaneously presented mechanism of
nature, no judgement can be passed on this kind of production
as a natural product. Hence the above maxim leads to the
necessity of an unification of both principles in judging of
things as natural purposes in themselves, but does not lead us
to substitute one for the other either altogether or in certain
parts. For in the place of what is thought (at least by us) as
possible only by design we cannot set mechanism, and in the
place of what is cognised as mechanically necessary we cannot
set contingency, which would need a purpose as its
determining ground; but we can only subordinate the one
(Mechanism) to the other (designed Technic), which may quite
well be the case according to the transcendental principle of
the purposiveness of nature.
For where purposes are thought as grounds of the
possibility of certain things, we must assume also means,
whose law of working requires for itself nothing presupposing
a purpose,—a mechanical law—and yet can be a subordinate
cause of designed effects. Thus—in the organic products of
nature, and specially when prompted by their infinite number,
we assume (at least as a permissible hypothesis) design in the
combination of natural causes by particular laws as a universal
principle of the reflective Judgement for the whole of nature
(the world),—we can think a great and indeed universal
combination of mechanical with teleological laws in the
productions of nature, without interchanging the principles by
which they are judged or putting one in the place of the other.
For, in a teleological judgement, the matter, even if the form
that it assumes be judged possible only by design, can also,
conformably to the mechanical laws of its nature, be
subordinated as a means to the represented purpose. But, since
the ground of this compatibility lies in that which is neither
one nor the other (neither mechanism nor purposive
combination), but is the supersensible substrate of nature of
which we know nothing, the two ways of representing the
possibility of such Objects are not to be blended together by
our (human) Reason. However, we cannot judge of their
possibility otherwise than by judging them as ultimately
resting on a supreme Understanding by the connexion of final
causes; and thus the teleological method of explanation is not
eliminated.
Now it is quite indeterminate, and for our Understanding
always indeterminable, how much the mechanism of nature
does as a means towards each final design in nature. However,
on account of the above-mentioned intelligible principle of the
possibility of a nature in general, it may be assumed that it is
possible throughout according to the two kinds of universally
accordant laws (the physical and those of final causes),
although we cannot see into the way how this takes place.
Hence we do not know how far the mechanical method of
explanation which is possible for us may extend. So much
only is certain that, so far as we can go in this direction, it
must always be inadequate for things that we once recognise
as natural purposes; and therefore we must, by the constitution
of our Understanding, subordinate these grounds collectively
to a teleological principle.
Hereon is based a privilege, and on account of the
importance which the study of nature by the principle of
mechanism has for the theoretical use of our Reason, also an
appeal. We should explain all products and occurrences in
nature, even the most purposive, by mechanism as far as is in
our power (the limits of which we cannot specify in this kind
of investigation). But at the same time we are not to lose sight
of the fact that those things which we cannot even state for
investigation except under the concept of a purpose of Reason,
must, in conformity with the essential constitution of our
Reason, mechanical causes notwithstanding, be subordinated
by us finally to causality in accordance with purposes.
 METHODOLOGY OF THE
TELEOLOGICAL JUDGEMENT.119
§ 79. Whether teleology must be treated as if it belonged to
the doctrine of nature

Every science must have its definite position in the

encyclopaedia of all the sciences. If it is a philosophical
science its position must be either in the theoretical or
practical part. If again it has its place in the former of these, it
must be either in the doctrine of nature, so far as it concerns
that which can be an object of experience (in the doctrine of
bodies, the doctrine of the soul, or the universal science of the
world), or in the doctrine of God (the original ground of the
world as the complex of all objects of experience).
Now the question is, what place is due to Teleology? Does
it belong to Natural Science (properly so called) or to
Theology? One of the two it must be; for no science belongs to
the transition from one to the other, because this transition
only marks the articulation or organisation of the system, and
not a place in it.
That it does not belong to Theology as a part thereof,
although it may be made of the most important use therein, is
self-evident. For it has as its objects, natural productions, and
their cause, and although it refers at the same time to the latter
as to a ground lying outside of and beyond nature (a Divine
Author), yet it does not do this for the determinant but only for
the reflective Judgement in the consideration of nature (in
order to guide our judgement on things in the world by means
of such an Idea as a regulative principle, in conformity with
the human Understanding).
But it appears to belong just as little to Natural Science,
which needs determinant and not merely reflective principles
in order to supply objective grounds for natural effects. In fact,
nothing is gained for the theory of nature or the mechanical
explanation of its phenomena by means of its effective causes,
by considering them as connected according to the relation of
purposes. The exhibition of the purposes of nature in its
products, so far as they constitute a system according to
teleological concepts, properly belongs only to a description of
nature which is drawn up in accordance with a particular
guiding thread. Here Reason, no doubt, accomplishes a noble
work, instructive and practically purposive in many points of
view; but it gives no information as to the origin and the inner
possibility of these forms, which is the special business of
theoretical Natural Science. Teleology, therefore, as science,
belongs to no Doctrine, but only to Criticism; and to the
criticism of a special cognitive faculty, viz. Judgement. But so
far as it contains principles a priori, it can and must furnish the
method by which nature must be judged according to the
principle of final causes. Hence its Methodology has at least
negative influence upon the procedure in theoretical Natural
Science, and also upon the relation which this can have in
Metaphysic to Theology as its propaedeutic.

§ 80. Of the necessary subordination of the mechanical

to the teleological principle in the explanation of a thing
as a natural purpose

The privilege of aiming at a merely mechanical method of

explanation of all natural products is in itself quite unlimited;
but the faculty of attaining thereto is by the constitution of our
Understanding, so far as it has to do with things as natural
purposes, not only very much limited but also clearly bounded.
For, according to a principle of the Judgement, by this process
alone nothing can be accomplished towards an explanation of
these things; and consequently the judgement upon such
products must always be at the same time subordinated by us
to a teleological principle.
It is therefore rational, even meritorious, to pursue natural
mechanism, in respect of the explanation of natural products,
so far as can be done with probability; and if we give up the
attempt it is not because it is impossible in itself to meet in this
path with the purposiveness of nature, but only because it is
impossible for us as men. For there would be required for that
an intuition other than sensuous, and a determinate knowledge
of the intelligible substrate of nature from which a ground
could be assigned for the mechanism of phenomena according
to particular laws, which quite surpasses our faculties.
Hence if the naturalist would not waste his labour he must
in judging of things, the concept of any of which is indubitably
established as a natural purpose (organised beings), always lay
down as basis an original organisation, which uses that very
mechanism in order to produce fresh organised forms or to
develop the existing ones into new shapes (which, however,
always result from that purpose and conformably to it).
It is praiseworthy by the aid of comparative anatomy to go
through the great creation of organised natures, in order to see
whether there may not be in it something similar to a system
and also in accordance with the principle of production. For
otherwise we should have to be content with the mere
principle of judgement (which gives no insight into their
production) and, discouraged, to give up all claim to natural
insight in this field. The agreement of so many genera of
animals in a certain common schema, which appears to be
fundamental not only in the structure of their bones but also in
the disposition of their remaining parts,—so that with an
admirable simplicity of original outline, a great variety of
species has been produced by the shortening of one member
and the lengthening of another, the involution of this part and
the evolution of that,—allows a ray of hope, however faint, to
penetrate into our minds, that here something may be
accomplished by the aid of the principle of the mechanism of
nature (without which there can be no natural science in
general). This analogy of forms, which with all their
differences seem to have been produced according to a
common original type, strengthens our suspicions of an actual
relationship between them in their production from a common
parent, through the gradual approximation of one animal-
genus to another—from those in which the principle of
purposes seems to be best authenticated, i.e. from man, down
to the polype, and again from this down to mosses and lichens,
and finally to the lowest stage of nature noticeable by us, viz.
to crude matter. And so the whole Technic of nature, which is
so incomprehensible to us in organised beings that we believe
ourselves compelled to think a different principle for it, seems
to be derived from matter and its powers according to
mechanical laws (like those by which it works in the formation
of crystals).
Here it is permissible for the archaeologist of nature to
derive from the surviving traces of its oldest revolutions,
according to all its mechanism known or supposed by him,
that great family of creatures (for so we must represent them if
the said thoroughgoing relationship is to have any ground). He
can suppose the bosom of mother earth, as she passed out of
her chaotic state (like a great animal), to have given birth in
the beginning to creatures of less purposive form, that these
again gave birth to others which formed themselves with
greater adaptation to their place of birth and their relations to
each other; until this womb becoming torpid and ossified,
limited its births to definite species not further modifiable, and
the manifoldness remained as it was at the end of the operation
of that fruitful formative power.—Only he must still in the end
ascribe to this universal mother an organisation purposive in
respect of all these creatures; otherwise it would not be
possible to think the possibility of the purposive form of the
120
products of the animal and vegetable kingdoms. He has
then only pushed further back the ground of explanation and
cannot pretend to have made the development of those two
kingdoms independent of the condition of final causes.
Even as concerns the variation to which certain
individuals of organised genera are accidentally subjected, if
we find that the character so changed is hereditary and is taken
up into the generative power, then we cannot pertinently judge
the variation to be anything else than an occasional
development of purposive capacities originally present in the
species with a view to the preservation of the race. For in the
complete inner purposiveness of an organised being, the
generation of its like is closely bound up with the condition of
taking nothing up into the generative power which does not
belong, in such a system of purposes, to one of its
undeveloped original capacities. Indeed, if we depart from this
principle, we cannot know with certainty whether several parts
of the form which is now apparent in a species have not a
contingent and unpurposive origin; and the principle of
Teleology, to judge nothing in an organised being as
unpurposive which maintains it in its propagation, would be
very unreliable in its application and would be valid solely for
the original stock (of which we have no further knowledge).
121
Hume takes exception to those who find it requisite to
assume for all such natural purposes a teleological principle of
judgement, i.e. an architectonic Understanding. He says that it
may fairly be asked: how is such an Understanding possible?
How can the manifold faculties and properties that constitute
the possibility of an Understanding, which has at the same
time executive force, be found so purposively together in one
Being? But this objection is without weight. For the whole
difficulty which surrounds the question concerning the first
production of a thing containing in itself purposes and only
comprehensible by means of them, rests on the further
question as to the unity of the ground of the combination in
this product of the various elements [des Mannichfaltigen]
which are external to one another. For if this ground be placed
in the Understanding of a producing cause as simple
substance, the question, so far as it is teleological, is
sufficiently answered; but if the cause be sought merely in
matter as an aggregate of many substances external to one
another, the unity of the principle is quite wanting for the
internally purposive form of its formation, and the autocracy
of matter in productions which can only be conceived by our
Understanding as purposes is a word without meaning.
Hence it comes to pass that those who seek a supreme
ground of possibility for the objectively-purposive forms of
matter, without attributing to it Understanding, either make the
world-whole into a single all-embracing substance
(Pantheism), or (which is only a more determinate explanation
of the former) into a complex of many determinations inhering
in a single simple substance (Spinozism); merely in order to
satisfy that condition of all purposiveness—the unity of
ground. Thus they do justice indeed to one condition of the
problem, viz. the unity in the purposive combination, by
means of the mere ontological concept of a simple substance;
but they adduce nothing for the other condition, viz. the
relation of this substance to its result as purpose, through
which relation that ontological ground is to be more closely
determined in respect of the question at issue. Hence they
answer the whole question in no way. It remains absolutely
unanswerable (for our Reason) if we do not represent that
original ground of things, as simple substance; its property
which has reference to the specific constitution of the forms of
nature grounded thereon, viz. its purposive unity, as the
property of an intelligent substance; and the relation of these
forms to this intelligence (on account of the contingency
which we ascribe to everything that we think possible only as
a purpose) as that of causality.

§ 81. Of the association of mechanism with the teleological

principle in the explanation of a natural purpose as a
natural product

According to the preceding paragraphs the mechanism of

nature alone does not enable us to think the possibility of an
organised being; but (at least according to the constitution of
our cognitive faculty) it must be originally subordinated to a
cause working designedly. But, just as little is the mere
teleological ground of such a being sufficient for considering it
and judging it as a product of nature, if the mechanism of the
latter be not associated with the former, like the instrument of
a cause working designedly, to whose purposes nature is
subordinated in its mechanical laws. The possibility of such a
unification of two quite different kinds of causality,—of nature
in its universal conformity to law with an Idea which limits it
to a particular form, for which it contains no ground in itself—
is not comprehended by our Reason. It lies in the supersensible
substrate of nature, of which we can determine nothing
positively, except that it is the being in itself of which we
merely know the phenomenon. But the principle, “all that we
assume as belonging to this nature (phenomenon) and as its
product, must be thought as connected therewith according to
mechanical laws,” has none the less force, because without
this kind of causality organised beings (as purposes of nature)
would not be natural products.
 Now if the teleological principle of the production of
these beings be assumed (as is inevitable), we can place at the
basis of the cause of their internally purposive form either
Occasionalism or Pre-established Harmony. According to the
former the Supreme Cause of the world would, conformably to
its Idea, furnish immediately the organic formation on the
occasion of every union of intermingling materials. According
to the latter it would, in the original products of its wisdom,
only have supplied the capacity by means of which an organic
being produces another of like kind, and the species
perpetually maintains itself; whilst the loss of individuals is
continually replaced by that nature which at the same time
works towards their destruction. If we assume the
Occasionalism of the production of organised beings, all
nature is quite lost, and with it all employment of Reason in
judging of the possibility of such products; hence we may
suppose that no one will adopt this system, who has anything
to do with philosophy.
[The theory of] Pre-established Harmony may proceed in
two different ways. It regards every organised being as
generated by one of like kind, either as an educt or a product.
The system which regards generations as mere educts is called
the theory of individual preformation or the theory of
evolution: that which regards them as products is entitled the
system of epigenesis. This latter may also be entitled the
system of generic preformation, because the productive
faculty of the generator and consequently the specific form
would be virtually performed according to the inner purposive
capacities which are part of its stock. In correspondence with
this the opposite theory of individual preformations would be
better entitled the theory of involution.
The advocates of the theory of evolution, who remove
every individual from the formative power of nature, in order
to make it come immediately from the hand of the Creator,
would, however, not venture to regard this as happening
according to the hypothesis of Occasionalism. For according
to this the copulation is a mere formality, à propos of which a
supreme intelligent Cause of the world has concluded to form
a fruit immediately by his hand, and only to leave to the
mother its development and nourishment. They declare
themselves for preformation; as if it were not all the same,
whether a supernatural origin is assigned to these forms in the
beginning or in the course of the world. On the contrary, a
great number of supernatural arrangements would be spared
by occasional creation, which would be requisite, in order that
the embryo formed in the beginning of the world might not be
injured throughout the long period of its development by the
destructive powers of nature, and might keep itself unharmed;
and there would also be requisite an incalculably greater
number of such preformed beings than would ever be
developed, and with them many creations would be made
without need and without purpose. They would, however, be
willing to leave at least something to nature, so as not to fall
into a complete Hyperphysic which can dispense with all
natural explanations. It is true, they hold so fast by their
Hyperphysic that they find even in abortions (which it is quite
impossible to take for purposes of nature) an admirable
purposiveness; though it be only directed to the fact that an
anatomist would take exception to it as a purposeless
purposiveness, and would feel a disheartened wonder thereat.
But the production of hybrids could absolutely not be
accommodated with the system of preformation; and to the
seeds of the male creature, to which they had attributed
nothing but the mechanical property of serving as the first
means of nourishment for the embryo, they must attribute in
addition a purposive formative power, which in the case of the
product of two creatures of the same genus they would
concede to neither parent.
On the other hand, even if we do not recognise the great
superiority which the theory of Epigenesis has over the former
as regards the empirical grounds of its proof, still prior to
proof Reason views this way of explanation with peculiar
favour. For in respect of the things which we can only
represent as possible originally according to the causality of
purposes, at least as concerns their propagation, this theory
regards nature as self-producing, not merely as self-evolving:
and so with the least expenditure of the supernatural leaves to
nature all that follows after the first beginning (though without
determining anything about this first beginning by which
Physic generally is thwarted, however it may essay its
explanation by a chain of causes).
As regards this theory of Epigenesis, no one has
contributed more either to its proof or to the establishment of
the legitimate principles of its application,—partly by the
limitation of a too presumptuous employment of it,—than Herr
122
Hofr. Blumenbach. In all physical explanations of these
formations he starts from organised matter. That crude matter
should have originally formed itself according to mechanical
laws, that life should have sprung from the nature of what is
lifeless, that matter should have been able to dispose itself into
the form of a self-maintaining purposiveness—this he rightly
declares to be contradictory to Reason. But at the same time he
leaves to natural mechanism under this to us indispensable
principle of an original organisation, an undeterminable but
yet unmistakeable element, in reference to which the faculty of
matter in an organised body is called by him a formative
impulse (in contrast to, and yet standing under the higher
guidance and direction of, that merely mechanical formative
power universally resident in matter).

§ 82. Of the teleological system in the external relations of

organised beings

By external purposiveness I mean that by which one thing

of nature serves another as means to a purpose. Now things
which have no internal purposiveness and which presuppose
none for their possibility, e.g. earth, air, water, etc., may at the
same time be very purposive externally, i.e. in relation to other
beings. But these latter must be organised beings, i.e. natural
purposes, for otherwise the former could not be judged as
means to them. Thus water, air, and earth cannot be regarded
as means to the raising of mountains, because mountains
contain nothing in themselves that requires a ground of their
possibility according to purposes, in reference to which
therefore their cause can never be represented under the
predicate of a means (as useful therefor).
 External purposiveness is a quite different concept from
that of internal purposiveness, which is bound up with the
possibility of an object irrespective of its actuality being itself
a purpose. We can ask about an organised being the question:
What is it for? But we cannot easily ask this about things in
which we recognise merely the working of nature’s
mechanism. For in the former, as regards their internal
possibility, we represent a causality according to purposes, a
creative Understanding, and we refer this active faculty to its
determining ground, viz. design. There is only one external
purposiveness which is connected with the internal
purposiveness of organisation, and yet serves in the external
relation of a means to a purpose, without the question
necessarily arising, as to what end this being so organised
must have existed for. This is the organisation of both sexes in
their mutual relation for the propagation of their kind; since
here we can always ask, as in the case of an individual, why
must such a pair exist? The answer is: This pair first
constitutes an organising whole, though not an organised
whole in a single body.
If we now ask, wherefore anything is, the answer is either:
Its presence and its production have no reference at all to a
cause working according to design, and so we always refer its
origin to the mechanism of nature, or: There is somewhere a
designed ground of its presence (as a contingent natural
being). This thought we can hardly separate from the concept
of an organised thing; for, since we must place at the basis of
its internal possibility a causality of final causes and an Idea
lying at the ground of this, we cannot think the existence of
this product except as a purpose. For the represented effect, the
representation of which is at the same time the determining
ground of the intelligent cause working towards its production,
is called a purpose. In this case therefore we can either say:
The purpose of the existence of such a natural being is in
itself; i.e. it is not merely a purpose but a final purpose, or:
This is external to it in another natural being, i.e. it exists
purposively not as a final purpose, but necessarily as a means.
But if we go through the whole of nature we find in it, as
nature, no being which could make claim to the eminence of
being the final purpose of creation; and we can even prove a
priori that what might be for nature an ultimate purpose,
according to all the thinkable determinations and properties
wherewith one could endow it, could yet as a natural thing
never be a final purpose.
If we consider the vegetable kingdom we might at first
sight, on account of the immeasurable fertility with which it
spreads itself almost on every soil, be led to take it for a mere
product of that mechanism which nature displays in the
formations of the mineral kingdom. But a more intimate
knowledge of its indescribably wise organisation does not
permit us to hold to this thought, but prompts the question:
What are these things created for? If it is answered: For the
animal kingdom, which is thereby nourished and has thus been
able to spread over the earth in genera so various, then the
further question comes: What are these plant-devouring
animals for? The answer would be something like this: For
beasts of prey, which can only be nourished by that which has
life. Finally we have the question: What are these last, as well
as the first-mentioned natural kingdoms, good for? For man, in
reference to the manifold use which his Understanding teaches
him to make of all these creatures. He is the ultimate purpose
of creation here on earth, because he is the only being upon it
who can form a concept of purposes, and who can by his
Reason make out of an aggregate of purposively formed things
a system of purposes.
123
We might also with the chevalier Linnaeus go the
apparently opposite way and say: The herbivorous animals are
there to moderate the luxurious growth of the vegetable
kingdom, by which many of its species are choked. The
carnivora are to set bounds to the voracity of the herbivora.
Finally man, by his pursuit of these and his diminution of their
numbers, preserves a certain equilibrium between the
producing and the destructive powers of nature. And so man,
although in a certain reference he might be esteemed a
purpose, yet in another has only the rank of a means.
If an objective purposiveness in the variety of the genera
of creatures and their external relations to one another, as
purposively constructed beings, be made a principle, then it is
conformable to Reason to conceive in these relations a certain
organisation and a system of all natural kingdoms according to
final causes. Only here experience seems flatly to contradict
the maxims of Reason, especially as concerns an ultimate
purpose of nature, which is indispensable for the possibility of
such a system and which we can put nowhere else but in man.
For regarding him as one of the many animal genera, nature
has not in the least excepted him from its destructive or its
productive powers, but has subjected everything to a
mechanism thereof without any purpose.
The first thing that must be designedly prepared in an
arrangement for a purposive complex of natural beings on the
earth would be their place of habitation, the soil and the
element on and in which they are to thrive. But a more exact
knowledge of the constitution of this basis of all organic
production indicates no other causes than those working quite
undesignedly, causes which rather destroy than favour
production, order, and purposes. Land and sea not only contain
in themselves memorials of ancient mighty desolations which
have confounded them and all creatures that are in them; but
their whole structure, the strata of the one and the boundaries
of the other, have quite the appearance of being the product of
the wild and violent forces of a nature working in a state of
chaos. Although the figure, the structure, and the slope of the
land might seem to be purposively ordered for the reception of
water from the air, for the welling up of streams between strata
of different kinds (for many kinds of products), and for the
course of rivers—yet a closer investigation shows that they are
merely the effects of volcanic eruptions or of inundations of
the ocean, as regards not only the first production of this
figure, but, above all, its subsequent transformation, as well as
124
the disappearance of its first organic productions. Now if
the place of habitation of all these creatures, the soil (of the
land) or the bosom (of the sea), indicates nothing but a quite
undesigned mechanism of its production, how and with what
right can we demand and maintain a different origin for these
latter products? The closest examination, indeed (in
125
Camper’s judgement), of the remains of the aforesaid
devastations of nature seems to show that man was not
comprehended in these revolutions; but yet he is so dependent
on the remaining creatures that, if a universally directing
mechanism of nature be admitted in the case of the others, he
must also be regarded as comprehended under it; even though
his Understanding (for the most part at least) has been able to
deliver him from these devastations.
But this argument seems to prove more than was intended
by it. It seems to prove not merely that man cannot be the
ultimate purpose of nature, and that on the same grounds the
aggregate of the organised things of nature on the earth cannot
be a system of purposes; but also that the natural products
formerly held to be natural purposes have no other origin than
the mechanism of nature.
But in the solution given above of the Antinomy of the
principles of the mechanical and teleological methods of
production of organic beings of nature, we have seen that they
are merely principles of the reflective Judgement in respect of
nature as it produces forms in accordance with particular laws
(for the systematic connexion of which we have no key). They
do not determine the origin of these beings in themselves; but
only say that we, by the constitution of our Understanding and
our Reason, cannot conceive it in this kind of being except
according to final causes. The greatest possible effort, even
audacity, in the attempt to explain them mechanically is not
only permitted, but we are invited to it by Reason;
notwithstanding that we know from the subjective grounds of
the particular species and limitations of our Understanding
(not e.g. because the mechanism of production would
contradict in itself an origin according to purposes) that we
can never attain thereto. Finally, the compatibility of both
ways of representing the possibility of nature may lie in the
supersensible principle of nature (external to us, as well as in
us); whilst the method of representation according to final
causes may be only a subjective condition of the use of our
Reason, when it not merely wishes to form a judgement upon
objects as phenomena, but desires to refer these phenomena
together with their principles to their supersensible substrate,
in order to find certain laws of their unity possible, which it
cannot represent to itself except through purposes (of which
the Reason also has such as are supersensible).

