the critique of judgement-第33章

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ee　first　qualities　separately　considered；　still　in　what　unites　them　they　must　yield　to　their　neighbours；　the　French。

　　　　　　　　　　　　　SS　51。　The　division　of　the　fine　arts。

　　Beauty　（whether　it　be　of　nature　or　of　art）　may　in　general　be　termed　the　expression　of　aesthetic　ideas。　But　the　provision　must　be　added　that　with　beauty　of　art　this　idea　must　be　excited　through　the　medium　of　a　concept　of　the　object；　whereas　with　beauty　of　nature　the　bare　reflection　upon　a　given　intuition；　apart　from　any　concept　of　what　the　object　is　intended　to　be；　is　sufficient　for　awakening　and　communicating　the　idea　of　which　that　object　is　regarded　as　the　expression。　　　Accordingly；　if　we　wish　to　make　a　division　of　the　fine　arts；　we　can　choose　for　that　purpose；　tentatively　at　least；　no　more　convenient　principle　than　the　analogy　which　art　bears　to　the　mode　of　expression　of　which　men　avail　themselves　in　speech　with　a　view　to　communicating　themselves　to　one　another　as　completely　as　possible；　i。e。；　not　merely　in　respect　of　their　concepts　but　in　respect　of　their　sensations　also。*　Such　expression　consists　in　word；　gesture；　and　tone　（articulation；　gesticulation；　and　modulation）。　It　is　the　combination　of　these　three　modes　of　expression　which　alone　constitutes　a　complete　communication　of　the　speaker。　For　thought；　intuition；　and　sensation　are　in　this　way　conveyed　to　others　simultaneously　and　in　conjunction。

　　*The　reader　is　not　to　consider　this　scheme　for　a　possible　division　of　the　fine　arts　as　a　deliberate　theory。　It　is　only　one　of　the　various　attempts　that　can　and　ought　to　be　made。

