the critique of judgement-第34章

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bjects；　is　by　no　means　deficient　but　particularly　keen。　In　other　words；　we　cannot　confidently　assert　whether　a　colour　or　a　tone　（sound）　is　merely　an　agreeable　sensation；　or　whether　they　are　in　themselves　a　beautiful　play　of　sensations；　and　in　being　estimated　aesthetically；　convey；　as　such；　a　delight　in　their　form。　If　we　consider　the　velocity　of　the　vibrations　of　light；　or；　in　the　second　case；　of　the　air；　which　in　all　probability　far　outstrips　any　capacity　on　our　part　for　forming　an　immediate　estimate　in　perception　of　the　time　interval　between　them；　we　should　be　led　to　believe　that　it　is　only　the　effect　of　those　vibrating　movements　upon　the　elastic　parts　of　our　body；　that　can　be　evident　to　sense；　but　that　the　time…interval　between　them　is　not　noticed　nor　involved　in　our　estimate；　and　that；　consequently；　all　that　enters　into　combination　with　colours　and　tones　is　agreeableness；　and　not　beauty；　of　their　composition。　But；　let　us　consider；　on　the　other　hand；　first；　the　mathematical　character　both　of　the　proportion　of　those　vibrations　in　music；　and　of　our　judgement　upon　it；　and；　as　is　reasonable；　form　an　estimate　of　colour　contrasts　on　the　analogy　of　the　latter。　Secondly；　let　us　consult　the　instances；　albeit　rare；　of　men　who；　with　the　best　of　sight；　have　failed　to　distinguish　colours；　and；　with　the　sharpest　hearing；　to　distinguish　tones；　while　for　men　who　have　this　ability　the　perception　of　an　altered　quality　（not　merely　of　the　degree　of　the　sensation）　in　the　case　of　the　different　intensities　in　the　scale　of　colours　or　tones　is　definite；　as　is　also　the　number　of　those　which　may　be　intelligibly　distinguished。　Bearing　all　this　in　mind；　we　may　feel　compelled　to　look　upon　the　sensations　afforded　by　both；　not　as　mere　sense…impressions；　but　as　the　effect　of　an　estimate　of　form　in　the　play　of　a　number　of　sensations。　The　difference　which　the　one　opinion　or　the　other　occasions　in　the　estimate　of　the　basis　of　music　would；　however；　only　give　rise　to　this　much　change　in　its　definition；　that　either　it　is　to　be　interpreted；　as　we　have　done；　as　the　beautiful　play　of　sensations　（through　bearing）；　or　else　as　one　of　agreeable　sensations。　According　to　the　former　interpretation；　alone；　would　music　be　represented　out　and　out　as　a　fine　art；　whereas　according　to　the　latter　it　would　be　represented　as　（in　part　at　least）　an　agreeable　art。