§ 83. Of the ultimate purpose of nature as a teleological

system

We have shown in the preceding that, though not for the

determinant but for the reflective Judgement, we have
sufficient cause for judging man to be, not merely like all
organised beings a natural purpose, but also the ultimate
purpose of nature here on earth; in reference to whom all other
natural things constitute a system of purposes according to
fundamental propositions of Reason. If now that must be
found in man himself, which is to be furthered as a purpose by
means of his connexion with nature, this purpose must either
be of a kind that can be satisfied by nature in its beneficence;
or it is the aptitude and skill for all kinds of purposes for which
nature (external and internal) can be used by him. The first
purpose of nature would be man’s happiness, the second his
culture.
The concept of happiness is not one that man derives by
abstraction from his instincts and so deduces from his animal
nature; but it is a mere Idea of a state, that he wishes to make
adequate to the Idea under merely empirical conditions (which
is impossible). This Idea he projects in such different ways on
account of the complication of his Understanding with
Imagination and Sense, and changes so often, that nature, even
if it were entirely subjected to his elective will, could receive
absolutely no determinate, universal and fixed law, so as to
harmonise with this vacillating concept and thus with the
purpose which each man arbitrarily sets before himself. And
even if we reduce this to the true natural wants as to which our
race is thoroughly agreed, or on the other hand, raise ever so
high man’s skill to accomplish his imagined purposes; yet,
even thus, what man understands by happiness, and what is in
fact his proper, ultimate, natural purpose (not purpose of
freedom), would never be attained by him. For it is not his
nature to rest and be contented with the possession and
enjoyment of anything whatever. On the other side, too, there
is something wanting. Nature has not taken him for her special
darling and favoured him with benefit above all animals.
Rather, in her destructive operations,—plague, hunger, perils
of waters, frost, assaults of other animals great and small, etc.,
—in these things has she spared him as little as any other
animal. Further, the inconsistency of his own natural
dispositions drives him into self-devised torments, and also
reduces others of his own race to misery, by the oppression of
lordship, the barbarism of war, and so forth; he, himself, as far
as in him lies, works for the destruction of his own race; so
that even with the most beneficent external nature, its purpose,
if it were directed to the happiness of our species, would not
be attained in an earthly system, because our nature is not
susceptible of it. Man is then always only a link in the chain of
natural purposes; a principle certainly in respect of many
purposes, for which nature seems to have destined him in her
disposition, and towards which he sets himself, but also a
means for the maintenance of purposiveness in the mechanism
of the remaining links. As the only being on earth which has
an Understanding and, consequently, a faculty of setting
arbitrary purposes before itself, he is certainly entitled to be
the lord of nature; and if it be regarded as a teleological system
he is, by his destination, the ultimate purpose of nature. But
this is subject to the condition of his having an Understanding
and the Will to give to it and to himself such a reference to
purposes, as can be self-sufficient independently of nature,
and, consequently, can be a final purpose; which, however,
must not be sought in nature itself.
But in order to find out where in man we have to place
that ultimate purpose of nature, we must seek out what nature
can supply to prepare him for what he must do himself in
order to be a final purpose, and we must separate it from all
those purposes whose possibility depends upon things that one
can expect only from nature. Of the latter kind is earthly
happiness, by which is understood the complex of all man’s
purposes possible through nature, whether external nature or
man’s nature; i.e. the matter of all his earthly purposes, which,
if he makes it his whole purpose, renders him incapable of
positing his own existence as a final purpose, and being in
harmony therewith. There remains therefore of all his purposes
in nature only the formal subjective condition; viz. the aptitude
of setting purposes in general before himself, and (independent
of nature in his purposive determination) of using nature,
conformably to the maxims of his free purposes in general, as
a means. This nature can do in regard to the final purpose that
lies outside it, and it therefore may be regarded as its ultimate
purpose. The production of the aptitude of a rational being for
arbitrary purposes in general (consequently in his freedom) is
culture. Therefore, culture alone can be the ultimate purpose
which we have cause for ascribing to nature in respect to the
human race (not man’s earthly happiness or the fact that he is
the chief instrument of instituting order and harmony in
irrational nature external to himself).
But all culture is not adequate to this ultimate purpose of
nature. The culture of skill is indeed the chief subjective
condition of aptitude for furthering one’s purposes in general;
126
but it is not adequate to furthering the will in the
determination and choice of purposes, which yet essentially
belongs to the whole extent of an aptitude for purposes. The
latter condition of aptitude, which we might call the culture of
training (discipline), is negative, and consists in the freeing of
the will from the despotism of desires. By these, tied as we are
to certain natural things, we are rendered incapable even of
choosing, while we allow those impulses to serve as fetters,
which Nature has given us as guiding threads that we should
not neglect or violate the destination of our animal nature—we
being all the time free enough to strain or relax, to extend or
diminish them, according as the purposes of Reason require.
Skill cannot be developed in the human race except by
means of inequality among men; for the great majority provide
the necessities of life, as it were, mechanically, without
requiring any art in particular, for the convenience and leisure
of others who work at the less necessary elements of culture,
science and art. In an oppressed condition they have hard work
and little enjoyment, although much of the culture of the
higher classes gradually spreads to them. Yet with the progress
of this culture (the height of which is called luxury, reached
when the propensity to what can be done without begins to be
injurious to what is indispensable), their calamities increase
equally in two directions, on the one hand through violence
from without, on the other hand through internal discontent;
but still this splendid misery is bound up with the development
of the natural capacities of the human race, and the purpose of
nature itself, although not our purpose, is thus attained. The
formal condition under which nature can alone attain this its
final design, is that arrangement of men’s relations to one
another, by which lawful authority in a whole, which we call a
civil community, is opposed to the abuse of their conflicting
freedoms; only in this can the greatest development of natural
capacities take place. For this also there would be requisite,—
if men were clever enough to find it out and wise enough to
submit themselves voluntarily to its constraint,—a
cosmopolitan whole, i.e. a system of all states that are in
127
danger of acting injuriously upon each other. Failing this,
and with the obstacles which ambition, lust of dominion, and
avarice, especially in those who have the authority in their
hands, oppose even to the possibility of such a scheme, there
is, inevitably, war (by which sometimes states subdivide and
resolve themselves into smaller states, sometimes a state
annexes other smaller states and strives to form a greater
whole). Though war is an undesigned enterprise of men
128
(stirred up by their unbridled passions), yet is it [perhaps] a
deep-hidden and designed enterprise of supreme wisdom for
preparing, if not for establishing, conformity to law amid the
freedom of states, and with this a unity of a morally grounded
system of those states. In spite of the dreadful afflictions with
which it visits the human race, and the perhaps greater
afflictions with which the constant preparation for it in time of
peace oppresses them, yet is it (although the hope for a restful
state of popular happiness is ever further off) a motive for
developing all talents serviceable for culture, to the highest
129
possible pitch.
As concerns the discipline of the inclinations,—for which
our natural capacity in regard of our destination as an animal
race is quite purposive, but which render the development of
humanity very difficult,—there is manifest in respect of this
second requirement for culture a purposive striving of nature
to a cultivation which makes us receptive of higher purposes
than nature itself can supply. We cannot strive against the
preponderance of evil, which is poured out upon us by the
refinement of taste pushed to idealisation, and even by the
luxury of science as affording food for pride, through the
insatiable number of inclinations thus aroused. But yet we
cannot mistake the purpose of nature—ever aiming to win us
away from the rudeness and violence of those inclinations
(inclinations to enjoyment) which belong rather to our
animality, and for the most part are opposed to the cultivation
of our higher destiny, and to make way for the development of
our humanity. The beautiful arts and the sciences which, by
their universally-communicable pleasure, and by the polish
and refinement of society, make man more civilised, if not
morally better, win us in large measure from the tyranny of
sense-propensions, and thus prepare men for a lordship, in
which Reason alone shall have authority; whilst the evils with
which we are visited, partly by nature, partly by the intolerant
selfishness of men, summon, strengthen, and harden the
powers of the soul not to submit to them, and so make us feel
130
an aptitude for higher purposes, which lies hidden in us.

§ 84. Of the final purpose of the existence of a world, i.e. of

creation itself

A final purpose is that purpose which needs no other as

condition of its possibility.
If the mere mechanism of nature be assumed as the
ground of explanation of its purposiveness, we cannot ask:
what are things in the world there for? For according to such
an idealistic system it is only the physical possibility of things
(to think which as purposes would be mere subtlety without
any Object) that is under discussion; whether we refer this
form of things to chance or to blind necessity, in either case
the question would be vain. If, however, we assume the
purposive combination in the world to be real and to be
[brought about] by a particular kind of causality, viz. that of a
designedly-working cause, we cannot stop at the question: why
have things of the world (organised beings) this or that form?
why are they placed by nature in this or that relation to one
another? But once an Understanding is thought that must be
regarded as the cause of the possibility of such forms as are
actually found in things, it must be also asked on objective
grounds: Who could have determined this productive
Understanding to an operation of this kind? This being is then
the final purpose in reference to which such things are there.
I have said above that the final purpose is not a purpose
which nature would be competent to bring about and to
produce in conformity with its Idea, because it is
unconditioned. For there is nothing in nature (regarded as a
sensible being) for which the determining ground present in
itself would not be always conditioned; and this holds not
merely of external (material) nature, but also of internal
(thinking) nature—it being of course understood that I only am
considering that in myself which is nature. But a thing that is
to exist necessarily, on account of its objective constitution, as
the final purpose of an intelligent cause, must be of the kind
that in the order of purposes it is dependent on no further
condition than merely its Idea.
Now we have in the world only one kind of beings whose
causality is teleological, i.e. is directed to purposes and is at
the same time so constituted that the law according to which
they have to determine purposes for themselves is represented
as unconditioned and independent of natural conditions, and
yet as in itself necessary. The being of this kind is man, but
man considered as noumenon; the only natural being in which
we can recognise, on the side of its peculiar constitution, a
supersensible faculty (freedom) and also the law of causality,
together with its Object, which this faculty may propose to
itself as highest purpose (the highest good in the world).
Now of man (and so of every rational creature in the
World) as a moral being it can no longer be asked: why (quem
in finem) he exists? His existence involves the highest purpose
to which, as far as is in his power, he can subject the whole of
nature; contrary to which at least he cannot regard himself as
subject to any influence of nature.—If now things of the
world, as beings dependent in their existence, need a supreme
cause acting according to purposes, man is the final purpose of
creation; since without him the chain of mutually subordinated
purposes would not be complete as regards its ground. Only in
man, and only in him as subject of morality, do we meet with
unconditioned legislation in respect of purposes, which
therefore alone renders him capable of being a final purpose,
131
to which the whole of nature is teleologically subordinated.

§ 85. Of Physico-theology

Physico-theology is the endeavour of Reason to infer the

Supreme Cause of nature and its properties from the purposes
of nature (which can only be empirically known). Moral
theology (ethico-theology) would be the endeavour to infer
that Cause and its properties from the moral purpose of
rational beings in nature (which can be known a priori).
The former naturally precedes the latter. For if we wish to
infer a World Cause teleologically from the things in the
world, purposes of nature must first be given, for which we
afterwards have to seek a final purpose, and for this the
principle of the causality of this Supreme Cause.
Many investigations of nature can and must be conducted
according to the teleological principle, without our having
cause to inquire into the ground of the possibility of purposive
working with which we meet in various products of nature.
But if we wish to have a concept of this we have absolutely no
further insight into it than the maxim of the reflective
Judgement affords: viz. if only a single organic product of
nature were given to us, by the constitution of our cognitive
faculty we could think no other ground for it than that of a
cause of nature itself (whether the whole of nature or only this
bit of it) which contains the causality for it through
Understanding. This principle of judging, though it does not
bring us any further in the explanation of natural things and
their origin, yet discloses to us an outlook over nature, by
which perhaps we may be able to determine more closely the
concept, otherwise so unfruitful, of an Original Being.
Now I say that Physico-theology, however far it may be
pursued, can disclose to us nothing of a final purpose of
creation; for it does not even extend to the question as to this.
It can, it is true, justify the concept of an intelligent World
Cause, as a subjective concept (only available for the
constitution of our cognitive faculty) of the possibility of
things that we can make intelligible to ourselves according to
purposes; but it cannot determine this concept further, either in
a theoretical or a practical point of view. Its endeavour does
not come up to its design of being the basis of a Theology, but
it always remains only a physical Teleology; because the
purposive reference therein is and must be always considered
only as conditioned in nature, and it consequently cannot
inquire into the purpose for which nature itself exists (for
which the ground must be sought outside nature),—
notwithstanding that it is upon the determinate Idea of this that
the determinate concept of that Supreme Intelligent World
Cause, and the consequent possibility of a Theology, depend.
What the things in the world are mutually useful for; what
good the manifold in a thing does for the thing; how we have
ground to assume that nothing in the world is in vain, but that
everything in nature is good for something,—the condition
being granted that certain things are to exist (as purposes),
whence our Reason has in its power for the Judgement no
other principle of the possibility of the Object, which it
inevitably judges teleologically, than that of subordinating the
mechanism of nature to the Architectonic of an intelligent
Author of the world—all this the teleological consideration of
the world supplies us with excellently and to our extreme
admiration. But because the data, and so the principles, for
determining that concept of an intelligent World Cause (as
highest artist) are merely empirical, they do not enable us to
infer any of its properties beyond those which experience
reveals in its effects. Now experience, since it can never
embrace collective nature as a system, must often (apparently)
happen upon this concept (and by mutually conflicting
grounds of proof); but it can never, even if we had the power
of surveying empirically the whole system as far as it concerns
mere nature, raise us above nature to the purpose of its
existence, and so to the determinate concept of that supreme
Intelligence.
 If we lessen the problem with the solution of which
Physico-theology has to do, its solution appears easy. If we
reduce the concept of a Deity to that of an intelligent being
thought by us, of which there may be one or more, which
possesses many and very great properties, but not all the
properties which are requisite for the foundation of a nature in
harmony with the greatest possible purpose; or if we do not
scruple in a theory to supply by arbitrary additions what is
deficient in the grounds of proof, and so, where we have only
ground for assuming much perfection (and what is “much” for
us?), consider ourselves entitled to presuppose all possible
perfection; thus indeed physical Teleology may make weighty
claims to the distinction of being the basis of a Theology. But
if we are desired to point out what impels and moreover
authorises us to add these supplements, then we shall seek in
vain for a ground of justification in the principles of the
theoretical use of Reason, which is ever desirous in the
explanation of an Object of experience to ascribe to it no more
properties than those for which empirical data of possibility
are to be found. On closer examination we should see that
properly speaking an Idea of a Supreme Being, which rests on
a quite different use of Reason (the practical use), lies in us
fundamentally a priori, impelling us to supplement, by the
concept of a Deity, the defective representation, supplied by a
physical Teleology, of the original ground of the purposes in
nature; and we should not falsely imagine that we had worked
out this Idea, and with it a Theology by means of the
theoretical use of Reason in the physical cognition of the
world—much less that we had proved its reality.
One cannot blame the ancients much, if they thought of
their gods as differing much from each other both as regards
their faculties and as regards their designs and volitions, but
yet thought of all of them, the Supreme One not excepted, as
always limited after human fashion. For if they considered the
arrangement and the course of things in nature, they certainly
found ground enough for assuming something more than
mechanism as its cause, and for conjecturing behind the
machinery of this world designs of certain higher causes,
which they could not think otherwise than superhuman. But
because they met with good and evil, the purposive and the
unpurposive, mingled together (at least as far as our insight
goes), and could not permit themselves to assume nevertheless
that wise and benevolent purposes of which they saw no proof
lay hidden at bottom, on behalf of the arbitrary Idea of a
supremely perfect original Author, their judgement upon the
supreme World Cause could hardly have been other than it
was, so long as they proceeded consistently according to
maxims of the mere theoretical use of Reason. Others, who
wished to be theologians as well as physicists, thought to find
contentment for the Reason by providing for the absolute unity
of the principle of natural things which Reason demands, the
Idea of a Being of which as sole Substance the things would
be all only inherent determinations. This Substance would not
be Cause of the World by means of intelligence, but in it all
the intelligences of the beings in the world would be
comprised. This Being consequently would produce nothing
according to purposes; but in it all things, on account of the
unity of the subject of which they are mere determinations,
must necessarily relate themselves purposively to one another,
though without purpose and design. Thus they introduced the
Idealism of final causes, by changing the unity (so difficult to
explain) of a number of purposively combined substances,
from being the unity of causal dependence on one Substance
to be the unity of inherence in one. This system—which in the
sequel, considered on the side of the inherent world beings,
becomes Pantheism, and (later) on the side of the Subject
subsisting by itself as Original Being, becomes Spinozism,—
does not so much resolve as explain away into nothing the
question of the first ground of the purposiveness of nature;
because this latter concept, bereft of all reality, must be taken
for a mere misinterpretation of a universal ontological concept
of a thing in general.
Hence the concept of a Deity, which would be adequate
for our teleological judging of nature, can never be derived
from mere theoretical principles of the use of Reason (on
which Physico-theology alone is based). For as one alternative
we may explain all Teleology as a mere deception of the
Judgement in its judging of the causal combination of things,
and fly to the sole principle of a mere mechanism of nature,
which merely seems to us, on account of the unity of the
Substance of whose determinations nature is but the manifold,
to contain a universal reference to purposes. Or if, instead of
this Idealism of final causes, we wish to remain attached to the
principle of the Realism of this particular kind of causality, we
may set beneath natural purposes many intelligent original
beings or only a single one. But so far as we have for the basis
of this concept [of Realism] only empirical principles derived
from the actual purposive combination in the world, we cannot
on the one hand find any remedy for the discordance that
nature presents in many examples in respect of unity of
purpose; and on the other hand, as to the concept of a single
intelligent Cause, so far as we are authorised by mere
experience, we can never draw it therefrom in a manner
sufficiently determined for any serviceable Theology whatever
(whether theoretical or practical).
Physical Teleology impels us, it is true, to seek a
Theology; but it cannot produce one, however far we may
investigate nature by means of experience and, in reference to
the purposive combination apparent in it, call in Ideas of
Reason (which must be theoretical for physical problems).
What is the use, one might well complain, of placing at the
basis of all these arrangements a great Understanding
incommensurable by us, and supposing it to govern the world
according to design, if nature does not and cannot tell us
anything of the final design? For without this we cannot refer
all these natural purposes to any common point, nor can we
form any teleological principle, sufficient either for cognising
the purposes collected in a system, or for forming a concept of
the Supreme Understanding, as Cause of such a nature, that
could serve as a standard for our Judgement reflecting
teleologically thereon. I should thus have an artistic
Understanding for scattered purposes, but no Wisdom for a
final purpose, in which final purpose nevertheless must be
contained the determining ground of the said Understanding.
But in the absence of a final purpose which pure Reason alone
can supply (because all purposes in the world are empirically
conditioned, and can contain nothing absolutely good but only
what is good for this or that regarded as a contingent design),
and which alone would teach me what properties, what degree,
and what relation of the Supreme Cause to nature I have to
think in order to judge of nature as a teleological system; how
and with what right do I dare to extend at pleasure my very
limited concept of that original Understanding (which I can
base on my limited knowledge of the world), of the Might of
that original Being in actualising its Ideas, and of its Will to do
so, and complete this into the Idea of an Allwise, Infinite
Being? If this is to be done theoretically, it would presuppose
omniscience in me, in order to see into the purposes of nature
in their whole connexion, and in addition the power of
conceiving all possible plans, in comparison with which the
present plan would be judged on [sufficient] grounds as the
best. For without this complete knowledge of the effect I can
arrive at no determinate concept of the Supreme Cause, which
can only be found in the concept of an Intelligence infinite in
every respect, i.e. the concept of a Deity, and so I can supply
no foundation for Theology.
Hence, with every possible extension of physical
Teleology, according to the propositions above laid down we
may say: By the constitution and the principles of our
cognitive faculty we can think of nature, in its purposive
arrangements which have become known to us, in no other
way than as the product of an Understanding to which it is
subject. But the theoretical investigation of nature can never
reveal to us whether this Understanding may not also, with the
whole of nature and its production, have had a final design
(which would not lie in the nature of the sensible world). On
the contrary, with all our knowledge of nature it remains
undecided whether that Supreme Cause is its original ground
according to a final purpose, or not rather by means of an
Understanding determined by the mere necessity of its nature
to produce certain forms (according to the analogy of what we
call the art-instinct in animals); without it being necessary to
ascribe to it even wisdom, much less the highest wisdom
combined with all other properties requisite for the perfection
of its product.
Hence Physico-theology is a misunderstood physical
Teleology, only serviceable as a preparation (propaedeutic) for
Theology; and it is only adequate to this design by the aid of a
foreign principle on which it can rely, and not in itself, as its
name would intimate.