　　Hence　there　are　only　three　kinds　of　fine　art：　the　art　of　speech；　formative　art；　and　the　art　of　the　play　of　sensations　（as　external　sense　impressions）。　This　division　might　also　be　arranged　as　a　dichotomy；　so　that　fine　art　would　be　divided　into　that　of　the　expression　of　thoughts　or　intuitions；　the　latter　being　subdivided　according　to　the　distinction　between　the　form　and　the　matter　（sensation）。　It　would；　however；　in　that　case　appear　too　abstract；　and　less　in　line　with　popular　concepztions。　　　（1）　The　arts　of　speech　are　rhetoric　and　poetry。　Rhetoric　is　the　art　of　transacting　a　serious　business　of　the　understanding　as　if　it　were　a　free　play　of　the　imagination；　poetry　that　of　conducting　a　free　play　of　the　imagination　as　if　it　were　a　serious　business　of　the　understanding。　　　Thus　the　orator　announces　a　serious　business；　and　for　the　purpose　of　entertaining　his　audience　conducts　it　as　if　it　were　a　mere　play　with　ideas。　The　poet　promises　merely　an　entertaining　play　with　ideas；　and　yet　for　the　understanding　there　enures　as　much　as　if　the　promotion　of　its　business　had　been　his　one　intention。　The　combination　and　harmony　of　the　two　faculties　of　cognition；　sensibility　and　understanding；　which；　though　doubtless　indispensable　to　one　another；　do　not　readily　permit　of　being　united　without　compulsion　and　reciprocal　abatement；　must　have　the　appearance　of　being　undesigned　and　a　spontaneous　occurrence…otherwise　it　is　not　fine　art。　For　this　reason　what　is　studied　and　laboured　must　be　here　avoided。　For　fine　art　must　be　free　art　in　a　double　sense：　i。e。；　not　alone　in　a　sense　opposed　to　contract　work；　as　not　being　a　work　the　magnitude　of　which　may　be　estimated；　exacted；　or　paid　for；　according　to　a　definite　standard；　but　free　also　in　the　sense　that；　while　the　mind；　no　doubt；　occupies　itself；　still　it　does　so　without　ulterior　regard　to　any　other　end；　and　yet　with　a　feeling　of　satisfaction　and　stimulation　（independent　of　reward）。　　　The　orator；　therefore；　gives　something　which　he　does　not　promise；　viz。；　an　entertaining　play　of　the　imagination。　On　the　other　hand；　there　is　something　in　which　he　fails　to　come　up　to　his　promise；　and　a　thing；　too；　which　is　his　avowed　business；　namely；　the　engagement　of　the　understanding　to　some　end。　The　poet's　promise；　on　the　contrary；　is　a　modest　one；　and　a　mere　play　with　ideas　is　all　he　holds　out　to　us；　but　he　accomplishes　something　worthy　of　being　made　a　serious　business；　namely；　the　using　of　play　to　provide　food　for　the　understanding；　and　the　giving　of　life　to　its　concepts　by　means　of　the　imagination。　Hence　the　orator　in　reality　performs　less　than　he　promises；　the　poet　more。　　　（2）　The　formative　arts；　or　those　for　the　expression　of　ideas　in　sensuous　intuition　（not　by　means　of　representations　of　mere　imagination　that　are　excited　by　words）　are　arts　either　of　sensuous　truth　or　of　sensuous　semblance。　The　first　is　called　plastic　art；　the　second　painting。　Both　use　figures　in　space　for　the　expression　of　ideas：　the　former　makes　figures　discernible　to　two　senses；　sight　and　touch　（though；　so　far　as　the　latter　sense　is　concerned；　without　regard　to　beauty）；　the　latter　makes　them　so　to　the　former　sense　alone。　The　aesthetic　idea　（archetype；　original）　is　the　fundamental　basis　of　both　in　the　imagination；　but　the　figure　which　constitutes　its　expression　（the　ectype；　the　copy）　is　given　either　in　its　bodily　extension　（the　way　the　object　itself　exists）　or　else　in　accordance　with　the　picture　which　it　forms　of　itself　in　the　eye　（according　to　its　appearance　when　projected　on　a　flat　surface）。　Or；　whatever　the　archetype　is；　either　the　reference　to　an　actual　end　or　only　the　semblance　of　one　may　be　imposed　upon　reflection　as　its　condition。　　　To　plastic　art；　as　the　first　kind　of　formative　fine　art；　belong　sculpture　and　architecture。　The　first　is　that　which　presents　concepts　of　things　corporeally；　as　they　might　exist　in　nature　（though　as　fine　art　it　directs　its　attention　to　aesthetic　finality）。　The　second　is　the　art　of　presenting　concepts　of　things　which　are　possible　only　through　art；　and　the　determining　ground　of　whose　form　is　not　nature　but　an　arbitrary　end…and　of　presenting　them　both　with　a　view　to　this　purpose　and　yet；　at　the　same　time；　with　aesthetic　finality。　In　architecture　the　chief　point　is　a　certain　use　of　the　artistic　object　to　which；　as　the　condition；　the　aesthetic　ideas　are　limited。　In　sculpture　the　mere　expression　of　aesthetic　ideas　is　the　main　intention。　Thus　statues　of　men；　gods；　animals；　etc。；　belong　to　sculpture；　but　temples；　splendid　buildings　for　public　concourse；　or　even　dwelling…houses；　triumphal　arches；　columns；　mausoleums；　etc。