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

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

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

　　Poetry　（which　owes　its　origin　almost　entirely　to　genius　and　is　least　willing　to　be　led　by　precepts　or　example）　holds　the　first　rank　among　all　the　arts。　It　expands　the　mind　by　giving　freedom　to　the　imagination　and　by　offering；　from　among　the　boundless　multiplicity　of　possible　forms　accordant　with　a　given　concept；　to　whose　bounds　it　is　restricted；　that　one　which　couples　with　the　presentation　of　the　concept　a　wealth　of　thought　to　which　no　verbal　expression　is　completely　adequate；　and　by　thus　rising　aesthetically　to　ideas。　It　invigorates　the　mind　by　letting　it　feel　its　faculty…free；　spontaneous；　and　independent　of　determination　by　nature　of　regarding　and　estimating　nature　as　phenomenon　in　the　light　of　aspects　which　nature　of　itself　does　not　afford　us　in　experience；　either　for　sense　or　understanding；　and　of　employing　it　accordingly　in　behalf　of；　and　as　a　sort　of　schema　for；　the　supersensible。　It　plays　with　semblance；　which　it　produces　at　will；　but　not　as　an　instrument　of　deception；　for　its　avowed　pursuit　is　merely　one　of　play；　which；　however；　understanding　may　turn　to　good　account　and　employ　for　its　own　purpose。　Rhetoric；　so　far　as　this　is　taken　to　mean　the　art　of　persuasion；　i。e。；　the　art　of　deluding　by　means　of　a　fair　semblance　（as　ars　oratoria）；　and　not　merely　excellence　of　speech　（eloquence　and　style）；　is　a　dialectic；　which　borrows　from　poetry　only　so　much　as　is　necessary　to　win　over　men's　minds　to　the　side　of　the　speaker　before　they　have　weighed　the　matter；　and　to　rob　their　verdict　of　its　freedom。　Hence　it　can　be　recommended　neither　for　the　bar　nor　the　pulpit。　For　where　civil　laws；　the　right　of　individual　persons；　or　the　permanent　instruction　and　determination　of　men's　minds　to　a　correct　knowledge　and　a　conscientious　observance　of　their　duty　is　at　stake；　then　it　is　below　the　dignity　of　an　undertaking　of　such　moment　to　exhibit　even　a　trace　of　the　exuberance　of　wit　and　imagination；　and；　still　more；　of　the　art　of　talking　men　round　and　prejudicing　them　in　favour　of　any　one。　For　although　such　art　is　capable　of　being　at　times　directed　to　ends　intrinsically　legitimate　and　praiseworthy；　still　it　becomes　reprehensible　on　account　of　the　subjective　injury　done　in　this　way　to　maxims　and　sentiments；　even　where　objectively　the　action　may　be　lawful。　For　it　is　not　enough　to　do　what　is　right；　but　we　should　practise　it　solely　on　the　ground　of　its　being　right。　Further；　the　simple　lucid　concept　of　human　concerns　of　this　kind；　backed　up　with　lively　illustrations　of　it；　exerts　of　itself；　in　the　absence　of　any　offence　against　the　rules　of　euphony　of　speech　or　of　propriety　in　the　expression　of　ideas　of　reason　（all　which　together　make　up　excellence　of　speech）；　a　sufficient　influence　upon　human　minds　to　obviate　the　necessity　of　having　recourse　here　to　the　machinery　of　persuasion；　which；　being　equally　available　for　the　purpose　of　putting　a　fine　gloss　or　a　cloak　upon　vice…and　error；　fails　to　rid　one　completely　of　the　lurking　suspicion　that　one　is　being　artfully　hoodwinked。　In　poetry　everything　is　straight　and　above　board。　It　shows　its　hand：　it　desires　to　carry　on　a　mere　entertaining　play　with　the　imagination；　and　one　consonant；　in　respect　of　form；　with　the　laws　of　understanding；　and　it　does　not　seek　to　steal　upon　and　ensnare　the　understanding　with　a　sensuous　presentation。*

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

　　After　poetry；　if　we　take　charm　and　mental　stimulation　into　account；　I　would　give　the　next　place　to　that　art　which　comes　nearer　to　it　than　to　any　other　art　of　speech；　and　admits　of　very　natural　union　with　it；　namely　the　art　of　tone。　For　though　it　speaks　by　means　of　mere　sensations　without　concepts；　and　so　does　not；　like　poetry；　leave　behind　it　any　food　for　reflection；　still　it　moves　the　mind　more　diversely；　and；　although　with　transient；　still　with　intenser　effect。　It　is　certainly；　however；　more　a　matter　of　enjoyment　than　of　culture…the　play　of　thought　incidentally　excited　by　it　being　merely　the　effect　of　a　more　or　less　mechanical　association…and　it　possesses　less　worth　in　the　eyes　of　reason　than　any　other　of　the　fine　arts。　Hence；　like　all　enjoyment；　it　calls　for　constant　change；　and　does　not　stand　frequent　repetition　without　inducing　weariness。　Its　charm；　which　admits　of　such　universal　communication；　appears　to　rest　on　the　following　facts。　Every　expression　in　language　has　an　associated　tone　suited　to　its　sense。　This　tone　indicates；　more　or　less；　a　mode　in　which　the　speaker　is　affected；　and　in　turn　evokes　it　in　the　hearer　also；　in　whom　conversely　it　then　also　excites　the　idea　which　in　language　is　expressed　with　such　a　tone。　Further；　just　as　modulation　is；　as　it　were；　a　universal　language　of　sensations　intelligible　to　every　man；　so　the　art　of　tone　wields　the　full　force　of　this　language　wholly　on　its　own　account；　namely；　as　a　language　of　the　affections；　and　in　this　way；　according　to　the　law　of　association；　universally　communicates　the　aesthetic　ideas　that　are　naturally　combined　therewith。　But；　further；　inasmuch　as　those　aesthetic　ideas　are　not　concepts　or　determinate　thoughts；　the　form　of　the　arrangement　of　these　sensations　（harmony　and　melody）；　taking　the　place　of　the　place　of　the　form　of　a　language；　only　serves　the　purpose　of　giving　an　expression　to　the　aesthetic　idea　of　an　integral　whole　of　an　unutterable　wealth　of　thought　that　fills　the　measure　of　a　certain　theme　forming　the　dominant　affection　in　the　piece。　This　purpose　is　effectuated　by　means　of　a　proposition　in　the　accord　of　the　sensations　（an　accord　whic