§ 86. Of Ethico-theology

The commonest Understanding, if it thinks over the

presence of things in the world, and the existence of the world
itself, cannot forbear from the judgement that all the various
creatures, no matter how great the art displayed in their
arrangement, and how various their purposive mutual
connexion,—even the complex of their numerous systems
(which we incorrectly call worlds),—would be for nothing, if
there were not also men (rational beings in general). Without
men the whole creation would be a mere waste, in vain, and
without final purpose. But it is not in reference to man’s
cognitive faculty (theoretical Reason) that the being of
everything else in the world gets its worth; he is not there
merely that there may be some one to contemplate the world.
For if the contemplation of the world only afforded a
representation of things without any final purpose, no worth
could accrue to its being from the mere fact that it is known;
we must presuppose for it a final purpose, in reference to
which its contemplation itself has worth. Again it is not in
reference to the feeling of pleasure, or to the sum of pleasures,
that we think a final purpose of creation as given; i.e. we do
not estimate that absolute worth by well-being or by
enjoyment (whether bodily or mental), or in a word, by
happiness. For the fact that man, if he exists, takes this for his
final design, gives us no concept as to why in general he
should exist, and as to what worth he has in himself to make
his existence pleasant. He must, therefore, be supposed to be
the final purpose of creation, in order to have a rational ground
for holding that nature must harmonise with his happiness, if it
is considered as an absolute whole according to principles of
purposes.—Hence there remains only the faculty of desire;
not, however, that which makes man dependent (through
sensuous impulses) upon nature, nor that in respect of which
the worth of his being depends upon what he receives and
enjoys. But the worth which he alone can give to himself, and
which consists in what he does, how and according to what
principles he acts, and that not as a link in nature’s chain but in
the freedom of his faculty of desire—i.e. a good will—is that
whereby alone his being can have an absolute worth, and in
reference to which the being of the world can have a final
purpose.
The commonest judgement of healthy human Reason
completely accords with this, that it is only as a moral being
that man can be a final purpose of creation; if we but direct
men’s attention to the question and incite them to investigate
it. What does it avail, one will say, that this man has so much
talent, that he is so active therewith, and that he exerts thereby
a useful influence over the community, thus having a great
worth both in relation to his own happy condition and to the
benefit of others, if he does not possess a good will? He is a
contemptible Object considered in respect of his inner self;
and if the creation is not to be without any final purpose at all,
he, who as man belongs to it, must, in a world under moral
laws, inasmuch as he is a bad man, forfeit his subjective
purpose (happiness). This is the only condition under which
his existence can accord with the final purpose.
If now we meet with purposive arrangements in the world
and, as Reason inevitably requires, subordinate the purposes
that are only conditioned to an unconditioned, supreme, i.e.
final, purpose; then we easily see in the first place that we are
thus concerned not with a purpose of nature (internal to itself),
so far as it exists, but with the purpose of its existence along
with all its ordinances, and, consequently, with the ultimate
purpose of creation, and specially with the supreme condition
under which can be posited a final purpose (i.e. the ground
which determines a supreme Understanding to produce the
beings of the world).
Since now it is only as a moral being that we recognise
man as the purpose of creation, we have in the first place a
ground (at least, the chief condition) for regarding the world as
a whole connected according to purposes, and as a system of
final causes. And, more especially, as regards the reference
(necessary for us by the constitution of our Reason) of natural
purposes to an intelligent World Cause, we have one principle
enabling us to think the nature and properties of this First
Cause as supreme ground in the kingdom of purposes, and to
determine its concept. This physical Teleology could not do; it
could only lead to indeterminate concepts thereof,
unserviceable alike in theoretical and in practical use.
From the principle, thus determined, of the causality of
the Original Being we must not think Him merely as
Intelligence and as legislative for nature, but also as legislating
supremely in a moral kingdom of purposes. In reference to the
highest good, alone possible under His sovereignty, viz. the
existence of rational beings under moral laws, we shall think
this Original Being as all-knowing: thus our inmost
dispositions (which constitute the proper moral worth of the
actions of rational beings of the world) will not be hid from
Him. We shall think Him as all-mighty: thus He will be able to
make the whole of nature accord with this highest purpose. We
shall think Him as all-good, and at the same time as just:
because these two properties (which when united constitute
Wisdom) are the conditions of the causality of a supreme
Cause of the world, as highest good, under moral laws. So also
all the other transcendental properties, such as Eternity,
Omnipresence, etc. [for goodness and justice are moral
132
properties ], which are presupposed in reference to such a
final purpose, must be thought in Him.—In this way moral
Teleology supplies the deficiency in physical Teleology, and
first establishes a Theology; because the latter, if it did not
borrow from the former without being observed, but were to
proceed consistently, could only found a Demonology, which
is incapable of any definite concept.
But the principle of the reference of the world to a
supreme Cause, as Deity, on account of the moral purposive
destination of certain beings in it, does not accomplish this by
completing the physico-teleological ground of proof and so
taking this necessarily as its basis. It is sufficient in itself and
directs attention to the purposes of nature and the investigation
of that incomprehensible great art lying hidden behind its
forms, in order to confirm incidentally by means of natural
purposes the Ideas that pure practical Reason furnishes. For
the concept of beings of the world under moral laws is a
principle (a priori) according to which man must of necessity
judge himself. Further, if there is in general a World Cause
acting designedly and directed towards a purpose, this moral
relation must be just as necessarily the condition of the
possibility of a creation, as that in accordance with physical
laws (if, that is, this intelligent Cause has also a final purpose).
This is regarded a priori by Reason as a necessary
fundamental proposition for it in its teleological judging of the
existence of things. It now only comes to this, whether we
have sufficient ground for Reason (either speculative or
practical) to ascribe to the supreme Cause, acting in
accordance with purposes, a final purpose. For it may a priori
be taken by us as certain that this, by the subjective
constitution of our Reason and even of the Reason of other
beings as far as we can think it, can be nothing else than man
under moral laws: since otherwise the purposes of nature in
the physical order could not be known a priori, especially as it
can in no way be seen that nature could not exist without such
purposes.

Remark

Suppose the case of a man at the moment when his mind

is disposed to a moral sensation. If surrounded by the beauties
of nature, he is in a state of restful, serene enjoyment of his
being, he feels a want, viz. to be grateful for this to some being
or other. Or if another time he finds himself in the same state
of mind when pressed by duties that he can and will only
adequately discharge by a voluntary sacrifice, he again feels in
himself a want, viz. to have thus executed a command and
obeyed a Supreme Lord. Or, again; if he has in some heedless
way transgressed his duty, but without becoming answerable
to men, his severe self-reproach will speak to him with the
voice of a judge to whom he has to give account. In a word, he
needs a moral Intelligence, in order to have a Being for the
purpose of his existence, which may be, conformably to this
purpose, the cause of himself and of the world. It is vain to
assign motives behind these feelings, for they are immediately
connected with the purest moral sentiment, because gratitude,
obedience, and humiliation (submission to deserved
chastisement) are mental dispositions that make for duty; and
the mind which is inclined towards a widening of its moral
sentiment here only voluntarily conceives an object that is not
in the world in order where possible to render its duty before
such an one. It is therefore at least possible and grounded too
in our moral disposition to represent a pure moral need of the
existence of a Being, by which our morality gains strength or
even (at least according to our representation) more scope, viz.
a new object for its exercise. That is, [there is a need] to
assume a morally-legislating Being outside the world, without
any reference to theoretical proofs, still less to self-interest,
from pure moral grounds free from all foreign influence (and
consequently only subjective), on the mere recommendation of
a pure practical Reason legislating by itself alone. And
although such a mental disposition might seldom occur or
might not last long, but be transient and without permanent
effect, or might even pass away without any meditation on the
object represented in such shadowy outline, or without care to
bring it under clear concepts—there is yet here unmistakably
the ground why our moral capacity, as a subjective principle,
should not be contented in its contemplation of the world with
its purposiveness by means of natural causes, but should
ascribe to it a supreme Cause governing nature according to
moral principles.—In addition, we feel ourselves constrained
by the moral law to strive for a universal highest purpose
which yet we, in common with the rest of nature, are incapable
of attaining; and it is only so far as we strive for it that we can
judge ourselves to be in harmony with the final purpose of an
intelligent World Cause (if such there be). Thus is found a pure
moral ground of practical Reason for assuming this Cause
(since it can be done without contradiction), in order that we
may no more regard that effort of Reason as quite idle, and so
run the risk of abandoning it from weariness.
With all this, so much only is to be said, that though fear
first produces gods (demons), it is Reason by means of its
moral principles that can first produce the concept of God
(even when, as commonly is the case, one is unskilled in the
Teleology of nature, or is very doubtful on account of the
difficulty of adjusting by a sufficiently established principle its
mutually contradictory phenomena). Also, the inner moral
purposive destination of man’s being supplies that in which
natural knowledge is deficient, by directing us to think, for the
final purpose of the being of all things (for which no other
principle than an ethical one is satisfactory to Reason), the
supreme Cause [as endowed] with properties, whereby it is
able to subject the whole of nature to that single design (for
which nature is merely the instrument),—i.e. to think it as a
Deity.

§ 87. Of the moral proof of the Being of God

There is a physical Teleology, which gives sufficient

ground of proof to our theoretical reflective Judgement to
assume the being of an intelligent World-Cause. But we find
also in ourselves and still more in the concept of a rational
being in general endowed with freedom (of his causality) a
moral Teleology. However, as the purposive reference,
together with its law, is determined a priori in ourselves and
therefore can be cognised as necessary, this internal
conformity to law requires no intelligent cause external to us;
any more than we need look to a highest Understanding as the
source of the purposiveness (for every possible exercise of art)
that we find in the geometrical properties of figures. But this
moral Teleology concerns us as beings of the world, and
therefore as beings bound up with other things in the world;
upon which latter, whether as purposes or as objects in respect
of which we ourselves are final purpose, the same moral laws
require us to pass judgement. This moral Teleology, then, has
to do with the reference of our own causality to purposes and
even to a final purpose that we must aim at in the world, as
well as with the reciprocal reference of the world to that moral
purpose, and the external possibility of its accomplishment (to
which no physical Teleology can lead us). Hence the question
necessarily arises, whether it compels our rational judgement
to go beyond the world and seek an intelligent supreme
principle for that reference of nature to the moral in us; in
order to represent nature as purposive even in reference to our
inner moral legislation and its possible accomplishment. There
is therefore certainly a moral Teleology, which is connected on
the one hand with the nomothetic of freedom and on the other
with that of nature; just as necessarily as civil legislation is
connected with the question where the executive authority is to
be sought, and in general in every case [with the question]
wherein Reason is to furnish a principle of the actuality of a
certain regular order of things only possible according to
Ideas.— We shall first set forth the progress of Reason from
that moral Teleology and its reference to physical, to
Theology; and then make some observations upon the
possibility and the validity of this way of reasoning.
 If we assume the being of certain things (or even only
certain forms of things) to be contingent and so to be possible
only through something else which is their cause, we may seek
for the unconditioned ground of this causality of the supreme
(and so of the conditioned) either in the physical or the
teleological order (either according to the nexus effectivus or
the nexus finalis). That is, we may either ask, what is the
supreme productive cause of these things; or what is their
supreme (absolutely unconditioned) purpose, i.e. the final
purpose of that cause in its production of this or all its
products generally? In the second case it is plainly
presupposed that this cause is capable of representing purposes
to itself, and consequently is an intelligent Being; at least it
must be thought as acting in accordance with the laws of such
a being.
If we follow the latter order, it is a FUNDAMENTAL
PROPOSITION to which even the commonest human Reason is
compelled to give immediate assent, that if there is to be in
general a final purpose furnished a priori by Reason, this can
be no other than man (every rational being of the world) under
133
moral laws. For (and so every one judges) if the world
consisted of mere lifeless, or even in part of living but
irrational, beings, its existence would have no worth because
in it there would be no being who would have the least
concept of what worth is. Again, if there were intelligent
beings, whose Reason were only able to place the worth of the
existence of things in the relation of nature to themselves
(their well-being), but not to furnish of itself an original worth
(in freedom), then there would certainly be (relative) purposes
in the world, but no (absolute) final purpose, because the
existence of such rational beings would be always purposeless.
But the moral laws have this peculiar characteristic that they
prescribe to Reason something as a purpose without any
condition, and consequently exactly as the concept of a final
purpose requires. The existence of a Reason that can be for
itself the supreme law in the purposive reference, in other
words the existence of rational beings under moral laws, can
therefore alone be thought as the final purpose of the being of
a world. If on the contrary this be not so, there would be either
no purpose at all in the cause of its being, or there would be
purposes, but no final purpose.
The moral law as the formal rational condition of the use
of our freedom obliges us by itself alone, without depending
on any purpose as material condition; but it nevertheless
determines for us, and indeed a priori, a final purpose towards
which it obliges us to strive; and this purpose is the highest
good in the world possible through freedom.
The subjective condition under which man (and,
according to all our concepts, every rational finite being) can
set a final purpose before himself under the above law is
happiness. Consequently, the highest physical good possible in
the world, to be furthered as a final purpose as far as in us lies,
is happiness, under the objective condition of the harmony of
man with the law of morality as worthiness to be happy.
But it is impossible for us in accordance with all our
rational faculties to represent these two requirements of the
final purpose proposed to us by the moral law, as connected by
merely natural causes, and yet as conformable to the Idea of
that final purpose. Hence the concept of the practical necessity
of such a purpose through the application of our powers does
not harmonise with the theoretical concept of the physical
possibility of working it out, if we connect with our freedom
no other causality (as a means) than that of nature.
Consequently, we must assume a moral World-Cause (an
Author of the world), in order to set before ourselves a final
purpose consistently with the moral law; and in so far as the
latter is necessary, so far (i.e. in the same degree and on the
same ground) the former also must be necessarily assumed;
134
i.e. we must admit that there is a God.
This proof, to which we can easily give the form of logical
precision, does not say: it is as necessary to assume the Being
of God as to recognise the validity of the moral law; and
consequently he who cannot convince himself of the first, can
judge himself free from the obligations of the second. No!
there must in such case only be given up the aiming at the
final purpose in the world, to be brought about by the pursuit
of the second (viz. a happiness of rational beings in harmony
with the pursuit of moral laws, regarded as the highest good).
Every rational being would yet have to cognise himself as
straitly bound by the precepts of morality, for its laws are
formal and command unconditionally without respect to
purposes (as the matter of volition). But the one requisite of
the final purpose, as practical Reason prescribes it to beings of
the world, is an irresistible purpose imposed on them by their
nature (as finite beings), which Reason wishes to know as
subject only to the moral law as inviolable condition, or even
as universally set up in accordance with it. Thus Reason takes
for final purpose the furthering of happiness in harmony with
morality. To further this so far as is in our power (i.e. in
respect of happiness) is commanded us by the moral law; be
the issue of this endeavour what it may. The fulfilling of duty
consists in the form of the earnest will, not in the intermediate
causes of success.
Suppose then that partly through the weakness of all the
speculative arguments so highly extolled, and partly through
many irregularities in nature and the world of sense which
come before him, a man is persuaded of the proposition, There
is no God; he would nevertheless be contemptible in his own
eyes if on that account he were to imagine the laws of duty as
empty, invalid and inobligatory, and wished to resolve to
transgress them boldly. Such an one, even if he could be
convinced in the sequel of that which he had doubted at the
first, would always be contemptible while having such a
disposition, although he should fulfil his duty as regards its
[external] effect as punctiliously as could be desired, for [he
would be acting] from fear or from the aim at recompense,
without the sentiment of reverence for duty. If, conversely, as a
believer [in God] he performs his duty according to his
conscience, uprightly and disinterestedly, and nevertheless
believes that he is free from all moral obligation so soon as he
is convinced that there is no God, this could accord but badly
with an inner moral disposition.
We may then suppose the case of a righteous man [e.g.
135
Spinoza], who holds himself firmly persuaded that there is
no God, and also (because in respect of the Object of morality
a similar consequence results) no future life; how is he to
judge of his own inner purposive destination, by means of the
moral law, which he reveres in practice? He desires no
advantage to himself from following it, either in this or
another world; he wishes, rather, disinterestedly to establish
the good to which that holy law directs all his powers. But his
effort is bounded; and from nature, although he may expect
here and there a contingent accordance, he can never expect a
regular harmony agreeing according to constant rules (such as
his maxims are and must be, internally), with the purpose that
he yet feels himself obliged and impelled to accomplish.
Deceit, violence, and envy will always surround him, although
he himself be honest, peaceable, and kindly; and the righteous
men with whom he meets will, notwithstanding all their
worthiness of happiness, be yet subjected by nature which
regards not this, to all the evils of want, disease, and untimely
death, just like the beasts of the earth. So it will be until one
wide grave engulfs them together (honest or not, it makes no
difference), and throws them back—who were able to believe
themselves the final purpose of creation—into the abyss of the
purposeless chaos of matter from which they were drawn.—
The purpose, then, which this well-intentioned person had and
ought to have before him in his pursuit of moral laws, he must
certainly give up as impossible. Or else, if he wishes to remain
dependent upon the call of his moral internal destination, and
not to weaken the respect with which the moral law
immediately inspires him, by assuming the nothingness of the
single, ideal, final purpose adequate to its high demand (which
cannot be brought about without a violation of moral
sentiment), he must, as he well can—since there is at least no
contradiction from a practical point of view in forming a
concept of the possibility of a morally prescribed final purpose
—assume the being of a moral author of the world, that is, a
God.