；　erected　as　monuments；　belong　to　architecture；　and　in　fact　all　household　furniture　（the　work　of　cabinetmakers；　and　so　forth…things　meant　to　be　used）　may　be　added　to　the　list；　on　the　ground　that　adaptation　of　the　product　to　a　particular　use　is　the　essential　element　in　a　work　of　architecture。　On　the　other　hand；　a　mere　piece　of　sculpture；　made　simply　to　be　looked　at　and　intended　to　please　on　its　own　account；　is；　as　a　corporeal　presentation；　a　mere　imitation　of　nature；　though　one　in　which　regard　is　paid　to　aesthetic　ideas；　and　in　which；　therefore；　sensuous　truth　should　not　go　the　length　of　losing　the　appearance　of　being　an　art　and　a　product　of　the　elective　will。　　　Painting；　as　the　second　kind　of　formative　art；　which　presents　the　sensuous　semblance　in　artful　combination　with　ideas；　I　would　divide　into　that　of　the　beautiful　Portrayal　of　nature；　and　that　of　the　beautiful　arrangement　of　its　products。　The　first　is　painting　proper；　the　second　landscape　gardening。　For　the　first　gives　only　the　semblance　of　bodily　extension；　whereas　the　second；　giving　this；　no　doubt；　according　to　its　truth；　gives　only　the　semblance　of　utility　and　employment　for　ends　other　than　the　play　of　the　imagination　in　the　contemplation　of　its　forms。*　The　latter　consists　in　no　more　than　decking　out　the　ground　with　the　same　manifold　variety　（grasses；　flowers；　shrubs；　and　trees；　and　even　water；　hills；　and　dales）　as　that　with　which　nature　presents　it　to　our　view；　only　arranged　differently　and　in　obedience　to　certain　ideas。　The　beautiful　arrangement　of　corporeal　things；　however；　is　also　a　thing　for　the　eye　only；　just　like　painting…the　sense　of　touch　can　form　no　intuitable　representation　of　such　a　form；　In　addition　I　would　place　under　the　head　of　painting；　in　the　wide　sense；　the　decoration　of　rooms　by　means　of　hangings；　ornamental　accessories；　and　all　beautiful　furniture　the　sole　function　of　which　is　to　be　looked　at；　and　in　the　same　way　the　art　of　tasteful　dressing　（with　rings；　snuffboxes；　etc。）。　For　a　parterre　of　various　flowers；　a　room　with　a　variety　of　ornaments　（including　even　the　ladies'　attire）；　go　to　make　at　a　festal　gathering　a　sort　of　picture　which；　like　pictures　in　the　true　sense　of　the　word　（those　which　are　not　intended　to　teach　history　or　natural　science）；　has　no　business　beyond　appealing　to　the　eye；　in　order　to　entertain　the　imagination　in　free　play　with　ideas；　and　to　engage　actively　the　aesthetic　judgement　independently　of　any　definite　end。　No　matter　how　heterogeneous；　on　the　mechanical　side；　may　be　the　craft　involved　in　all　this　decoration；　and　no　matter　what　a　variety　of　artists　may　be　required；　still　the　judgement　of　taste；　so　far　as　it　is　one　upon　what　is　beautiful　in　this　art；　is　determined　in　one　and　the　same　way：　namely；　as　a　judgement　only　upon　the　forms　（without　regard　to　any　end）　as　they　present　themselves　to　the　eye；　singly　or　in　combination；　according　to　their　effect　upon　the　imagination。　The　justification；　however；　of　bringing　formative　art　（by　analogy）　under　a　common　head　with　gesture　in　a　speech；　lies　in　the　fact　that　through　these　figures　the　soul　of　the　artists　furnishes　a　bodily　expression　for　the　substance　and　character　of　his　thought；　and　makes　the　thing　itself　speak；　as　it　were；　in　mimic　language…a　very　common　play　of　our　fancy；　that　attributes　to　lifeless　things　a　soul　suitable　to　their　form；　and　that　uses　them　as　its　mouthpiece。

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

　　（3）　The　art　of　the　beautiful　play　of　sensations　（sensations　that　arise　from　external　stimulation）；　which　is　a　play　of　sensations　that　has　nevertheless　to　permit　of　universal　communication；　can　only　be　concerned　with　the　proportion　of　the　different　degrees　of　tension　in　the　sense　to　which　the　sensation　belongs；　i。e。；　with　its　tone。　In　this　comprehensive　sense　of　the　word；　it　may　be　divided　into　the　artificial　play　of　sensations　of　hearing　and　of　sight；　consequently　into　music　and　the　art　of　colour。　It　is　of　note　that　these　two　senses；　over　and　above　such　susceptibility　for　impressions　as　is　required　to　obtain　concepts　of　external　objects　by　means　of　these　impressions；　also　admit　of　a　peculiar　associated　sensation　of　which　we　cannot　well　determine　whether　it　is　based　on　sense　or　reflection；　and　that　this　sensibility　may　at　times　be　wanting；　although　the　sense；　in　other　respects；　and　in　what　concerns　its　employment　for　the　cognition　of　objects；　is　by　no　means　deficient　but　particularly　keen。　In　other　words；　we　cannot　confidently　assert