§ 88. Limitation of the validity of the moral proof

Pure Reason, as a practical faculty, i.e. as the faculty of

determining the free use of our causality by Ideas (pure
rational concepts), not only comprises in the moral law a
regulative principle of our actions, but supplies us at the same
time with a subjective constitutive principle in the concept of
an Object which Reason alone can think, and which is to be
actualised by our actions in the world according to that law.
The Idea of a final purpose in the employment of freedom
according to moral laws has therefore subjective practical
reality. We are a priori determined by Reason to promote with
all our powers the summum bonum [Weltbeste] which consists
in the combination of the greatest welfare of rational beings
with the highest condition of the good in itself, i.e. in universal
happiness conjoined with morality most accordant to law. In
this final purpose the possibility of one part, happiness, is
empirically conditioned, i.e. dependent on the constitution of
nature (which may or may not agree with this purpose) and is
in a theoretical aspect problematical; whilst the other part,
morality, in respect of which we are free from the effects of
nature, stands fast a priori as to its possibility, and is
dogmatically certain. It is then requisite for the objective
theoretical reality of the concept of the final purpose of
rational beings, that we should not only have a priori
presupposed a final purpose for ourselves, but also that the
creation, i.e. the world itself, should have as regards its
existence a final purpose, which if it could be proved a priori
would add objectivity to the subjective reality of the final
purpose [of rational beings]. For if the creation has on the
whole a final purpose, we cannot think it otherwise than as
harmonising with the moral purpose (which alone makes the
concept of a purpose possible). Now we find without doubt
purposes in the world, and physical Teleology exhibits them in
such abundance, that if we judge in accordance with Reason,
we have ground for assuming as a principle in the
investigation of nature that nothing in nature is without a
purpose; but the final purpose of nature we seek there in vain.
This can and must therefore, as its Idea only lies in Reason, be
sought as regards its objective possibility only in rational
beings. And the practical Reason of these latter not only
supplies this final purpose; it also determines this concept in
respect of the conditions under which alone a final purpose of
creation can be thought by us.
 The question is now, whether the objective reality of the
concept of a final purpose of creation cannot be exhibited
adequately to the theoretical requirements of pure Reason—if
not apodictically for the determinant Judgement yet adequately
for the maxims of the theoretical reflective Judgement? This is
the least one could expect from theoretical philosophy, which
undertakes to combine the moral purpose with natural
purposes by means of the Idea of one single purpose; but yet
this little is far more than it can accomplish.
According to the principle of the theoretical reflective
Judgement we should say: if we have ground for assuming for
the purposive products of nature a supreme Cause of nature—
whose causality in respect of the actuality of creation is of a
different kind from that required for the mechanism of nature,
i.e. must be thought as the causality of an Understanding—we
have also sufficient ground for thinking in this original Being
not merely the purposes everywhere in nature but also a final
purpose. This is not indeed a final purpose by which we can
explain the presence of such a Being, but one of which we
may at least convince ourselves (as was the case in physical
Teleology) that we can make the possibility of such a world
conceivable, not merely according to purposes, but only
through the fact that we ascribe to its existence a final purpose.
But a final purpose is merely a concept of our practical
Reason, and can be inferred from no data of experience for the
theoretical judging of nature, nor can it be applied to the
cognition of nature. No use of this concept is possible except
its use for practical Reason according to moral laws; and the
final purpose of creation is that constitution of the world
which harmonises with that which alone we can put forward
definitely according to laws, viz. the final purpose of our pure
practical Reason, in so far as it is to be practical.— Now we
have in the moral law, which enjoins on us in a practical point
of view the application of our powers to the accomplishment
of this final purpose, a ground for assuming its possibility and
practicability, and consequently too (because without the
concurrence of nature with a condition not in our power, its
accomplishment would be impossible) a nature of things
harmonious with it. Hence we have a moral ground for
thinking in a world also a final purpose of creation.
We have not yet advanced from moral Teleology to a
Theology, i.e. to the being of a moral Author of the world, but
only to a final purpose of creation which is determined in this
way. But in order to account for this creation, i.e. the existence
of things, in accordance with a final purpose, we must assume
not only first an intelligent Being (for the possibility of things
of nature which we are compelled to judge of as purposes), but
also a moral Being, as author of the world, i.e. a God. This
second conclusion is of such a character that we see it holds
merely for the Judgement according to concepts of practical
Reason, and as such for the reflective and not the determinant
Judgement. It is true that in us morally practical Reason is
essentially different in its principles from technically practical
Reason. But we cannot assume that it must be so likewise in
the supreme World-Cause, regarded as Intelligence, and that a
peculiar mode of its causality is requisite for the final purpose,
different from that which is requisite merely for purposes of
nature. We cannot therefore assume that in our final purpose
we have not merely a moral ground for admitting a final
purpose of creation (as an effect), but also for admitting a
moral Being as the original ground of creation. But we may
well say, that, according to the constitution of our rational
faculty, we cannot comprehend the possibility of such a
purposiveness in respect of the moral law, and its Object, as
there is in this final purpose, apart from an Author and
Governor of the world, who is at the same time its moral
Lawgiver.
The actuality of a highest morally-legislating Author is
therefore sufficiently established merely for the practical use
of our Reason, without determining anything theoretically as
regards its being. For Reason requires, in respect of the
possibility of its purpose, which is given to us independently
by its own legislation, an Idea through which the inability to
follow up this purpose, according to the mere natural concepts
of the world, is removed (sufficiently for the reflective
Judgement). Thus this Idea gains practical reality, although all
means of creating such for it in a theoretical point of view, for
the explanation of nature and determination of the supreme
Cause, are entirely wanting for speculative cognition. For the
theoretical reflective Judgement physical Teleology
sufficiently proves from the purposes of nature an intelligent
World-Cause; for the practical Judgement moral Teleology
establishes it by the concept of a final purpose, which it is
forced to ascribe to creation in a practical point of view. The
objective reality of the Idea of God, as moral Author of the
world, cannot, it is true, be established by physical purposes
alone. But nevertheless, if the cognition of these purposes is
combined with that of the moral purpose, they are, by virtue of
the maxim of pure Reason which bids us seek unity of
principles so far as is possible, of great importance for the
practical reality of that Idea, by bringing in the reality which it
has for the Judgement in a theoretical point of view.
To prevent a misunderstanding which may easily arise, it
is in the highest degree needful to remark that, in the first
place, we can think these properties of the highest Being only
according to analogy. How indeed could we explore the nature
of that, to which experience can show us nothing similar?
Secondly, in this way we only think the supreme Being; we
cannot thereby cognise Him and ascribe anything theoretically
to Him. It would be needful for the determinant Judgement in
the speculative aspect of our Reason, to consider what the
supreme World-Cause is in Himself. But here we are only
concerned with the question what concept we can form of
Him, according to the constitution of our cognitive faculties;
and whether we have to assume His existence in order merely
to furnish practical reality to a purpose, which pure Reason
without any such presupposition enjoins upon us a priori to
bring about with all our powers, i.e. in order to be able to think
as possible a designed effect. Although that concept may be
transcendent for the speculative Reason, and the properties
which we ascribe to the Being thereby thought may,
objectively used, conceal an anthropomorphism in themselves;
yet the design of its use is not to determine the nature of that
Being which is unattainable by us, but to determine ourselves
and our will accordingly. We may call a cause after the
concept which we have of its effect (though only in reference
to this relation), without thereby meaning to determine
internally its inner constitution, by means of the properties
which can be made known to us solely by similar causes and
must be given in experience. For example, amongst other
properties we ascribe to the soul a vis locomotiva because
bodily movements actually arise whose cause lies in the
representation of them; without therefore meaning to ascribe
to it the only mode [of action] that we know in moving forces
(viz. by attraction, pressure, impulse, and consequently
motion, which always presuppose an extended being). Just so
we must assume something, which contains the ground of the
possibility and practical reality, i.e. the practicability, of a
necessary moral final purpose; but we can think of this, in
accordance with the character of the effect expected of it, as a
wise Being governing the world according to moral laws, and,
conformably to the constitution of our cognitive faculties, as a
cause of things distinct from nature, only in order to express
the relation of this Being (which transcends all our cognitive
faculties) to the Objects of our practical Reason. We do not
pretend thus to ascribe to it theoretically the only causality of
this kind known to us, viz. an Understanding and a Will: we do
not even pretend to distinguish objectively the causality
thought in this Being, as regards what is for us final purpose,
from the causality thought in it as regards nature (and its
purposive determinations in general). We can only assume this
distinction as subjectively necessary by the constitution of our
cognitive faculties, and as valid for the reflective, not for the
objectively determinant Judgement. But if we come to
practice, then such a regulative principle (of prudence or
wisdom) [commanding us] to act conformably to that as
purpose, which by the constitution of our cognitive faculties
can only be thought as possible in a certain way, is at the same
constitutive, i.e. practically determinant. Nevertheless, as a
principle for judging of the objective possibility of things, it is
no way theoretically determinant (i.e. it does not say that the
only kind of possibility which belongs to the Object is that
which belongs to our thinking faculty), but is a mere
regulative principle for the reflective Judgement.

Remark
 This moral proof is not one newly discovered, although
perhaps its basis is newly set forth; since it has lain in man’s
rational faculty from its earliest germ, and is only continually
developed with its advancing cultivation. So soon as men
begin to reflect upon right and wrong—at a time when, quite
indifferent as to the purposiveness of nature, they avail
themselves of it without thinking anything more of it than that
it is the accustomed course of nature—this judgement is
inevitable, viz. that the issue cannot be the same, whether a
man has behaved candidly or falsely, fairly or violently, even
though up to his life’s end, as far as can be seen, he has met
with no happiness for his virtues, no punishment for his vices.
It is as if they perceived a voice within [saying] that the issue
must be different. And so there must lie hidden in them a
representation, however obscure, of something after which
they feel themselves bound to strive; with which such a result
would not agree,—with which, if they looked upon the course
of the world as the only order of things, they could not
harmonise that inner purposive determination of their minds.
Now they might represent in various rude fashions the way in
which such an irregularity could be adjusted (an irregularity
which must be far more revolting to the human mind than the
blind chance that we are sometimes willing to use as a
principle for judging of nature). But they could never think
any other principle of the possibility of the unification of
nature with its inner ethical laws, than a supreme Cause
governing the world according to moral laws; because a final
purpose in them proposed as duty, and a nature without any
final purpose beyond them in which that purpose might be
136
actualised, would involve a contradiction. As to the [inner]
constitution of that World-Cause they could contrive much
nonsense. But that moral relation in the government of the
world would remain always the same, which by the
uncultivated Reason, considered as practical, is universally
comprehensible, but with which the speculative Reason can
make far from the like advance.—And in all probability
attention would be directed first by this moral interest to the
beauty and the purposes in nature, which would serve
excellently to strengthen this Idea though they could not be the
foundation of it. Still less could that moral interest be
dispensed with, because it is only in reference to the final
purpose that the investigation of the purposes of nature
acquires that immediate interest which displays itself in such a
great degree in the admiration of them without any reference
to the advantage to be derived from them.

§ 89. Of the use of the moral argument

The limitation of Reason in respect of all our Ideas of the

supersensible to the conditions of its practical employment
has, as far as the Idea of God is concerned, undeniable uses.
For it prevents Theology from rising into THEOSOPHY (into
transcendent concepts which confound Reason), or from
sinking into DEMONOLOGY (an anthropomorphic way of
representing the highest Being). And it also prevents Religion
from turning into Theurgy (a fanatical belief that we can have
a feeling of other supersensible beings and can reciprocally
influence them), or into Idolatry (a superstitious belief that we
can please the Supreme Being by other means than by a moral
137
sentiment).
For if we permit the vanity or the presumption of
sophistry to determine the least thing theoretically (in a way
that extends our knowledge) in respect of what lies beyond the
world of sense, or if we allow any pretence to be made of
insight into the being and constitution of the nature of God, of
His Understanding and Will, of the laws of both and of His
properties which thus affect the world, I should like to know
where and at what point we will bound these assumptions of
Reason. For wherever such insight can be derived, there may
yet more be expected (if we only strain our reflection, as we
have a mind to do). Bounds must then be put to such claims
according to a certain principle, and not merely because we
find that all attempts of the sort have hitherto failed, for that
proves nothing against the possibility of a better result. But
here no principle is possible, except either to assume that in
respect of the supersensible absolutely nothing can be
theoretically determined (except mere negations); or else that
our Reason contains in itself a yet unused mine of cognitions,
reaching no one knows how far, stored up for ourselves and
our posterity.—But as concerns Religion, i.e. morals in
reference to God as legislator, if the theoretical cognition of
Him is to come first, morals must be adjusted in accordance
with Theology; and not only is an external arbitrary legislation
of a Supreme Being introduced in place of an internal
necessary legislation of Reason, but also whatever is defective
in our insight into the nature of this Being must extend to
ethical precepts, and thus make Religion immoral and
perverted.
As regards the hope of a future life, if instead of the final
purpose we have to accomplish in conformity with the precept
of the moral law, we ask of our theoretical faculty of cognition
a clue for the judgement of Reason upon our destination
(which clue is only considered as necessary or worthy of
acceptance in a practical reference), then in this aspect
Psychology, like Theology, gives no more than a negative
concept of our thinking being. That is, none of its actions or of
the phenomena of the internal sense can be explained
materialistically; and hence of its separate nature and of the
continuance or non-continuance of its personality after death
absolutely no ampliative determinant judgement is possible on
speculative grounds by means of our whole theoretical
cognitive faculty. Here then everything is handed over to the
teleological judging of our existence in a practically necessary
aspect, and to the assumption of our continuance as a
condition requisite for the final purpose absolutely furnished
by Reason. And so this advantage (which indeed at first glance
seems to be a loss) is apparent; that, as Theology for us can
never be Theosophy, or rational Psychology become
Pneumatology—an ampliative science—so on the other hand
this latter is assured of never falling into Materialism.
Psychology, rather, is a mere anthropology of the internal
sense, i.e. is the knowledge of our thinking self in life; and, as
theoretical cognition, remains merely empirical. On the other
hand, rational Psychology, as far as it is concerned with
questions as to our eternal existence, is not a theoretical
science at all, but rests on a single conclusion of moral
Teleology; as also its whole use is necessary merely on
account of the latter, i.e. on account of our practical
destination.

§ 90. Of the kind of belief in a teleological proof of the Being

of God

The first requisite for every proof, whether it be derived

from the immediate empirical presentation (as in the proof
from observation of the object or from experiment) of that
which is to be proved, or by Reason a priori from principles,
138
is this. It should not persuade, but convince, or at least
should tend to conviction. I.e. the ground of proof or the
conclusion should not be merely a subjective (aesthetical)
determining ground of assent (mere illusion), but objectively
valid and a logical ground of cognition; for otherwise the
Understanding is ensnared, but not convinced. Such an
illusory proof is that which, perhaps with good intent but yet
with wilful concealment of its weaknesses, is adduced in
Natural Theology. In this we bring in the great number of
indications of the origin of natural things according to the
principle of purposes, and take advantage of the merely
subjective basis of human Reason, viz. its special propensity to
think only one principle instead of several, whenever this can
be done without contradiction; and, when in this principle only
one or more requisites for determining a concept are furnished,
to add in our thought these additional [features] so as to
complete the concept of the thing by arbitrarily supplementing
it. For, in truth, when we meet with so many products in nature
which are to us marks of an intelligent cause, why should we
not think One cause rather than many; and in this One, not
merely great intelligence, power, etc., but rather Omniscience,
and Omnipotence—in a word, think it as a Cause that contains
the sufficient ground of such properties in all possible things?
Further, why should we not ascribe to this unique, all-
powerful, original Being not only intelligence for natural laws
and products, but also, as to a moral Cause of the world,
supreme, ethical, practical Reason? For by this completion of
the concept a sufficient principle is furnished both for insight
into nature and for moral wisdom; and no objection grounded
in any way can be made against the possibility of such an Idea.
If now at the same time the moral motives of the mind are
aroused, and a lively interest in the latter is added by the force
of eloquence (of which they are indeed very worthy), then
there arises therefrom a persuasion of the objective adequacy
of the proof; and also (in most cases of its use) a wholesome
illusion which quite dispenses with all examination of its
logical strictness, and even on the contrary regards this with
abhorrence and dislike as if an impious doubt lay at its basis.
—Now against this there is indeed nothing to say, so long as
we only have regard to its popular usefulness. But then the
division of the proof into the two dissimilar parts involved in
the argument—belonging to physical and moral Teleology
respectively—cannot and must not be prevented. For the
blending of these makes it impossible to discern where the
proper force of the proof lies, and in what part and how it must
be elaborated in order that its validity may be able to stand the
strictest examination (even if we should be compelled to admit
in one part the weakness of our rational insight). Thus it is the
duty of the philosopher (supposing even that he counts as
nothing the claims of sincerity) to expose the above illusion,
however wholesome it is, which such a confusion can
produce; and to distinguish what merely belongs to persuasion
from that which leads to conviction (for these are
determinations of assent which differ not merely in degree but
in kind), in order to present plainly the state of the mind in this
proof in its whole clearness, and to be able to subject it frankly
to the closest examination.
But a proof which is intended to convince, can again be of
two kinds; either deciding what the object is in itself, or what it
is for us (for men in general) according to our necessary
rational principles of judgement (proof κατ’ ἀλήθειαν or κατ’
ἄνθρωπον, the last word being taken in its universal
signification of man in general). In the first case it is based on
adequate principles for the determinant Judgement, in the
second for the reflective Judgement. In the latter case it can
never, when resting on merely theoretical principles, tend to
conviction; but if a practical principle of Reason (which is
therefore universally and necessarily valid) lies at its basis, it
may certainly lay claim to conviction adequate in a pure
practical point of view, i.e. to moral conviction. But a proof
tends to conviction, though without convincing, if it is
139
[merely] brought on the way thereto; i.e. if it contains in
itself only objective grounds, which although not attaining to
certainty are yet of such a kind that they do not serve merely
140
for persuasion as subjective grounds of the judgement.
All theoretical grounds of proof resolve themselves either
into: (1) Proofs by logically strict Syllogisms of Reason; or
where this is not the case, (2) Conclusions according to
analogy; or where this also has no place, (3) Probable opinion;
or finally, which has the least weight, (4) Assumption of a
merely possible ground of explanation, i.e. Hypothesis.—Now
I say that all grounds of proof in general, which aim at
theoretical conviction, can bring about no belief of this kind
from the highest to the lowest degree, if there is to be proved
the proposition of the existence of an original Being, as a God,
in the signification adequate to the whole content of this
concept; viz. a moral Author of the world, by whom the final
purpose of creation is at the same time supplied.
(1.) As to the logically accurate proof proceeding from
universal to particular, we have sufficiently established in the
Critique the following: Since no intuition possible for us
corresponds to the concept of a Being that is to be sought
beyond nature—whose concept therefore, so far as it is to be
theoretically determined by synthetical predicates, remains
always problematical for us—there is absolutely no cognition
of it to be had (by which the extent of our theoretical
knowledge is in the least enlarged). The particular concept of a
supersensible Being cannot be subsumed under the universal
principles of the nature of things, in order to conclude from
them to it, because those principles are valid simply for nature,
as an object of sense.
(2.) We can indeed think one of two dissimilar things,
even in the very point of their dissimilarity, in accordance with
141
the analogy of the other; but we cannot, from that wherein
they are dissimilar, conclude from the one to the other by
analogy, i.e. transfer from the one to the other this sign of
specific distinction. Thus I can, according to the analogy of the
law of the equality of action and reaction in the mutual
attraction and repulsion of bodies, also conceive of the
association of the members of a commonwealth according to
rules of right; but I cannot transfer to it those specific
determinations (material attraction or repulsion), and ascribe
them to the citizens in order to constitute a system called a
state.—Just so we can indeed conceive of the causality of the
original Being in respect of the things of the world, as natural
purposes, according to the analogy of an Understanding, as
ground of the forms of certain products which we call works
of art (for this only takes place on behalf of the theoretical or
practical use that we have to make by our cognitive faculty of
this concept in respect of the natural things in the world
according to a certain principle). But we can in no way
conclude according to analogy, because in the case of beings
of the world Understanding must be ascribed to the cause of an
effect which is judged artificial, that in respect of nature the
same causality which we perceive in men attaches also to the
Being which is quite distinct from nature. For this concerns the
very point of dissimilarity which is thought between a cause
sensibly conditioned in respect of its effects and the
supersensible original Being itself in our concept of it, and
which therefore cannot be transferred from one to the other.—
In the very fact that I must conceive the divine causality only
according to the analogy of an Understanding (which faculty
we know in no other being than in sensibly-conditioned man)
lies the prohibition to ascribe to it this Understanding in its
142
peculiar signification.
(3.) Opinion finds in a priori judgements no place
whatever, for by them we either cognise something as quite
certain or else cognise nothing at all. But if the given grounds
of proof from which we start (as here from the purposes in the
world) are empirical, then we cannot even with their aid form
any opinion as to anything beyond the world of sense, nor can
we concede to such venturesome judgements the smallest
claim to probability. For probability is part of a certainty
possible in a certain series of grounds (its grounds compare
with the sufficient ground as parts with a whole), the
insufficient ground of which must be susceptible of
completion. But since, as determining grounds of one and the
same judgement, they must be of the same kind, for otherwise
they would not together constitute a whole (such as certainty
is), one part of them cannot lie within the bounds of possible
experience and another outside all possible experience.
Consequently, since merely empirical grounds of proof lead to
nothing supersensible, and since what is lacking in the series
of them cannot in any way be completed, we do not approach
in the least nearer in our attempt to attain by their means to the
supersensible and to a cognition thereof. Thus in any
judgement about the latter by means of arguments derived
from experience, probability has no place.
(4.) If an hypothesis is to serve for the explanation of the
possibility of a given phenomenon, at least its possibility must
143
be completely certain. It is sufficient that in an hypothesis I
disclaim any cognition of actuality (which is claimed in an
opinion given out as probable); more than this I cannot give
up. The possibility of that which I place at the basis of my
explanation, must at least be exposed to no doubt; otherwise
there would be no end of empty chimeras. But to assume the
possibility of a supersensible Being determined according to
certain concepts would be a completely groundless
supposition. For here none of the conditions requisite for
cognition, as regards that in it which rests upon intuition, is
given, and so the sole criterion of possibility remaining is the
mere principle of Contradiction (which can only prove the
possibility of the thought, not of the object thought).
The result then is this. For the existence [Dasein] of the
original Being, as a Godhead, or of the soul as an immortal
spirit, absolutely no proof in a theoretical point of view is
possible for the human Reason, which can bring about even
the least degree of belief. The ground of this is quite easy to
comprehend. For determining our Ideas of the supersensible
we have no material whatever, and we must derive this latter
from things in the world of sense, which is absolutely
inadequate for such an Object. Thus, in the absence of all
determination of it, nothing remains but the concept of a non-
sensible something which contains the ultimate ground of the
world of sense, but which does not furnish any knowledge
(any amplification of the concept) of its inner constitution.

§ 91. Of the kind of belief produced by a practical faith

If we look merely to the way in which anything can be for

us (according to the subjective constitution of our
representative powers) an Object of knowledge (res
cognoscibilis), then our concepts will not cohere with Objects,
but merely with our cognitive faculties and the use which they
can make of a given representation (in a theoretical or
practical point of view). Thus the question whether anything is
or is not a cognisable being is not a question concerning the
possibility of things but of our knowledge of them.
Cognisable things are of three kinds: things of opinion
(opinabile); things of fact (scibile); and things of faith (mere
credibile).
(1.) Objects of mere rational Ideas, which for theoretical
knowledge cannot be presented in any possible experience, are
so far not cognisable things, and consequently in respect of
them we can form no opinion; for to form an opinion a priori
is absurd in itself and the straight road to mere chimeras.
Either then our proposition is certain a priori or it contains
nothing for belief. Therefore things of opinion are always
Objects of an empirical cognition at least possible in itself
(objects of the world of sense); but, which, on account merely
of the [low] degree of this faculty that we possess, is for us
144
impossible. Thus the ether of the new physicists, an elastic
fluid pervading all other matter (mingled intimately with it) is
a mere thing of opinion, yet is such that, if our external senses
were sharpened to the highest degree, it could be perceived;
though it can never be presented in any observation or
experiment. To assume [the existence of] rational inhabitants
of other planets is a thing of opinion; for if we could come
closer to them, which is in itself possible, we should decide by
experience whether they did or did not exist; but as we shall
never come so near, it remains in the region of opinion. But to
hold the opinion that there are in the material universe pure
thinking spirits without bodies (viz. if we dismiss as unworthy
of our notice certain phenomena which have been published as
145
actual ) is to be called poetic fiction. This is no thing of
opinion, but a mere Idea which remains over, when we remove
from a thinking being everything material, and only leave
thought to it. Whether then the latter (which we know only in
man, that is, in combination with a body) does survive, we
cannot decide. Such a thing is a sophistical being (ens rationis
ratiocinantis), not a rational being (ens rationis
146
ratiocinatae) ; of which latter it is possible to show
conclusively, the objective reality of its concept; at least for
the practical use of Reason, because this which has its peculiar
and apodictically certain principles a priori, demands
(postulates) it.
(2.) Objects for concepts, whose objective reality can be
proved (whether through pure Reason or through experience,
and, in the first case, from its theoretical or practical data, in
all cases by means of a corresponding intuition) are things of
147
fact (res facti). Of this kind are the mathematical properties
of magnitudes (in geometry), because they are susceptible of a
presentation a priori for the theoretical use of Reason. Further,
things or their characteristics, which can be exhibited in
experience (either our own or that of others through the
medium of testimony) are likewise things of fact.—And, what
is very remarkable, there is one rational Idea (susceptible in
itself of no presentation in intuition, and consequently, of no
theoretical proof of its possibility) which also comes under
things of fact. This is the Idea of freedom, whose reality,
regarded as that of a particular kind of causality (of which the
concept, theoretically considered, would be transcendent), may
be exhibited by means of practical laws of pure Reason, and
conformably to this, in actual actions, and, consequently, in
experience.—This is the only one of all the Ideas of pure
Reason, whose object is a thing of fact, and to be reckoned
under the scibilia.
(3.) Objects, which in reference to the use of pure
practical Reason that is in conformity with duty must be
thought a priori (whether as consequences or as grounds), but
which are transcendent for its theoretical use, are mere things
of faith. Of this kind is the highest good in the world, to be
148
brought about by freedom. The concept of this cannot be
established as regards its objective reality in any experience
possible for us and thus adequately for the theoretical use of
Reason; but its use is commanded by practical pure Reason [in
149
reference to the best possible working out of that purpose],
and it consequently must be assumed possible. This
commanded effect, together with the only conditions of its
possibility thinkable by us, viz. the Being of God and the
immortality of the soul, are things of faith (res fidei), and of all
150
objects are the only ones which can be so called. For though
what we learn by testimony from the experience of others must
be believed by us, yet it is not therefore a thing of faith; for it
was the proper experience of some one witness and so a thing
of fact, or is presupposed as such. Again it must be possible by
this path (that of historical faith) to arrive at knowledge; and
the Objects of history and geography, like everything in
general which it is at least possible to know by the constitution
of our cognitive faculties, belong not to things of faith but to
things of fact. It is only objects of pure Reason which can be
things of faith at all, though not as objects of the mere pure
speculative Reason: for then they could not be reckoned with
certainty among things, i.e. Objects of that cognition which is
possible for us. They are Ideas, i.e. concepts of the objective
reality of which we cannot theoretically be certain. On the
other hand, the highest final purpose to be worked out by us,
by which alone we can become worthy of being ourselves the
final purpose of creation, is an Idea which has in a practical
reference objective reality for us, and is also a thing. But
because we cannot furnish such reality to this concept in a
theoretical point of view, it is a mere thing of faith of the pure
Reason, along with God and Immortality, as the conditions
under which alone we, in accordance with the constitution of
our (human) Reason, can conceive the possibility of that effect
of the use of our freedom in conformity with law. But belief in
things of faith is a belief in a pure practical point of view, i.e. a
moral faith, which proves nothing for theoretical pure rational
cognition, but only for that which is practical and directed to
the fulfilment of its duties; it in no way extends speculation or
the practical rules of prudence in accordance with the principle
of self-love. If the supreme principle of all moral laws is a
postulate, so is also the possibility of its highest Object; and
consequently, too, the condition under which we can think this
possibility is postulated along with it and by it. Thus the
cognition of the latter is neither knowledge nor opinion of the
being and character of these conditions, regarded as theoretical
cognition; but is a mere assumption in a reference which is
practical and commanded for the moral use of our Reason.
If we were able also plausibly to base upon the purposes
of nature, which physical Teleology presents to us in such rich
abundance, a determinate concept of an intelligent World-
Cause, then the existence [Dasein] of this Being would not be
a thing of faith. For since this would not be assumed on behalf
of the performance of my duty, but only in reference to the
explanation of nature, it would be merely the opinion and
hypothesis most conformable to our Reason. Now such
Teleology leads in no way to a determinate concept of God; on
the contrary, this can only be found in the concept of a moral
Author of the World, because this alone furnishes the final
purpose to which we can only reckon ourselves [as attached] if
we behave conformably to what the moral law prescribes as
final purpose and consequently obliges us [to do]. Hence it is
only by its reference to the Object of our duty, as the condition
of the possibility of attaining the final purpose of the same,
that the concept of God attains the privilege of counting as a
thing of faith, in our belief; but on the other hand, this same
concept cannot make its Object valid as a thing of fact. For,
although the necessity of duty is very plain for practical
Reason, yet the attainment of its final purpose, so far as it is
not altogether in our own power, is only assumed on behalf of
the practical use of Reason, and therefore is not so practically
151
necessary as duty itself.
Faith (as habitus, not as actus) is the moral attitude of
Reason as to belief in that which is unattainable by theoretical
cognition. It is therefore the constant principle of the mind, to
assume as true, on account of the obligation in reference to it,
that which it is necessary to presuppose as condition of the
152
possibility of the highest moral final purpose ; although its
possibility or impossibility be alike impossible for us to see
into. Faith (absolutely so called) is trust in the attainment of a
design, the promotion of which is a duty, but the possibility of
the fulfilment of which (and consequently also that of the only
conditions of it thinkable by us) is not to be comprehended by
us. Faith, then, that refers to particular objects, which are not
objects of possible knowledge or opinion (in which latter case
it ought to be called, especially in historical matters, credulity
and not faith), is quite moral. It is a free belief, not in that for
which dogmatical proofs for the theoretically determinant
Judgement are to be found, or in that to which we hold
ourselves bound, but in that which we assume on behalf of a
design in accordance with laws of freedom. This, however, is
not, like opinion, without any adequate ground; but, is
grounded as in Reason (although only in respect of its
practical employment), and adequately for its design. For
without this, the moral attitude of thought in its repudiation of
the claim of the theoretical Reason for proofs (of the
possibility of the Objects of morality) has no permanence; but
wavers between practical commands and theoretical doubts.
To be incredulous means to cling to maxims, and not to
believe testimony in general; but he is unbelieving, who denies
all validity to rational Ideas, because there is wanting a
154
theoretical ground of their reality. He judges therefore
dogmatically. A dogmatical unbelief cannot subsist together
with a moral maxim dominant in the mental attitude (for
Reason cannot command one to follow a purpose, which is
cognised as nothing more than a chimera); but a doubtful faith
can. To this the absence of conviction by grounds of
speculative Reason is only a hindrance, the influence of which
upon conduct a critical insight into the limits of this faculty
can remove, while it substitutes by way of compensation a
paramount practical belief.
 * * * * *
If, in place of certain mistaken attempts, we wish to
introduce a different principle into philosophy and to promote
its influence, it makes us highly contented to see how and why
those attempts must have disappointed us.
God, freedom, and immortality, are the problems at the
solution of which all the equipments of Metaphysic aim, as
their ultimate and unique purpose. Now it was believed that
the doctrine of freedom is needed for practical philosophy only
as its negative condition; but that on the other hand the
doctrine of God and of the constitution of the soul, as
belonging to theoretical philosophy, must be established for
themselves and separately, in order afterwards to unite both
with that which the moral law (possible only under the
condition of freedom) commands, and so to constitute a
religion. But we can easily see that these attempts must fail.
For from mere ontological concepts of things in general, or of
the existence of a necessary Being, it is possible to form
absolutely no determinate concept of an original Being by
means of predicates which can be given in experience and can
therefore serve for cognition. Again a concept based on
experience of the physical purposiveness of nature could
furnish no adequate proof for morality, or consequently for
cognition of a Deity. Just as little could the cognition of the
soul by means of experience (which we only apply in this life)
supply us with a concept of its spiritual immortal nature, a
concept which would be adequate for morality. Theology and
Pneumatology, regarded as problems of the sciences of a
speculative Reason, can be established by no empirical data
and predicates, because the concept of them is transcendent for
our whole cognitive faculty.—The determination of both
concepts, God and the soul (in respect of its immortality)
alike, can only take place by means of predicates, which,
although they are only possible from a supersensible ground,
must yet prove their reality in experience; for thus alone can
they make possible a cognition of a quite supersensible Being.
—The only concept of this kind to be met with in human
Reason is that of the freedom of men under moral laws, along
with the final purpose which Reason prescribes by these laws.
Of these two [the moral laws and the final purpose] the first
are useful for ascribing to the Author of Nature, the second for
ascribing to man, those properties which contain the necessary
condition of the possibility of both [God and the soul]; so that
from this Idea a conclusion can be drawn as to the existence
and constitution of these beings which are otherwise quite
hidden from us.
Thus the ground of the failure of the attempt to prove God
and immortality by the merely theoretical path lies in this, that
no cognition whatever is possible of the supersensible in this
way (of natural concepts). The ground of its success by the
moral way (of the concept of freedom) is as follows. Here the
supersensible (freedom), which in this case is fundamental, by
a determinate law of causality that springs from it, not only
supplies material for cognition of other supersensibles (the
moral final purpose and the conditions of its attainability), but
also establishes its reality in actions as a fact; though at the
same time it can furnish a valid ground of proof in no other
than a practical point of view (the only one, however, of which
Religion has need).
It is thus very remarkable that of the three pure rational
Ideas, God, freedom, and immortality, that of freedom is the
only concept of the supersensible which (by means of the
causality that is thought in it) proves its objective reality in
nature by means of the effects it can produce there; and thus
renders possible the connexion of both the others with nature,
and of all three together with Religion. We have therefore in us
a principle capable of determining the Idea of the
supersensible within us, and thus also that of the supersensible
without us, for knowledge, although only in a practical point
of view; a principle this of which mere speculative philosophy
(which could give a merely negative concept of freedom) must
despair. Consequently the concept of freedom (as fundamental
concept of all unconditioned practical laws) can extend
Reason beyond those bounds, within which every natural
(theoretical) concept must remain hopelessly limited.

General remark on Teleology

 If the question is, what rank the moral argument, which
proves the Being of God only as a thing of faith for the
practical pure Reason, maintains among the other arguments in
philosophy, it is easy to set aside the whole achievement of
this last; by which it appears that there is no choice, but that
our theoretical faculty must give up all its pretensions before
an impartial criticism.
All belief must in the first place be grounded upon facts, if
it is not to be completely groundless; and therefore the only
distinction in proofs that there can be is that belief in the
consequence derived therefrom can either be grounded on this
fact as knowledge for theoretical cognition, or merely as faith
for practical. All facts belong either to the natural concept
which proves its reality in the objects of sense, given (or
which may possibly be given) before all natural concepts; or to
the concept of freedom, which sufficiently establishes its
reality through the causality of Reason in regard of certain
effects in the world of sense, possible through it, which it
incontrovertibly postulates in the moral law. The natural
concept (merely belonging to theoretical cognition) is now
either metaphysical and thinkable completely a priori, or
physical, i.e. thinkable a posteriori and as necessary only
through determinate experience. The metaphysical natural
concept (which presupposes no determinate experience) is
therefore ontological.
The ontological proof of the being of God from the
concept of an original Being is either that which from
ontological predicates, by which alone it can be thought as
completely determined, infers absolutely necessary being; or
that which, from the absolute necessity of the being
somewhere of some thing, whatever it be, infers the predicates
of the original Being. For there belongs to the concept of an
original Being, inasmuch as it is not derived from anything,
the unconditioned necessity of its presence, and (in order to
155
represent this) its complete determination by its [mere]
concept. It was believed that both requirements were found in
the concept of the ontological Idea of a Being the most real of
all; and thus two metaphysical proofs originated.
 The proof (properly called ontological) resting upon a
merely metaphysical natural concept concludes from the
concept of the Being the most real of all, its absolutely
necessary existence; for (it is said), if it did not exist, a reality
would be wanting to it, viz. existence.—The other (which is
also called the metaphysico-cosmological proof) concludes
from the necessity of the existence somewhere of a thing
(which must be conceded, for a being is given to us in self-
consciousness), its complete determination as that of a Being
the most real of all; for everything existing must be completely
determined, but the absolutely necessary (i.e. that which we
ought to cognise as such and consequently a priori) must be
completely determined by means of its own concept. But this is
only the case with the concept of a thing the most real of all. It
is not needful to expose here the sophistry in both arguments,
156
which has been already done elsewhere; it is only needful to
remark that neither proof, even if they could be defended by
all manner of dialectical subtlety, could ever pass from the
schools into the world, or have the slightest influence on the
mere sound Understanding.
The proof, which rests on a natural concept that can only
be empirical and yet is to lead us beyond the bounds of nature
regarded as the complex of the objects of sense, can be no
other than that derived from the purposes of nature. The
concept of these cannot, it is true, be given a priori but only
through experience; but yet it promises such a concept of the
original ground of nature as alone, among all those which we
can conceive, is suited to the supersensible, viz. that of a
highest Understanding as Cause of the world. This, in fact, it
completely performs in accordance with principles of the
reflective Judgement, i.e. in accordance with the constitution
of our (human) faculty of cognition.—But whether or not it is
in a position to supply from the same data this concept of a
supreme, i.e. independent intelligent Being, in short of a God
or Author of a world under moral laws, and consequently as
sufficiently determined for the Idea of a final purpose of the
being of the world—this is the question upon which
everything depends, whether we desire a theoretically
adequate concept of the Original Being on behalf of our whole
knowledge of nature, or a practical concept for religion.
This argument derived from physical Teleology is worthy
of respect. It produces a similar effect in the way of conviction
upon the common Understanding as upon the subtlest thinker;
157
and a Reimarus has acquired immortal honour in his work
(not yet superseded), in which he abundantly develops this
ground of proof with his peculiar thoroughness and lucidity.—
But how does this proof acquire such mighty influence upon
the mind? How does a judgement by cold reason (for we might
refer to persuasion the emotion and elevation of reason
produced by the wonders of nature) issue thus in a calm and
unreserved assent? It is not the physical purposes, which all
indicate in the World Cause an unfathomable intelligence;
these are inadequate thereto, because they do not satisfy the
need of the inquiring Reason. For, wherefore (it asks) are all
those natural things that exhibit art? Wherefore is man
himself, whom we must regard as the ultimate purpose of
nature thinkable by us? Wherefore is this collective Nature
here, and what is the final purpose of such great and manifold
art? Reason cannot be contented with enjoyment or with
contemplation, observation, and admiration (which, if it stops
there, is only enjoyment of a particular kind) as the ultimate
final purpose for the creation of the world and of man himself;
for this presupposes a personal worth, which man alone can
give himself, as the condition under which alone he and his
being can be the final purpose. Failing this (which alone is
susceptible of a definite concept), the purposes of nature do
not satisfactorily answer our questions; especially because
they cannot furnish any determinate concept of the highest
Being as an all-sufficient (and therefore unique and so
properly called highest) being, and of the laws according to
which an Understanding is Cause of the world.
Hence that the physico-teleological proof convinces, just
as if it were a theological proof, does not arise from our
availing ourselves of the Ideas of purposes of nature as so
many empirical grounds of proof of a highest Understanding.
But it mingles itself unnoticed with that moral ground of
proof, which dwells in every man and influences him secretly,
in the conclusion by which we ascribe to the Being, which
manifests itself with such incomprehensible art in the purposes
of nature, a final purpose and consequently wisdom (without
however being justified in doing so by the perception of the
former); and by which therefore we arbitrarily fill up the
lacunas of the [design] argument. In fact it is only the moral
ground of proof which produces conviction, and that only in a
moral reference with which every man feels inwardly his
agreement. But the physico-teleological proof has only the
merit of leading the mind, in its consideration of the world, by
the way of purposes and through them to an intelligent Author
of the world. The moral reference to purposes and the Idea of a
moral legislator and Author of the world, as a theological
concept, seem to be developed of themselves out of that
ground of proof, although they are in truth pure additions.
Henceforward we may allow the customary statement to
stand. For it is generally difficult (if the distinction requires
much reflection) for ordinary sound Understanding to
distinguish from one another as heterogeneous the different
principles which it confuses, and from one of which alone it
actually draws conclusions with correctness. The moral
ground of proof of the Being of God, properly speaking, does
not merely complete and render perfect the physico-
teleological proof; but it is a special proof that supplies the
conviction which is wanting in the latter. This latter in fact can
do nothing more than guide Reason, in its judgements upon
the ground of nature and that contingent but admirable order
of nature only known to us by experience, to the causality of a
Cause containing the ground of the same in accordance with
purposes (which we by the constitution of our cognitive
faculties must think as an intelligent cause); and thus by
arresting the attention of Reason it makes it more susceptible
of the moral proof. For what is requisite to the latter concept is
so essentially different from everything which natural concepts
contain and can teach, that there is need of a particular ground
of proof quite independent of the former, in order to supply the
concept of the original Being adequately for Theology and to
infer its existence.—The moral proof (which it is true only
proves the Being of God in a practical though indispensable
aspect of Reason) would preserve all its force, if we found in
the world no material, or only that which is doubtful, for
physical Teleology. It is possible to conceive rational beings
surrounded by a nature which displayed no clear trace of
organisation but only the effects of a mere mechanism of crude
matter; on behalf of which and amid the changeability of some
merely contingent purposive forms and relations there would
appear to be no ground for inferring an intelligent Author. In
such case there would be no occasion for a physical Teleology;
and yet Reason, which here gets no guidance from natural
concepts, would find in the concept of freedom and in the
moral Ideas founded thereon a practically sufficient ground for
postulating the concept of the original Being in conformity
with these, i.e. as a Deity, and for postulating nature (even the
nature of our own being) as a final purpose in accordance with
freedom and its laws—and all this in reference to the
indispensable command of practical Reason.—However the
fact that there is in the actual world for the rational beings in it
abundant material for physical Teleology (even though this is
not necessary) serves as a desirable confirmation of the moral
argument, as far as nature can exhibit anything analogous to
the (moral) rational Ideas. For the concept of a supreme Cause
possessing intelligence (though not reaching far enough for a
Theology) thus acquires sufficient reality for the reflective
Judgement, but it is not required as the basis of the moral
proof; nor does this latter serve to complete as a proof the
former, which does not by itself point to morality at all, by
means of an argument developed according to a single
principle. Two such heterogeneous principles as nature and
freedom can only furnish two different kinds of proof; and the
attempt to derive one from the other is found unavailing as
regards that which is to be proved.
If the physico-teleological ground of proof sufficed for the
proof which is sought, it would be very satisfactory for the
speculative Reason; for it would furnish the hope of founding
a Theosophy (for so we must call the theoretical cognition of
the divine nature and its existence which would suffice at once
for the explanation of the constitution of the world and for the
determination of moral laws). In the same way if Psychology
enabled us to arrive at a cognition of the immortality of the
soul it would make Pneumatology possible, which would be
just as welcome to the speculative Reason. But neither,
agreeable as they would be to the arrogance of our curiosity,
would satisfy the wish of Reason in respect of a theory which
must be based on a cognition of the nature of things. Whether
the first, as Theology, and the second, as Anthropology, when
founded on the moral principle, i.e. the principle of freedom,
and consequently in accordance with the practical use [of
Reason] do not better fulfil their objective final design, is
another question which we need not here pursue.
The physico-teleological ground of proof does not reach
to Theology, because it does not and cannot give any
determinate concept, sufficient for this design, of the original
Being; but we must derive this from quite another quarter, or
must supply its lacuna by an arbitrary addition. You infer, from
the great purposiveness of natural forms and their relations, a
world-cause endowed with Understanding; but what is the
degree of this Understanding? Without doubt you cannot
assume that it is the highest possible Understanding; because
for that it would be requisite that you should see that a greater
Understanding than that of which you perceive proofs in the
world, is not thinkable; and this would be to ascribe
158
Omniscience to yourself. In the same way, if you infer from
the magnitude of the world the very great might of its Author,
you must be content with this having only a comparative
significance for your faculty of comprehension; for since you
do not know all that is possible, so as to compare it with the
magnitude of the world as far as you know it, you cannot infer
the Almightiness of its Author from so small a standard, and
so on. Now you arrive in this way at no definite concept of an
original Being available for a Theology; for this can only be
found in the concept of the totality of perfections compatible
with intelligence, and you cannot help yourself to this by
merely empirical data. But without such a definite concept you
cannot infer a unique intelligent original Being; you can only
assume it (with whatever motive).—Now it may certainly be
conceded that you should arbitrarily add (for Reason has
nothing fundamental to say to the contrary): Where so much
perfection is found, we may well assume that all perfection is
united in a unique Cause of the world, because Reason
succeeds better both theoretically and practically with a
principle thus definite. But then you cannot regard this concept
of the original Being as proved by you, for you have only
assumed it on behalf of a better employment of Reason. Hence
all lamentation or impotent anger on account of the alleged
mischief of rendering doubtful the coherency of your chain of
reasoning, is vain pretentiousness, which would fain have us
believe that the doubt here freely expressed as to your
argument is a doubting of sacred truth, in order that under this
cover the shallowness of your argument may pass unnoticed.
Moral Teleology, on the other hand, which is not less
firmly based than physical,—which, indeed, rather deserves
the preference because it rests a priori on principles
inseparable from our Reason—leads to that which is requisite
for the possibility of a Theology, viz. to a determinate concept
of the supreme Cause, as Cause of the world according to
moral laws, and, consequently, to the concept of such a cause
as satisfies our moral final purpose. For this are required, as
natural properties belonging to it, nothing less than
Omniscience, Omnipotence, Omnipresence, and the like,
which must be thought as bound up with the moral final
purpose which is infinite and thus as adequate to it. Hence
moral Teleology alone can furnish the concept of a unique
Author of the world, which is available for a Theology.
In this way Theology leads immediately to Religion, i.e.
159
the recognition of our duties as divine commands ; because
it is only the recognition of our duty and of the final purpose
enjoined upon us by Reason which brings out with
definiteness the concept of God. This concept, therefore, is
inseparable in its origin from obligation to that Being. On the
other hand, even if the concept of the original Being could be
also found determinately by the merely theoretical path (viz.
the concept of it as mere Cause of nature), it would afterwards
be very difficult—perhaps impossible without arbitrary
interpolation [of elements]—to ascribe to this Being by well-
grounded proofs a causality in accordance with moral laws;
and yet without this that quasi-theological concept could
furnish no foundation for religion. Even if a religion could be
established by this theoretical path, it would actually, as
regards sentiment (wherein its essence lies) be different from
that in which the concept of God and the (practical) conviction
of His Being originate from the fundamental Ideas of morality.
For if we must suppose the Omnipotence, Omniscience, etc.,
of an Author of the world as concepts given to us from another
quarter, in order afterwards only to apply our concepts of
duties to our relation to Him, then these latter concepts must
bear very markedly the appearance of compulsion and forced
submission. If, instead of this, the respect for the moral law,
quite freely, in virtue of the precept of our own Reason,
represents to us the final purpose of our destination, we admit
among our moral views a Cause harmonising with this and
with its accomplishment, with the sincerest reverence, which
is quite distinct from pathological fear; and we willingly
160
submit ourselves thereto.
If it be asked why it is incumbent upon us to have any
Theology at all, it appears clear that it is not needed for the
extension or correction of our cognition of nature or in general
for any theory, but simply in a subjective point of view for
Religion, i.e. the practical or moral use of our Reason. If it is
found that the only argument which leads to a definite concept
of the object of Theology is itself moral, it is not only not
strange, but we miss nothing in respect of its final purpose as
regards the sufficiency of belief from this ground of proof,
provided that it be admitted that such an argument only
establishes the Being of God sufficiently for our moral
destination, i.e. in a practical point of view, and that here
speculation neither shows its strength in any way, nor extends
by means of it the sphere of its domain. Our surprise and the
alleged contradiction between the possibility of a Theology
asserted here and that which the Critique of speculative
Reason said of the Categories—viz. that they can only produce
knowledge when applied to objects of sense, but in no way
when applied to the supersensible—vanish, if we see that they
are here used for a cognition of God not in a theoretical point
of view (in accordance with what His own nature, inscrutable
to us, may be) but simply in a practical.—In order then at this
opportunity to make an end of the misinterpretation of that
very necessary doctrine of the Critique, which, to the chagrin
of the blind dogmatist, refers Reason to its bounds, I add here
the following elucidation.
If I ascribe to a body motive force and thus think it by
means of the category of causality, then I at the same time
cognise it by that [category]; i.e. I determine the concept of it,
as of an Object in general, by means of what belongs to it by
itself (as the condition of the possibility of that relation) as an
object of sense. If the motive force ascribed to it is repulsive,
then there belongs to it (although I do not place near it any
other body upon which it may exert force) a place in space,
and moreover extension, i.e. space in itself, besides the filling
up of this by means of the repulsive forces of its parts. In
addition there is the law of this filling up (that the ground of
the repulsion of the parts must decrease in the same proportion
as the extension of the body increases, and as the space, which
it fills with the same parts by means of this force, is
augmented).—On the contrary, if I think a supersensible Being
as the first mover, and thus by the category of causality as
regards its determination of the world (motion of matter), I
must not think it as existing in any place in space nor as
extended; I must not even think it as existing in time or
simultaneously with other beings. Hence I have no
determinations whatever, which could make intelligible to me
the condition of the possibility of motion by means of this
Being as its ground. Consequently, I do not in the very least
cognise it by means of the predicate of Cause (as first mover),
for itself; but I have only the representation of a something
containing the ground of the motions in the world; and the
relation of the latter to it as their cause, since it does not
besides furnish me with anything belonging to the constitution
of the thing which is cause, leaves its concept quite empty. The
reason of this is, that by predicates which only find their
Object in the world of sense I can indeed proceed to the being
of something which must contain their ground, but not to the
determination of its concept as a supersensible being, which
excludes all these predicates. By the category of causality,
then, if I determine it by the concept of a first mover, I do not
in the very least cognise what God is. Perhaps, however, I
shall have better success if I start from the order of the world,
not merely to think its causality as that of a supreme
Understanding, but to cognise it by means of this
determination of the said concept; because here the
troublesome condition of space and of extension disappears.—
At all events the great purposiveness in the world compels us
to think a supreme cause of it, and to think its causality as that
of an Understanding; but we are not therefore entitled to
ascribe this to it. (E.g. we think of the eternity of God as
presence in all time, because we can form no other concept of
mere being as a quantum, i.e. as duration; or we think of the
divine Omnipresence as presence in all places in order to make
comprehensible to ourselves His immediate presence in things
which are external to one another; without daring to ascribe to
God any of these determinations, as something cognised in
Him.) If I determine the causality of a man, in respect of
certain products which are only explicable by designed
purposiveness, by thinking it as that of Understanding, I need
not stop here, but I can ascribe to him this predicate as a well-
known property and cognise him accordingly. For I know that
intuitions are given to the senses of men and are brought by
the Understanding under a concept and thus under a rule; that
this concept only contains the common characteristic (with
omission of the particular ones) and is thus discursive; and that
the rules for bringing given representations under a
consciousness in general are given by Understanding before
those intuitions, etc. I therefore ascribe this property to man as
a property by means of which I cognise him. However, if I
wish to think a supersensible Being (God) as an intelligence,
this is not only permissible in a certain aspect of my
employment of Reason—it is unavoidable; but to ascribe to
Him Understanding and to flatter ourselves that we can
cognise Him by means of it as a property of His, is in no way
permissible. For I must omit all those conditions under which
alone I know an Understanding, and thus the predicate which
only serves for determining man cannot be applied at all to a
supersensible Object; and therefore by a causality thus
determined, I cannot cognise what God is. And so it is with all
Categories, which can have no significance for cognition in a
theoretical aspect, if they are not applied to objects of possible
experience.—However, according to the analogy of an
Understanding I can in a certain other aspect think a
supersensible being, without at the same time meaning thereby
to cognise it theoretically; viz. if this determination of its
causality concerns an effect in the world, which contains a
design morally necessary but unattainable by a sensible being.
For then a cognition of God and of His Being (Theology) is
possible by means of properties and determinations of His
causality merely thought in Him according to analogy, which
has all requisite reality in a practical reference though only in
respect of this (as moral).—An Ethical Theology is therefore
possible; for though morality can subsist without theology as
regards its rule, it cannot do so as regards the final design
which this proposes, unless Reason in respect of it is to be
renounced. But a Theological Ethic (of pure Reason) is
impossible; for laws which Reason itself does not give and
whose observance it does not bring about as a pure practical
faculty, can not be moral. In the same way a Theological
Physic would be a nonentity, for it would propose no laws of
nature but ordinances of a Highest Will; while on the other
hand a physical (properly speaking a physico-teleological)
Theology can serve at least as a propaedeutic to Theology
proper, by giving occasion for the Idea of a final purpose
which nature cannot present by the observation of natural
purposes of which it offers abundant material. It thus makes
felt the need of a Theology which shall determine the concept
of God adequately for the highest practical use of Reason, but
it cannot develop this and base it satisfactorily on its proofs.
THE END
Printed by R. & R. CLARK, LIMITED, Edinburgh.
 WORKS ON PHILOSOPHY

By IMMANUEL KANT
KANT’S CRITICAL PHILOSOPHY FOR ENGLISH
READERS. By J. P. MAHAFFY, D.D., and The Right
Rev. J. H. BERNARD, D.D. Two vols. Crown 8vo.

Vol. I. THE KRITIK OF THE PURE REASON EXPLAINED AND

DEFENDED. 7s. 6d.
Vol. II. PROLEGOMENA. Translated, with Notes and
Appendices. 6s.

CRITIQUE OF PURE REASON. Translated by F. MAX

MÜLLER. Second Edition, Revised. Extra Crown 8vo.
15s. net.
CRITIQUE OF PURE REASON. Translated by F. MAX
MÜLLER. Vol. 1. Containing Translator’s Preface;
Historical Introduction by LUDWIG NOIRÉ; and
Additions made by KANT in the Second Edition of the
Critique. 8vo. 16s.

By Professor HENRI BERGSON

CREATIVE EVOLUTION. Translated by ARTHUR
MITCHELL, Ph.D. 8vo. 10s. net.
LAUGHTER: An Essay on the Meaning of the Comic.
Authorised Translation from the Sixth Edition by
CLOUDESLEY BRERETON, L. ès L. (Paris), M.A.
(Cantab.); and FRED ROTHWELL, B.A. (London). Extra
Crown 8vo. 3s. 6d. net.
AN INTRODUCTION TO METAPHYSICS. Translated by
T. E. HULME. Crown 8vo. 2s. net.
A CRITICAL EXPOSITION OF BERGSON’S
PHILOSOPHY. By J. MCKELLAR STEWART, B.A.,
D.Phil. 8vo. 5s. net.

By BENEDETTO CROCE
PHILOSOPHY OF THE PRACTICAL. Economic and
Ethic. Translated by DOUGLAS AINSLIE, B.A. 8vo. 12s.
net.
ÆSTHETIC AS SCIENCE OF EXPRESSION AND
GENERAL LINGUISTIC. Translated by DOUGLAS
AINSLIE, B.A. 8vo. 10s. net.
ENCYCLOPÆDIA OF THE PHILOSOPHICAL
SCIENCES. Edited by WILHELM WINDELBAND and
ARNOLD RUGE. English Edition under the Editorship of
Sir HENRY JONES. 8vo.

Vol. I. LOGIC. By ARNOLD RUGE, WILHELM WINDELBAND,

JOSIAH ROYCE, LOUIS COUTURAT, BENEDETTO CROCE,
FEDERIGO ENRIQUES, and NICOLAJ LOSSKIJ. 7s. 6d. net.

LONDON: MACMILLAN AND CO., LTD.

WORKS ON PHILOSOPHY
THE SCHOOLS OF PHILOSOPHY
A HISTORY OF THE EVOLUTION OF
PHILOSOPHICAL THOUGHT
BY VARIOUS WRITERS
EDITED BY

SIR HENRY JONES

 PROFESSOR OF MORAL PHILOSOPHY IN THE UNIVERSITY OF
GLASGOW

THE EVOLUTION OF EDUCATIONAL THEORY. By

Professor JOHN ADAMS, M.A., B.Sc., LL.D. 8vo. 10s.
net.
THE HISTORY OF GREEK PHILOSOPHY. By Professor
JOHN BURNET, LL.D. Vol. I. From Thales to Plato.
[In the Press.

THE HISTORY OF MODERN PHILOSOPHY FROM

HOBBES TO REID. By Professor G. F. STOUT.
[In preparation.
Other volumes to follow.

* * * * *

THE PRINCIPLE OF INDIVIDUALITY AND VALUE.

The Gifford Lectures for 1911. By BERNARD
BOSANQUET, LL.D., D.C.L. 8vo. 10s. net.
THE VALUE AND DESTINY OF THE INDIVIDUAL.
The Gifford Lectures for 1912 By BERNARD
BOSANQUET, LL.D., D.C.L. 8vo. 10s. net.
THE CROWNING PHASE OF THE CRITICAL
PHILOSOPHY. A Study in Kant’s Critique of
Judgment. By R. A. C. MACMILLAN, M.A., D.Phil. 8vo.
10s. net.
THE HISTORY AND THEORY OF VITALISM. By Prof.
HANS DRIESCH, Ph.D. Translated by C. K. OGDEN, B.A.
Revised throughout and in part rewritten by the Author
for the English Edition. Crown 8vo.
[In the Press.

THE PROBLEM OF INDIVIDUALITY. Lectures. By Prof.

HANS DRIESCH, Ph.D. 8vo.
[In the Press.

THE FOUNDATIONS OF CHARACTER. Being a Study

of the Emotions and Sentiments. By ALEXANDER F.
 SHAND, M.A. 8vo.
[In the Press.

THE THEORY OF RELATIVITY. By L. SILBERSTEIN, Ph.D.

8vo.
[In the Press.

MODERN PHILOSOPHERS. Lectures. By HARALD

HÖFFDING. Translated by ALFRED C. MASON, M.A.
Crown 8vo.
[In the Press.

LONDON: MACMILLAN AND CO., LTD.

 FOOTNOTES:
1
Dr. Caird (Critical Philosophy of Kant, vol. ii.
p. 406) has given an instructive account of the
gradual development in Kant’s mind of the
main idea of the Critique of Judgement.
2
Natural Theology and Modern Thought, p. 158.
3
I reproduce here in part a paper read before the
Victoria Institute in April 1892.
4
Critique of Pure Reason. Dialectic, Bk. ii. chap.
i. near the end.
5
Cf. Kuno Fischer, A Critique of Kant, p. 142.
6
Quoted by Caird, Critical Philosophy of Kant,
vol. ii. p. 507, who reiterates this criticism all
through his account of Kant’s teaching.
7
Natural Theology and Modern Thought, p. 241.
8
[Reading, with Windelband, in sicheren
alleinigen Besitz.]
9
If we have cause for supposing that concepts
which we use as empirical principles stand in
relationship with the pure cognitive faculty a
priori, it is profitable, because of this reference,
to seek for them a transcendental definition; i.e.
a definition through pure categories, so far as
these by themselves adequately furnish the
distinction of the concept in question from
others. We here follow the example of the
mathematician who leaves undetermined the
empirical data of his problem, and only brings
their relation in their pure synthesis under the
concepts of pure Arithmetic, and thus
generalises the solution. Objection has been
brought against a similar procedure of mine (cf.
the Preface to the Critique of Practical Reason,
Abbott’s Translation, p. 94), and my definition
of the faculty of desire has been found fault
with, viz. that it is [the being’s] faculty of
becoming by means of its representations the
cause of the actuality of the objects of these
representations; for the desires might be mere
cravings, and by means of these alone every
one is convinced the Object cannot be
produced.—But this proves nothing more than
that there are desires in man, by which he is in
contradiction with himself. For here he strives
for the production of the Object by means of
the representation alone, from which he can
expect no result, because he is conscious that
his mechanical powers (if I may so call those
which are not psychological) which must be
determined by that representation to bring
about the Object (mediately) are either not
competent, or even tend towards what is
impossible; e.g. to reverse the past (O mihi
praeteritos … etc.), or to annihilate in the
impatience of expectation the interval before
the wished for moment.—Although in such
fantastic desires we are conscious of the
inadequacy (or even the unsuitability) of our
representations for being causes of their
objects, yet their reference as causes, and
consequently the representation of their
causality, is contained in every wish; and this is
specially evident if the wish is an affection or
longing. For these [longings] by their dilatation
and contraction of the heart and consequent
exhaustion of its powers, prove that these
 powers are continually kept on the stretch by
representations, but that they perpetually let the
mind, having regard to the impossibility [of the
desire], fall back in exhaustion. Even prayers
for the aversion of great and (as far as one can
see) unavoidable evils, and many superstitious
means for attaining in a natural way impossible
purposes, point to the causal reference of
representations to their Objects; a reference
which cannot at all be checked by the
consciousness of the inadequacy of the effort to
produce the effect.—As to why there should be
in our nature this propensity to desires which
are consciously vain, that is an anthropologico-
teleological problem. It seems that if we were
not determined to the application of our powers
before we were assured of the adequacy of our
faculties to produce an Object, these powers
would remain in great part unused. For we
commonly learn to know our powers only by
first making trial of them. This deception in the
case of vain wishes is then only the
consequence of a benevolent ordinance in our
nature. [This note was added by Kant in the
Second Edition.]
10
One of the various pretended contradictions in
this whole distinction of the causality of nature
from that of freedom is this. It is objected that
if I speak of obstacles which nature opposes to
causality according to (moral) laws of freedom
or of the assistance it affords, I am admitting
an influence of the former upon the latter. But
if we try to understand what has been said, this
misinterpretation is very easy to avoid. The
opposition or assistance is not between nature
and freedom, but between the former as
phenomenon and the effects of the latter as
phenomena in the world of sense. The causality
of freedom itself (of pure and practical Reason)
 is the causality of a natural cause subordinated
to freedom (i.e. of the subject considered as
man and therefore as phenomenon). The
intelligible, which is thought under freedom,
contains the ground of the determination of this
[natural cause] in a way not explicable any
further (just as that intelligible does which
constitutes the supersensible substrate of
nature).
11
It has been thought a doubtful point that my
divisions in pure Philosophy should always be
threefold. But that lies in the nature of the
thing. If there is to be an a priori division it
must be either analytical, according to the law
of contradiction, which is always twofold
(quodlibet ens est aut A aut non A); or it is
synthetical. And if in this latter case it is to be
derived from a priori concepts (not as in
Mathematic from the intuition corresponding to
the concept), the division must necessarily be
trichotomy. For according to what is requisite
for synthetical unity in general there must be
(1) a condition, (2) a conditioned, and (3) the
concept which arises from the union of the
conditioned with its condition.
12
The definition of taste which is laid down here
is that it is the faculty of judging of the
beautiful. But the analysis of judgements of
taste must show what is required in order to
call an object beautiful. The moments, to which
this Judgement has regard in its reflection, I
have sought in accordance with the guidance of
the logical functions of judgement (for in a
judgement of taste a reference to the
Understanding is always involved). I have
considered the moment of quality first, because
the aesthetical judgement upon the beautiful
first pays attention to it.
13
A judgement upon an object of satisfaction may
be quite disinterested, but yet very interesting,
i.e. not based upon an interest, but bringing an
interest with it; of this kind are all pure moral
judgements. Judgements of taste, however, do
not in themselves establish any interest. Only
in society is it interesting to have taste: the
reason of this will be shown in the sequel.
14
[Second Edition.]
15
An obligation to enjoyment is a manifest
absurdity. Thus the obligation to all actions
which have merely enjoyment for their aim can
only be a pretended one; however spiritually it
may be conceived (or decked out), even if it is
a mystical, or so-called heavenly, enjoyment.
16
[Second Edition.]
17
[Second Edition.]
18
[Ueberweg points out (Hist. of Phil., ii. 528,
Eng. Trans.) that Mendelssohn had already
called attention to the disinterestedness of our
satisfaction in the Beautiful. “It appears,” says
Mendelssohn, “to be a particular mark of the
beautiful, that it is contemplated with quiet
satisfaction, that it pleases, even though it be
not in our possession, and even though we be
never so far removed from the desire to put it
to our use.” But, of course, as Ueberweg
remarks, Kant’s conception of disinterestedness
extends far beyond the absence of a desire to
possess the object.]
19
[Reading besondere with Windelband;
Hartenstein reads bestimmte.]
20
[I.e. The Critique of Pure Reason, Analytic, bk.
ii. c. i.]
21
[Second Edition. Spencer expresses much more
concisely what Kant has in his mind here.
“Pleasure … is a feeling which we seek to
bring into consciousness and retain there; pain
is … a feeling which we seek to get out of
consciousness and to keep out.” Principles of
Psychology, § 125.]
22
[The editions of Hartenstein and Kirchmann
omit ohne before zweck, which makes havoc of
the sentence. It is correctly printed by
Rosenkranz and Windelband.]
23
[First Edition.]
24
[Cf. Metaphysic of Morals, Introd. I. “The
pleasure which is necessarily bound up with
the desire (of the object whose representation
affects feeling) may be called practical
pleasure, whether it be cause or effect of the
desire. On the contrary, the pleasure which is
not necessarily bound up with the desire of the
object, and which, therefore, is at bottom not a
pleasure in the existence of the Object of the
representation, but clings to the representation
only, may be called mere contemplative
pleasure or passive satisfaction. The feeling of
the latter kind of pleasure we call taste.”]
25
[Second Edition.]
26
[First Edition has gleiche; Second Edition has
solche.]
27
[First and Second Editions have sehr zweifle;
but this was corrected to nicht zweifle in the
Third Edition of 1799.]
28
[Belebt machen; First Edition had beliebt.]
29
[Second Edition.]
30
[Kant probably alludes here to Baumgarten
(1714–1762), who was the first writer to give
the name of Aesthetics to the Philosophy of
Taste. He defined beauty as “perfection
apprehended through the senses.” Kant is said
to have used as a text-book at lectures a work
by Meier, a pupil of Baumgarten’s, on this
subject.]
31
[Cf. Preface to the Metaphysical Elements of
Ethics, v.: “The word perfection is liable to
many misconceptions. It is sometimes
understood as a concept belonging to
Transcendental Philosophy; viz. the concept of
the totality of the manifold, which, taken
together, constitutes a Thing; sometimes, again,
it is understood as belonging to Teleology, so
that it signifies the agreement of the
characteristics of a thing with a purpose.
Perfection in the former sense might be called
quantitative (material), in the latter qualitative
(formal) perfection.”]
32
[The words even if … general were added in
the Second Edition.]
33
[Second Edition.]
34
Models of taste as regards the arts of speech
must be composed in a dead and learned
language. The first, in order that they may not
suffer that change which inevitably comes over
living languages, in which noble expressions
become flat, common ones antiquated, and
newly created ones have only a short currency.
The second, because learned languages have a
 grammar which is subject to no wanton change
of fashion, but the rules of which are preserved
unchanged.
35
[This distinction between an Idea and an Ideal,
as also the further contrast between Ideals of
the Reason and Ideals of the Imagination, had
already been given by Kant in the Critique of
Pure Reason, Dialectic, bk. ii. c. iii. § 1.]
36
[Polycletus of Argos flourished about 430 B.C.
His statue of the Spearbearer (Doryphorus),
afterwards became known as the Canon;
because in it the artist was supposed to have
embodied a perfect representation of the ideal
of the human figure.]
37
[This was a celebrated statue executed by
Myron, a Greek sculptor, contemporary with
Polycletus. It is frequently mentioned in the
Greek Anthology.]
38
It will be found that a perfectly regular
countenance, such as a painter might wish to
have for a model, ordinarily tells us nothing;
because it contains nothing characteristic, and
therefore rather expresses the Idea of the race
than the specific [traits] of a person. The
exaggeration of a characteristic of this kind, i.e.
such as does violence to the normal Idea (the
purposiveness of the race) is called caricature.
Experience also shows that these quite regular
countenances commonly indicate internally
only a mediocre man; presumably (if it may be
assumed that external nature expresses the
proportions of internal) because, if no mental
disposition exceeds that proportion which is
requisite in order to constitute a man free from
faults, nothing can be expected of what is
called genius, in which nature seems to depart
 from the ordinary relations of the mental
powers on behalf of some special one.
39
It might be objected to this explanation that
there are things, in which we see a purposive
form without cognising any [definite] purpose
in them, like the stone implements often got
from old sepulchral tumuli with a hole in them
as if for a handle. These, although they plainly
indicate by their shape a purposiveness of
which we do not know the purpose, are
nevertheless not described as beautiful. But if
we regard a thing as a work of art, that is
enough to make us admit that its shape has
reference to some design and definite purpose.
And hence there is no immediate satisfaction in
the contemplation of it. On the other hand a
flower, e.g. a tulip, is regarded as beautiful;
because in perceiving it we find a certain
purposiveness which, in our judgement, is
referred to no purpose at all.
40
[Cp. p. 170, infra.]
41
[See The History of Sumatra, by W. Marsden
(London, 1783), p. 113.]
42
[Cf. § 42, infra.]
43
[Second Edition.]
44
[Second Edition.]
45
[Lettres sur l’Égypte, par M. Savary,
Amsterdam, 1787.]
46
[Second Edition.]
47
[With this should be compared the similar
discussion in the Critique of Pure Reason,
 Dialectic, bk. ii. c. ii. § 1, On the System of
Cosmological Ideas.]
48
[Second Edition.]
49
[Cf. § 83, infra.]
50
[In the Philosophical Theory of Religion, pt. i.
sub fin. (Abbott’s Translation, p. 360), Kant, as
here, divides “all religions into two classes—
favour-seeking religion (mere worship) and
moral religion, that is, the religion of a good
life;” and he concludes that “amongst all the
public religions that have ever existed the
Christian alone is moral.”]
51
[Voyages dans les Alpes, par H. B. de Saussure;
vol. i. was published at Neuchatel in 1779; vol.
ii. at Geneva in 1786.]
52
[Second Edition.]
53
[Als Vermögen der Independenz der absoluten
Totalität, a curious phrase.]
54
[Second Edition.]
55
Affections are specifically different from
passions. The former are related merely to
feeling; the latter belong to the faculty of
desire, and are inclinations which render
difficult or impossible all determination of the
[elective] will by principles. The former are
stormy and unpremeditated; the latter are
steady and deliberate; thus indignation in the
form of wrath is an affection, but in the form of
hatred (revenge) is a passion. The latter can
never and in no reference be called sublime;
because while in an affection the freedom of
the mind is hindered, in a passion it is
abolished. [Cf. Preface to the Metaphysical
 Elements of Ethics, § xvi., where this
distinction is more fully drawn out. Affection is
described as hasty; and passion is defined as
the sensible appetite grown into a permanent
inclination.]
56
[In the Preface to the Metaphysical Elements of
Ethics, § xvii., Kant gives the term moral
apathy to that freedom from the sway of the
affections, which is distinguished from
indifference to them.]
57
[Reading weiche with Rosenkranz and
Windelband; Hartenstein and Kirchmann have
weise, which yields no sense.]
58
[Cf. p. 129, supra.]
59
[Kirchmann has positiv; but this is probably a
mere misprint.]
60
[L.c. vol. ii. p. 181.]
61
[See Burke, On the Sublime and Beautiful, Part
IV., Sect. vii. “If the pain and terror are so
modified as not to be actually noxious; if the
pain is not carried to violence, and the terror is
not conversant about the present destruction of
the person, as these emotions clear the parts,
whether fine or gross, of a dangerous and
troublesome incumbrance, they are capable of
producing delight; not pleasure, but a sort of
delightful horror, a sort of tranquillity tinged
with terror; which, as it belongs to self-
preservation, is one of the strongest of all the
passions.” Kant quotes from the German
version published at Riga in 1773. This was a
free translation made from Burke’s fifth
edition.]
62
[See Burke, l.c., Part IV., Sect. xix. “Beauty
acts by relaxing the solids of the whole system.
There are all the appearances of such a
relaxation; and a relaxation somewhat below
the natural tone seems to me to be the cause of
all positive pleasure. Who is a stranger to that
manner of expression so common in all times
and in all countries, of being softened, relaxed,
enervated, dissolved, melted away by
pleasure?”]
63
[Reading Gebot; Kirchmann has Gesetz.]
64
[Second Edition.]
65
[Second Edition.]
66
[Cf. Critique of Pure Reason, Methodology, c.
1, § 1. “The construction of a concept is the a
priori presentation of the corresponding
intuition.”]
67
[Charles Batteux (1713–1780), author of Les
Beaux Arts reduits à un même principe.]
68
[Essay XVIII, The Sceptic. “Critics can reason
and dispute more plausibly than cooks or
perfumers. We may observe, however, that this
uniformity among human kind, hinders not, but
that there is a considerable diversity in the
sentiments of beauty and worth, and that
education, custom, prejudice, caprice, and
humour, frequently vary our taste of this
kind…. Beauty and worth are merely of a
relative nature, and consist in an agreeable
sentiment, produced by an object in a particular
mind, according to the peculiar structure and
constitution of that mind.”]
69
[For the distinction, an important one in Kant,
between judgements of experience and
judgements of perception, see his
Prolegomena, § 18. Cf. Kant’s Critical
Philosophy for English Readers, vol. i. p. 116.]
70
[First Edition has “limited.”]
71
In order to be justified in claiming universal
assent for an aesthetical judgement that rests
merely on subjective grounds, it is sufficient to
assume, (1) that the subjective conditions of the
Judgement, as regards the relation of the
cognitive powers thus put into activity to a
cognition in general, are the same in all men.
This must be true, because otherwise men
would not be able to communicate their
representations or even their knowledge. (2)
The judgement must merely have reference to
this relation (consequently to the formal
condition of the Judgement) and be pure, i.e.
not mingled either with concepts of the Object
or with sensations, as determining grounds. If
there has been any mistake as regards this latter
condition, then there is only an inaccurate
application of the privilege, which a law gives
us, to a particular case; but that does not
destroy the privilege itself in general.
72
[Kant lays down these three maxims in his
Introduction to Logic, § vii., as “general rules
and conditions of the avoidance of error.”]
73
We soon see that although enlightenment is
easy in thesi, yet in hypothesi it is difficult and
slow of accomplishment. For not to be passive
as regards Reason, but to be always self-
legislative, is indeed quite easy for the man
who wishes only to be in accordance with his
essential purpose, and does not desire to know
 what is beyond his Understanding. But since
we can hardly avoid seeking this, and there are
never wanting others who promise with much
confidence that they are able to satisfy our
curiosity, it must be very hard to maintain in or
restore to the mind (especially the mind of the
public) that bare negative which properly
constitutes enlightenment.
74
We may designate Taste as sensus communis
aestheticus, common Understanding as sensus
communis logicus.
75
[Peter Camper (1722–1789), a celebrated
naturalist and comparative anatomist; for some
years professor at Groningen.]
76
In my country a common man, if you propose
to him such a problem as that of Columbus
with his egg, says, that is not art, it is only
science. I.e. if we know how, we can do it; and
he says the same of all the pretended arts of
jugglers. On the other hand, he will not refuse
to apply the term art to the performance of a
rope-dancer.
77
[Kant was accustomed to say that the talk at a
dinner table should always pass through these
three stages—narrative, discussion, and jest;
and punctilious in this, as in all else, he is said
to have directed the conversation at his own
table accordingly (Wallace’s Kant, p. 39).]
78
[Second Edition.]
79
[Cf. Aristotle’s Poetics, c. iv. p. 1448 b: ἃ γὰρ
αὐτὰ λυπηρῶς ὁρῶμεν, τούτων τὰς εἰκόνας
τὰς μάλιστα ἠκριβωμένας χαίρομεν
θεωροῦντες οἷον θηρίων τε μορφὰς τῶν
ἀτιμοτάτων καὶ νεκρῶν. Cf. also Rhetoric, I.
 11, p. 1371 b; and Burke on the Sublime and
Beautiful, Part I. § 16. Boileau (L’art poétique,
chant 3), makes a similar observation:
“Il n’est point de serpent ni de monstre odieux
Qui, par l’art imité, ne puisse plaire aux
yeux.
D’un pinceau délicat l’artifice agréable
Du plus affreux objet fait un objet aimable.”]
80
[Second Edition.]
81
[Cf. p. 199, infra.]
82
[In English we would rather say “without soul”;
but I prefer to translate Geist consistently by
spirit, to avoid the confusion of it with Seele.]
83
[These lines occur in one of Frederick the
Great’s French poems: Épître au maréchal
Keith XVIII., “sur les vaines terreurs de la mort
et les frayeurs d’une autre vie.” Kant here
translates them into German.]
84
[Withof, whose “Moral Poems” appeared in
1755. This reference was supplied by H. Krebs
in Notes and Queries 5th January 1895.]
85
Perhaps nothing more sublime was ever said
and no sublimer thought ever expressed than
the famous inscription on the Temple of Isis
(Mother Nature): “I am all that is and that was
and that shall be, and no mortal hath lifted my
veil.” Segner availed himself of this Idea in a
suggestive vignette prefixed to his Natural
Philosophy, in order to inspire beforehand the
pupil whom he was about to lead into that
temple with a holy awe, which should dispose
his mind to serious attention. [J. A. de Segner
(1704–1777) was Professor of Natural
 Philosophy at Göttingen, and the author of
several scientific works of repute.]
86
[Second Edition.]
87
The three former faculties are united in the first
instance by means of the fourth. Hume gives us
to understand in his History of England that
although the English are inferior in their
productions to no people in the world as
regards the evidences they display of the three
former properties, separately considered, yet
they must be put after their neighbours the
French as regards that which unites these
properties. [In his Observations on the
Beautiful and Sublime, § iv. sub init., Kant
remarks that the English have the keener sense
of the sublime, the French of the beautiful.]
88
The reader is not to judge this scheme for a
possible division of the beautiful arts as a
deliberate theory. It is only one of various
attempts which we may and ought to devise.
89
[Second Edition.]
90
[I.e. the case of Plastic art, with its subdivisions
of Architecture and Sculpture, as is explained
in the next paragraph.]
91
That landscape gardening may be regarded as a
species of the art of painting, although it
presents its forms corporeally, seems strange.
But since it actually takes its forms from nature
(trees, shrubs, grasses, and flowers from forest
and field—at least in the first instance), and so
far is not an art like Plastic; and since it also
has no concept of the object and its purpose (as
in Architecture) conditioning its arrangements,
but involves merely the free play of the
Imagination in contemplation, it so far agrees
 with mere aesthetical painting which has no
definite theme (which arranges sky, land, and
water, so as to entertain us by means of light
and shade only).—In general the reader is only
to judge of this as an attempt to combine the
beautiful arts under one principle, viz. that of
the expression of aesthetical Ideas (according
to the analogy of speech), and not to regard it
as a definitive analysis of them.
92
I must admit that a beautiful poem has always
given me a pure gratification; whilst the
reading of the best discourse, whether of a
Roman orator or of a modern parliamentary
speaker or of a preacher, has always been
mingled with an unpleasant feeling of
disapprobation of a treacherous art, which
means to move men in important matters like
machines to a judgement that must lose all
weight for them on quiet reflection. Readiness
and accuracy in speaking (which taken together
constitute Rhetoric) belong to beautiful art; but
the art of the orator (ars oratoria), the art of
availing oneself of the weaknesses of men for
one’s own designs (whether these be well
meant or even actually good does not matter) is
worthy of no respect. Again, this art only
reached its highest point, both at Athens and at
Rome, at a time when the state was hastening
to its ruin and true patriotic sentiment had
disappeared. The man who along with a clear
insight into things has in his power a wealth of
pure speech, and who with a fruitful
Imagination capable of presenting his Ideas
unites a lively sympathy with what is truly
good, is the vir bonus discendi peritus, the
orator without art but of great impressiveness,
as Cicero has it; though he may not always
remain true to this ideal.
93
[From this to the end of the paragraph, and the
next note, were added in the Second Edition.]
94
Those who recommend the singing of spiritual
songs at family prayers do not consider that
they inflict a great hardship upon the public by
such noisy (and therefore in general
pharisaical) devotions; for they force the
neighbours either to sing with them or to
abandon their meditations. [Kant suffered
himself from such annoyances, which may
account for the asperity of this note. At one
period he was disturbed by the devotional
exercises of the prisoners in the adjoining jail.
In a letter to the burgomaster “he suggested the
advantage of closing the windows during these
hymn-singings, and added that the warders of
the prison might probably be directed to accept
less sonorous and neighbour-annoying chants
as evidence of the penitent spirit of their
captives” (Wallace’s Kant, p. 42).]
95
[Cf. “Parturiunt montes, nascitur ridiculus
mus.”]
96
[The First Edition adds “as in the case of a man
who gets the news of a great commercial
success.”]
97
[The jest may have been taken from Steele’s
play, “The Funeral or Grief à la mode,” where
it occurs verbatim. This play was published in
1702.]
98
[Henriade, Chant 7, sub init.
 “Du Dieu qui nous créa la clémence infinie,
Pour adoucir les maux de cette courte vie,
A placé parmi nous deux êtres bienfaisants,
De la terre à jamais aimables habitants,
Soutiens dans les travaux, trésors dans
l’indigence:
L’un est le doux sommeil, et l’autre est
l’espérance.”]
99
We may describe as a rationalising judgement
(judicium ratiocinans) one which proclaims
itself as universal, for as such it can serve as
the major premise of a syllogism. On the other
hand, we can only speak of a judgement as
rational (judicium ratiocinatum) which is
thought as the conclusion of a syllogism, and
consequently as grounded a priori.
100
[Cf. p. 241, infra.]
101
[Second Edition.]
102
[Antiparos is a small island in the Cyclades,
remarkable for a splendid stalactite cavern near
the southern coast.]
103
The intuitive in cognition must be opposed to
the discursive (not to the symbolical). The
former is either schematical, by demonstration;
or symbolical as a representation in accordance
with a mere analogy.
104
[I read Geselligkeit with Rosenkranz and
Windelband; Hartenstein and Kirchmann have
Glückseligkeit.]
105
As in pure mathematics we can never talk of
the existence, but only of the possibility of
things, viz. of an intuition corresponding to a
concept, and so never of cause and effect, it
follows that all purposiveness observed there
 must be considered merely as formal and never
as a natural purpose.
106
[The allusion is to Vitruvius de Architectura,
Bk. vi. Praef. “Aristippus philosophus
Socraticus, naufragio cum eiectus ad
Rhodiensium litus animadvertisset geometrica
schemata descripta, exclamavisse ad comites
ita dicitur, Bene speremus, hominum enim
vestigia video.”]
107
[Second Edition.]
108
We can conversely throw light upon a certain
combination, much more often met with in Idea
than in actuality, by means of an analogy to the
so-called immediate natural purposes. In a
recent complete transformation of a great
people into a state the word organisation for
the regulation of magistracies, etc., and even of
the whole body politic, has often been fitly
used. For in such a whole every member
should surely be purpose as well as means, and,
whilst all work together towards the possibility
of the whole, each should be determined as
regards place and function by means of the
Idea of the whole. [Kant probably alludes here
to the organisation of the United States of
America.]
109
[These words are inserted by Rosenkranz and
Windelband, but omitted by Hartenstein and
Kirchmann.]
110
In the aesthetical part [§ 58, p. 247] it was said:
We view beautiful nature with favour, whilst we
have a quite free (disinterested) satisfaction in
its form. For in this mere judgement of taste no
consideration is given to the purpose for which
these natural beauties exist; whether to excite
pleasure in us, or as purposes without any
 reference to us at all. But in a teleological
judgement we pay attention to this reference,
and here we can regard it as a favour of nature
that it has been willing to minister to our
culture by the exhibition of so many beautiful
figures.
111
The German word vermessen is a good word
and full of meaning. A judgement in which we
forget to consider the extent of our powers (our
Understanding) may sometimes sound very
humble, and yet make great pretensions, and so
be very presumptuous. Of this kind are most of
those by which we pretend to extol the divine
wisdom by ascribing to it designs in the works
of creation and preservation which are really
meant to do honour to the private wisdom of
the reasoner.
112
We thus see that in most speculative things of
pure Reason, as regards dogmatic assertions,
the philosophical schools have commonly tried
all possible solutions of a given question. To
explain the purposiveness of nature men have
tried either lifeless matter or a lifeless God, or
again, living matter or a living God. It only
remains for us, if the need should arise, to
abandon all these objective assertions and to
examine critically our judgement merely in
reference to our cognitive faculties, in order to
supply to their principle a validity which, if not
dogmatic, shall at least be that of a maxim
sufficient for the sure employment of Reason.
113
[That is, the wider concept serves as a
universal, under which the particular may be
brought; cognition from principles, in Kant’s
phrase, is the process of knowing the particular
in the universal by means of concepts.]
114
[This distinction will be familiar to the student
of the Critique of Pure Reason. See Dialectic,
bk. i., Of the Concepts of Pure Reason.]
115
[Second Edition.]
116
[This principle, that for our intellect, the
conception of an organised body is impossible
except by the aid of the Idea of design, is
frequently insisted on by Kant. Professor
Wallace points out (Kant, p. 110) that as far
back as 1755, in his General Physiogony and
Theory of the Heavens, Kant classed the origin
of animals and plants with the secrets of
Providence and the mystical number 666 “as
one of the topics on which ingenuity and
thought are occasionally wasted.”]
117
[Second Edition.]
118
[Second Edition.]
119
[This is marked as an Appendix in the Second
Edition.]
120
We may call a hypothesis of this kind a daring
venture of reason, and there may be few even
of the most acute naturalists through whose
head it has not sometimes passed. For it is not
absurd, like that generatio aequivoca by which
is understood the production of an organised
being through the mechanics of crude
unorganised matter. It would always remain
generatio univoca in the most universal sense
of the word, for it only considers one organic
being as derived from another organic being,
although from one which is specifically
different; e.g. certain water-animals transform
themselves gradually into marsh-animals and
from these, after some generations, into land-
 animals. A priori, in the judgement of Reason
alone, there is no contradiction here. Only
experience gives no example of it; according to
experience all generation that we know is
generatio homonyma. This is not merely
univoca in contrast to the generation out of
unorganised material, but in the organisation
the product is of like kind to that which
produced it; and generation heteronyma, so far
as our empirical knowledge of nature extends,
is nowhere found.
121
[It is probable that Kant alludes here to Hume’s
Essay On a Providence and a Future State, § xi
of the Inquiry. Hume argues that though the
inference from an effect to an intelligent cause
may be valid in the case of human contrivance,
it is not legitimate to rise by a like argument to
Supreme Intelligence. “In human nature there
is a certain experienced coherence of designs
and inclinations; so that when from any fact we
have discovered one intention of any man, it
may often be reasonable from experience to
infer another, and draw a long chain of
conclusions concerning his past or future
conduct. But this method of reasoning can
never have place with regard to a being so
remote and incomprehensible, who bears much
less analogy to any other being in the universe
than the sun to a waxen taper, and who
discovers himself only by some faint traces or
outlines, beyond which we have no authority to
ascribe to him any attribute or perfection.”]
122
[J. F. Blumenbach (1752–1840), a German
naturalist and professor at Göttingen; the
author of Institutiones Physiologicae (1787)
and other works. An interesting account of him
is given in Lever’s novel Adventures of Arthur
O’Leary, ch. xix.]
123
[Carl von Linné (1707–1778), Knight of the
Polar Star, the celebrated Swedish botanist.]
124
If the once adopted name Natural history is to
continue for the description of nature, we may
in contrast with art, give the title of
Archaeology of nature to that which the former
literally indicates, viz. a representation of the
old condition of the earth, about which,
although we cannot hope for certainty, we have
good ground for conjecture. As sculptured
stones, etc., belong to the province of art, so
petrefactions belong to the archaeology of
nature. And since work is actually being done
in this [science] (under the name of the Theory
of the Earth), constantly, although of course
slowly, this name is not given to a merely
imaginary investigation of nature, but to one to
which nature itself leads and invites us.
125
[See p. 184 above.]
126
[First Edition has freedom.]
127
[These views are set forth by Kant more fully in
the essay Zum ewigen Frieden (1795).]
128
[Second Edition.]
129
[Cf. The Philosophical Theory of Religion, Part
i., On the bad principle in Human Nature, III.,
where Kant remarks that although war “is not
so incurably bad as the deadness of a universal
monarchy … yet, as an ancient observed, it
makes more bad men than it takes away.”]
130
The value of life for us, if it is estimated by that
which we enjoy (by the natural purpose of the
sum of all inclinations, i.e. happiness), is easy
to decide. It sinks below zero; for who would
 be willing to enter upon life anew under the
same conditions? who would do so even
according to a new, self-chosen plan (yet in
conformity with the course of nature), if it were
merely directed to enjoyment? We have shown
above what value life has in virtue of what it
contains in itself, when lived in accordance
with the purpose that nature has along with us,
and which consists in what we do (not merely
what we enjoy), in which, however, we are
always but means towards an undetermined
final purpose. There remains then nothing but
the value which we ourselves give our life,
through what we can not only do, but do
purposively in such independence of nature
that the existence of nature itself can only be a
purpose under this condition.
131
It would be possible that the happiness of
rational beings in the world should be a
purpose of nature, and then also this would be
its ultimate purpose. At least we cannot see a
priori why nature should not be so ordered,
because by means of its mechanism this effect
would be certainly possible, at least so far as
we see. But morality, with a causality
according to purposes subordinated thereto, is
absolutely impossible by means of natural
causes; for the principle by which it determines
to action is supersensible, and is therefore the
only possible principle in the order of purposes
that in respect of nature is absolutely
unconditioned. Its subject consequently alone
is qualified to be the final purpose of creation
to which the whole of nature is subordinated.—
Happiness, on the contrary, as has been shown
in the preceding paragraphs by the testimony of
experience, is not even a purpose of nature in
respect of man in preference to other creatures;
much less a final purpose of creation. Men may
 of course make it their ultimate subjective
purpose. But if I ask, in reference to the final
purpose of creation, why must men exist? then
we are speaking of an objective supreme
purpose, such as the highest Reason would
require for creation. If we answer: These
beings exist to afford objects for the
benevolence of that Supreme Cause; then we
contradict the condition to which the Reason of
man subjects even his inmost wish for
happiness (viz. the harmony with his own
internal moral legislation). This proves that
happiness can only be a conditioned purpose,
and that it is only as a moral being that man
can be the final purpose of creation; but that as
concerns his state happiness is only connected
with it as a consequence, according to the
measure of his harmony with that purpose
regarded as the purpose of his being.
132
[Second Edition.]
133
I say deliberately under moral laws. It is not
man in accordance with moral laws, i.e. a
being who behaves himself in conformity with
them, who is the final purpose of creation. For
by using the latter expression we should be
asserting more than we know; viz. that it is in
the power of an Author of the world to cause
man always to behave himself in accordance
with moral laws. But this presupposes a
concept of freedom and of nature (of which
latter we can only think an external author),
which would imply an insight into the
supersensible substrate of nature and its
identity with that which causality through
freedom makes possible in the world. And this
far surpasses the insight of our Reason. Only of
man under moral laws can we say, without
transgressing the limits of our insight: his being
 constitutes the final purpose of the world. This
harmonises completely with the judgement of
human Reason reflecting morally upon the
course of the world. We believe that we
perceive in the case of the wicked the traces of
a wise purposive reference, if we only see that
the wanton criminal does not die before he has
undergone the deserved punishment of his
misdeeds. According to our concepts of free
causality, our good or bad behaviour depends
on ourselves; we regard it the highest wisdom
in the government of the world to ordain for
the first, opportunity, and for both, their
consequence, in accordance with moral laws.
In the latter properly consists the glory of God,
which is hence not unsuitably described by
theologians as the ultimate purpose of creation.
— It is further to be remarked that when we
use the word creation, we understand nothing
more than we have said here, viz. the cause of
the being of the world or of the things in it
(substances). This is what the concept properly
belonging to this word involves (actuatio
substantiae est creatio); and consequently there
is not implied in it the supposition of a freely
working, and therefore intelligent, cause
(whose being we first of all want to prove).
134
[Note added in Second Edition.] This moral
argument does not supply any objectively-valid
proof of the Being of God; it does not prove to
the sceptic that there is a God, but proves that
if he wishes to think in a way consonant with
morality, he must admit the assumption of this
proposition under the maxims of his practical
Reason.— We should therefore not say: it is
necessary for morals [Sittlichkeit], to assume
the happiness of all rational beings of the world
in proportion to their morality [Moralität]; but
rather, this is necessitated by morality.
 Accordingly, this is a subjective argument
sufficient for moral beings.
135
[Second Edition.]
136
[Second Edition.]
137
In a practical sense that religion is always
idolatry which conceives the Supreme Being
with properties, according to which something
else besides morality can be a fit condition for
that which man can do being in accordance
with His Will. For however pure and free from
sensible images the concept that we have
formed may be in a theoretical point of view,
yet it will be in a practical point of view still
represented as an idol, i.e. in regard to the
character of His Will, anthropomorphically.
138
[Cf. Introd. to Logic, ix. p. 63, “Conviction is
opposed to Persuasion, which is a belief from
inadequate reasons, of which we do not know
whether they are only subjective or are also
objective.”]
139
[Second Edition.]
140
[I.e. Urtheils. First Edition had Urtheilens, the
judging subject.]
141
Analogy (in a qualitative signification) is the
identity of the relation between reasons and
consequences (causes and effects), so far as it
is to be found, notwithstanding the specific
difference of the things or those properties in
them which contain the reason for like
consequences (i.e. considered apart from this
relation). Thus we conceive of the artificial
constructions of beasts by comparing them
with those of men; by comparing the ground of
those effects brought about by the former,
which we do not know, with the ground of
similar effects brought about by men (reason),
which we do know; i.e. we regard the ground
of the former as an analogon of reason. We
then try at the same time to show that the
ground of the artisan faculty of beasts, which
we call instinct, specifically different as it is in
fact from reason, has yet a similar relation to its
effect (the buildings of the beaver as compared
with those of men).—But then I cannot
therefore conclude that because man uses
reason for his building, the beaver must have
the like, and call this a conclusion according to
analogy. But from the similarity of the mode of
operation of beasts (of which we cannot
immediately perceive the ground) to that of
men (of which we are immediately conscious),
we can quite rightly conclude according to
analogy, that beasts too act in accordance with
representations (not as Descartes has it, that
they are machines), and that despite their
specific distinction they are yet (as living
beings) of the same genus as man. The
principle of our right so to conclude consists in
the sameness of the ground for reckoning
beasts in respect of the said determination in
the same genus with men, regarded as men, so
far as we can externally compare them with
one another in accordance with their actions.
There is par ratio. Just so I can conceive,
according to the analogy of an Understanding,
the causality of the supreme World-Cause, by
comparing its purposive products in the world
with the artificial works of men; but I cannot
conclude according to analogy to those
properties in it [which are in man], because
here the principle of the possibility of such a
method of reasoning entirely fails, viz. the
paritas rationis for counting the Supreme
Being in one and the same genus with man (in
 respect of the causality of both). The causality
of the beings of the world, which is always
sensibly conditioned (as is causality through
Understanding) cannot be transferred to a
Being which has in common with them no
generic concept save that of Thing in general.
142
We thus miss nothing in the representation of
the relations of this Being to the world, as far
as the consequences, theoretical or practical, of
this concept are concerned. To wish to
investigate what it is in itself, is a curiosity as
purposeless as it is vain.
143
[Cf. Introd. to Logic, p. 76, where the
conditions of a legitimate hypothesis are laid
down. See also Critique of Pure Reason,
Methodology, c. i. § 3.]
144
[This illustration is also given in the Logic (p.
57); where the three modi of belief, Opinion,
Faith, and Knowledge, are distinguished from
each other. Cf. Critique of Pure Reason,
Methodology, c. ii. § 3.]
145
[The speculations of Swedenborg seem to have
always had a strange fascination for Kant. He
says of two reported cases of Swedenborg’s
clairvoyance that he knows not how to
disprove them (Rosenkranz vii. 5); but in his
Anthropology §§ 35, 37, he attacks
Swedenborgianism as folly. So in an early
essay, Dreams of a Visionary explained by
Dreams of Metaphysics, he avows his
scepticism as to the value of the information
which “psychical research” can supply about
the spirit-world, though he is careful not to
commit himself to any dogmatic statement on
the subject of ghosts. In the Critique of Pure
Reason (when discussing the Postulates of
 Empirical Thought) he gives, as an instance of
a concept inconsistent with the canons of
possibility, “a power of being in a community
of thought with other men, however distant
from us.”]
146
[Cf. supra, p. 229.]
147
I here extend, correctly as it seems to me, the
concept of a thing of fact beyond the usual
signification of this word. For it is not needful,
not even feasible, to limit this expression
merely to actual experience, if we are talking
of the relation of things to our cognitive
faculties; for an experience merely possible is
quite sufficient in order that we may speak of
them merely as objects of a definite kind of
cognition.
148
[Cf. introduction to Logic, p. 59 note.]
149
[Second Edition.]
150
Things of faith are not therefore articles of
faith; if we understand by the latter things of
faith to the confession of which (internal or
external) we can be bound. Natural theology
contains nothing like this. For since they, as
things of faith (like things of fact) cannot be
based on theoretical proofs, [they are accepted
by] a belief which is free and which only as
such is compatible with the morality of the
subject.
151
The final purpose which the moral law enjoins
upon us to further, is not the ground of duty;
since this lies in the moral law, which, as
formal practical principle, leads categorically,
independently of the Objects of the faculty of
desire (the material of the will) and
consequently of any purpose whatever. This
 formal characteristic of my actions (their
subordination under the principle of universal
validity), wherein alone consists their inner
moral worth, is quite in our power; and I can
quite well abstract from the possibility or the
unattainableness of purposes which I am
obliged to promote in conformity with that law
(because in them consists only the external
worth of my actions) as something which is
never completely in my power, in order only to
look to that which is of my doing. But then the
design of promoting the final purpose of all
rational beings (happiness so far as it is
possible for it to be accordant with duty) is
even yet prescribed by the law of duty. The
speculative Reason, however, does not see at
all the attainableness of this (neither on the side
of our own physical faculty nor on that of the
co-operation of nature). It must rather, so far as
we can judge in a rational way, hold the
derivation, by the aid of such causes, of such a
consequence of our good conduct from mere
nature (internal and external) without God and
immortality, to be an ungrounded and vain,
though well-meant, expectation; and if it could
have complete certainty of this judgement, it
would regard the moral law itself as the mere
deception of our Reason in a practical aspect.
But since the speculative Reason fully
convinces itself that the latter can never take
place, but that on the other hand those Ideas
whose object lies outside nature can be thought
without contradiction, it must for its own
practical law and the problem prescribed
thereby, and therefore in a moral aspect,
recognise those Ideas as real in order not to
come into contradiction with itself.
152
It is a trust in the promise of the moral law; [not
however such as is contained in it, but such as I
 put into it and that on morally adequate
153
grounds. For a final purpose cannot be
commanded by any law of Reason without this
latter at the same time promising, however
uncertainly, its attainableness; and thus
justifying our belief in the special conditions
under which alone our Reason can think it as
attainable. The word fides expresses this; and it
can only appear doubtful, how this expression
and this particular Idea came into moral
philosophy, since it first was introduced with
Christianity, and the adoption of it perhaps
might seem to be only a flattering imitation of
Christian terminology. But this is not the only
case in which this wonderful religion with its
great simplicity of statement has enriched
philosophy with far more definite and purer
concepts of morality, than it had been able to
furnish before; but which, once they are there,
are freely assented to by Reason and are
assumed as concepts to which it could well
have come of itself and which it could and
should have introduced.]
153
[Second Edition.]
154
[Cf. Introd. to Logic, ix. p. 60, “That man is
morally unbelieving who does not accept that
which though impossible to know is morally
necessary to suppose.”]
155
[First Edition.]
156
[In the Critique of Pure Reason, Dialectic, bk.
II. c. iii. §§ 4, 5.]
157
[H. S. Reimarus (1694–1768), the author of the
famous Wolfenbüttel Fragments, published
after the death of Reimarus by Lessing. The
book alluded to by Kant is probably the
 Abhandlungen von den vornehmsten
Wahrheiten der natürlichen Religion (1754),
which had great popularity in its day.]
158
[These arguments are advanced by Hume,
Inquiry, § vii. Cf. also Pure Reason, Dialectic,
bk. II. c. iii. § 6, and Practical Reason,
Dialectic, c. ii. § vii.]
159
[Cf. Practical Reason, Dialectic, c. ii. § v.]
160
The admiration for beauty, and also the emotion
aroused by the manifold purposes of nature,
which a reflective mind is able to feel even
prior to a clear representation of a rational
Author of the world, have something in
themselves like religious feeling. They seem in
the first place by a method of judging
analogous to moral to produce an effect upon
the moral feeling (gratitude to, and veneration
for, the unknown cause); and thus by exciting
moral Ideas to produce an effect upon the
mind, when they inspire that admiration which
is bound up with far more interest than mere
theoretical observation can bring about.
 Transcriber’s Notes
Punctuation, hyphenation, and spelling were
made consistent when a predominant preference
was found in this book; otherwise they were not
changed.
Simple typographical errors were corrected.
Ambiguous hyphens at the ends of lines were
retained.
Text has three occcurrences of “casuality”,
which have been retained, but which may be
misprints for “causality”.
These are transliterations of the Greek text for
use on devices that cannot display such text:

Page xvii: kosmos.

Page xxii: kalo.
Page xxiv: sôphrosynê.
Page xxxiii: nous.
Page 397: kat’ alêtheian (or) kat’ anthrôpon.
Footnote 79 (originally on page 195): ha gar
auta lypêrôs horômen, toutôn tas eikonas tas
malista êkribômenas chairomen theôrountes
hoion thêriôn te morphas tôn atimotatôn kai
nekrôn.
*** END OF THE PROJECT GUTENBERG EBOOK
KANT’S CRITIQUE OF JUDGEMENT ***
Updated editions will replace the previous one—the old
editions will be renamed.
Creating the works from print editions not protected by U.S.
copyright law means that no one owns a United States
copyright in these works, so the Foundation (and you!) can
copy and distribute it in the United States without permission
and without paying copyright royalties. Special rules, set forth
in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg™ electronic works
to protect the PROJECT GUTENBERG™ concept and
trademark. Project Gutenberg is a registered trademark, and
may not be used if you charge for an eBook, except by
following the terms of the trademark license, including paying
royalties for use of the Project Gutenberg trademark. If you do
not charge anything for copies of this eBook, complying with
the trademark license is very easy. You may use this eBook for
nearly any purpose such as creation of derivative works,
reports, performances and research. Project Gutenberg eBooks
may be modified and printed and given away—you may do
practically ANYTHING in the United States with eBooks not
protected by U.S. copyright law. Redistribution is subject to
the trademark license, especially commercial redistribution.
START: FULL LICENSE
 THE FULL PROJECT GUTENBERG
LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR
USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the
free distribution of electronic works, by using or distributing
this work (or any other work associated in any way with the
phrase “Project Gutenberg”), you agree to comply with all the
terms of the Full Project Gutenberg™ License available with
this file or online at www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project
Gutenberg™ electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand,
agree to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not agree
to abide by all the terms of this agreement, you must cease
using and return or destroy all copies of Project Gutenberg™
electronic works in your possession. If you paid a fee for
obtaining a copy of or access to a Project Gutenberg™
electronic work and you do not agree to be bound by the terms
of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may
only be used on or associated in any way with an electronic
work by people who agree to be bound by the terms of this
agreement. There are a few things that you can do with most
Project Gutenberg™ electronic works even without complying
with the full terms of this agreement. See paragraph 1.C
below. There are a lot of things you can do with Project
Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all
the individual works in the collection are in the public domain
in the United States. If an individual work is unprotected by
copyright law in the United States and you are located in the
United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating
derivative works based on the work as long as all references to
Project Gutenberg are removed. Of course, we hope that you
will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project
Gutenberg™ works in compliance with the terms of this
agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the
terms of this agreement by keeping this work in the same
format with its attached full Project Gutenberg™ License
when you share it without charge with others.
1.D. The copyright laws of the place where you are located
also govern what you can do with this work. Copyright laws in
most countries are in a constant state of change. If you are
outside the United States, check the laws of your country in
addition to the terms of this agreement before downloading,
copying, displaying, performing, distributing or creating
derivative works based on this work or any other Project
Gutenberg™ work. The Foundation makes no representations
concerning the copyright status of any work in any country
other than the United States.
1.E. Unless you have removed all references to Project
Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License
must appear prominently whenever any copy of a Project
Gutenberg™ work (any work on which the phrase “Project
Gutenberg” appears, or with which the phrase “Project
Gutenberg” is associated) is accessed, displayed, performed,
viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the

United States and most other parts of the world at no cost
and with almost no restrictions whatsoever. You may copy
it, give it away or re-use it under the terms of the Project
Gutenberg License included with this eBook or online at
www.gutenberg.org. If you are not located in the United
States, you will have to check the laws of the country
where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is

derived from texts not protected by U.S. copyright law (does
not contain a notice indicating that it is posted with permission
of the copyright holder), the work can be copied and
distributed to anyone in the United States without paying any
fees or charges. If you are redistributing or providing access to
a work with the phrase “Project Gutenberg” associated with or
appearing on the work, you must comply either with the
requirements of paragraphs 1.E.1 through 1.E.7 or obtain
permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is
posted with the permission of the copyright holder, your use
and distribution must comply with both paragraphs 1.E.1
through 1.E.7 and any additional terms imposed by the
copyright holder. Additional terms will be linked to the Project
Gutenberg™ License for all works posted with the permission
of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project
Gutenberg™ License terms from this work, or any files
containing a part of this work or any other work associated
with Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute
this electronic work, or any part of this electronic work,
without prominently displaying the sentence set forth in
paragraph 1.E.1 with active links or immediate access to the
full terms of the Project Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any
binary, compressed, marked up, nonproprietary or proprietary
form, including any word processing or hypertext form.
However, if you provide access to or distribute copies of a
Project Gutenberg™ work in a format other than “Plain
Vanilla ASCII” or other format used in the official version
posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or
expense to the user, provide a copy, a means of exporting a
copy, or a means of obtaining a copy upon request, of the work
in its original “Plain Vanilla ASCII” or other form. Any
alternate format must include the full Project Gutenberg™
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™
works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or
providing access to or distributing Project Gutenberg™
electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated
using the method you already use to calculate your
applicable taxes. The fee is owed to the owner of the
Project Gutenberg™ trademark, but he has agreed to
donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each
date on which you prepare (or are legally required to
prepare) your periodic tax returns. Royalty payments
should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address
specified in Section 4, “Information about donations to
the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who
notifies you in writing (or by e-mail) within 30 days of
receipt that s/he does not agree to the terms of the full
 Project Gutenberg™ License. You must require such a
user to return or destroy all copies of the works possessed
in a physical medium and discontinue all use of and all
access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full
refund of any money paid for a work or a replacement
copy, if a defect in the electronic work is discovered and
reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project

Gutenberg™ electronic work or group of works on different
terms than are set forth in this agreement, you must obtain
permission in writing from the Project Gutenberg Literary
Archive Foundation, the manager of the Project Gutenberg™
trademark. Contact the Foundation as set forth in Section 3
below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend
considerable effort to identify, do copyright research on,
transcribe and proofread works not protected by U.S.
copyright law in creating the Project Gutenberg™ collection.
Despite these efforts, Project Gutenberg™ electronic works,
and the medium on which they may be stored, may contain
“Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk
or other medium, a computer virus, or computer codes that
damage or cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF
DAMAGES - Except for the “Right of Replacement or
Refund” described in paragraph 1.F.3, the Project Gutenberg
Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a
Project Gutenberg™ electronic work under this agreement,
disclaim all liability to you for damages, costs and expenses,
including legal fees. YOU AGREE THAT YOU HAVE NO
REMEDIES FOR NEGLIGENCE, STRICT LIABILITY,
BREACH OF WARRANTY OR BREACH OF CONTRACT
EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU
AGREE THAT THE FOUNDATION, THE TRADEMARK
OWNER, AND ANY DISTRIBUTOR UNDER THIS
AGREEMENT WILL NOT BE LIABLE TO YOU FOR
ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,
PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU
GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND
- If you discover a defect in this electronic work within 90
days of receiving it, you can receive a refund of the money (if
any) you paid for it by sending a written explanation to the
person you received the work from. If you received the work
on a physical medium, you must return the medium with your
written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement
copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may
choose to give you a second opportunity to receive the work
electronically in lieu of a refund. If the second copy is also
defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set
forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’,
WITH NO OTHER WARRANTIES OF ANY KIND,
EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED
TO WARRANTIES OF MERCHANTABILITY OR FITNESS
FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this
agreement violates the law of the state applicable to this
agreement, the agreement shall be interpreted to make the
maximum disclaimer or limitation permitted by the applicable
state law. The invalidity or unenforceability of any provision
of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the
Foundation, the trademark owner, any agent or employee of
the Foundation, anyone providing copies of Project
Gutenberg™ electronic works in accordance with this
agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg™ electronic
works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any
of the following which you do or cause to occur: (a)
distribution of this or any Project Gutenberg™ work, (b)
alteration, modification, or additions or deletions to any
Project Gutenberg™ work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project
Gutenberg™
Project Gutenberg™ is synonymous with the free distribution
of electronic works in formats readable by the widest variety
of computers including obsolete, old, middle-aged and new
computers. It exists because of the efforts of hundreds of
volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project
Gutenberg™’s goals and ensuring that the Project
Gutenberg™ collection will remain freely available for
generations to come. In 2001, the Project Gutenberg Literary
Archive Foundation was created to provide a secure and
permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg
Literary Archive Foundation and how your efforts and
donations can help, see Sections 3 and 4 and the Foundation
information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary
Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-
profit 501(c)(3) educational corporation organized under the
laws of the state of Mississippi and granted tax exempt status
by the Internal Revenue Service. The Foundation’s EIN or
federal tax identification number is 64-6221541. Contributions
to the Project Gutenberg Literary Archive Foundation are tax
deductible to the full extent permitted by U.S. federal laws and
your state’s laws.
The Foundation’s business office is located at 809 North 1500
West, Salt Lake City, UT 84116, (801) 596-1887. Email
contact links and up to date contact information can be found
at the Foundation’s website and official page at
www.gutenberg.org/contact
Section 4. Information about Donations to the Project
Gutenberg Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its
mission of increasing the number of public domain and
licensed works that can be freely distributed in machine-
readable form accessible by the widest array of equipment
including outdated equipment. Many small donations ($1 to
$5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws
regulating charities and charitable donations in all 50 states of
the United States. Compliance requirements are not uniform
and it takes a considerable effort, much paperwork and many
fees to meet and keep up with these requirements. We do not
solicit donations in locations where we have not received
written confirmation of compliance. To SEND DONATIONS
or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states
where we have not met the solicitation requirements, we know
of no prohibition against accepting unsolicited donations from
donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot
make any statements concerning tax treatment of donations
received from outside the United States. U.S. laws alone
swamp our small staff.
Please check the Project Gutenberg web pages for current
donation methods and addresses. Donations are accepted in a
number of other ways including checks, online payments and
credit card donations. To donate, please visit:
www.gutenberg.org/donate
Section 5. General Information About Project Gutenberg™
electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that
could be freely shared with anyone. For forty years, he
produced and distributed Project Gutenberg™ eBooks with
only a loose network of volunteer support.
Project Gutenberg™ eBooks are often created from several
printed editions, all of which are confirmed as not protected by
copyright in the U.S. unless a copyright notice is included.
Thus, we do not necessarily keep eBooks in compliance with
any particular paper edition.
Most people start at our website which has the main PG search
facility: www.gutenberg.org.
This website includes information about Project Gutenberg™,
including how to make donations to the Project Gutenberg
Literary Archive Foundation, how to help produce our new
eBooks, and how to subscribe to our email newsletter to hear
about new eBooks.