the critique of judgement-第35章

按键盘上方向键 ← 或 → 可快速上下翻页，按键盘上的 Enter 键可回到本书目录页，按键盘上方向键 ↑ 可回到本页顶部！
————未阅读完？加入书签已便下次继续阅读！


his　purpose　is　effectuated　by　means　of　a　proposition　in　the　accord　of　the　sensations　（an　accord　which　may　be　brought　mathematically　under　certain　rules；　since　it　rests；　in　the　case　of　tones；　upon　the　numerical　relation　of　the　vibrations　of　the　air　in　the　same　time；　so　far　as　there　is　a　combination　of　the　tones　simultaneously　or　in　succession）。　Although　this　mathematical　form　is　not　represented　by　means　of　determinate　concepts；　to　it　alone　belongs　the　delight　which　the　mere　reflection　upon　such　a　number　of　concomitant　or　consecutive　sensations　couples　with　this　their　play；　as　the　universally　valid　condition　of　its　beauty；　and　it　is　with　reference　to　it　alone　that　taste　can　lay　claim　to　a　right　to　anticipate　the　judgement　of　every　man。　　　But　mathematics；　certainly；　does　not　play　the　smallest　part　in　the　charm　and　movement　of　the　mind　produced　by　music。　Rather　is　it　only　the　indispensable　condition　（conditio　sine　qua　non）　of　that　proportion　of　the　combining　as　well　as　changing　impressions　which　makes　it　possible　to　grasp　them　all　in　one　and　prevent　them　from　destroying　one　another；　and　to　let　them；　rather；　conspire　towards　the　production　of　a　continuous　movement　and　quickening　of　the　mind　by　affections　that　are　in　unison　with　it；　and　thus　towards　a　serene　self…enjoyment。　　　If；　on　the　other　hand；　we　estimate　the　worth　of　the　fine　arts　by　the　culture　they　supply　to　the　mind；　and　adopt　for　our　standard　the　expansion　of　the　faculties　whose　confluence；　in　judgement；　is　necessary　for　cognition；　music；　then；　since　it　plays　merely　with　sensations；　'has　the　lowest　place　among　the　fine　arts…just　as　it　has　perhaps　the　highest　among　those　valued　at　the　same　time　for　their　agreeableness。　Looked　at　in　this　light；　it　is　far　excelled　by　the　formative　arts。　For；　in　putting　the　imagination　into　a　play　which　is　at　once　free　and　adapted　to　the　understanding；　they　all　the　while　carry　on　a　serious　business；　since　they　execute　a　product　which　serves　the　Concepts　of　understanding　as　a　vehicle；　permanent　and　appealing　to　us　on　its　own　account；　for　effectuating　their　union　with　sensibility；　and　thus　for　promoting；　as　it　were；　the　urbanity　of　the　higher　powers　of　cognition。　The　two　kinds　of　art　pursue　completely　different　courses。　Music　advances　from　sensations　to　indefinite　ideas：　formative　art　from　definite　ideas　to　sensations。　The　latter　gives　a　lasting　impression；　the　former　one　that　is　only　fleeting。　The　former　sensations　imagination　can　recall　and　agreeably　entertain　itself　with；　while　the　latter　either　vanish　entirely；　or　else；　if　involuntarily　repeated　by　the　imagination；　are　more　annoying　to　us　than　agreeable。　Over　and　above　all　this；　music　has　a　certain　lack　of　urbanity　about　it。　For　owing　chiefly　to　the　character　of　its　instruments；　it　scatters　its　influence　abroad　to　an　uncalled…for　extent　（through　the　neighbourhood）；　and　thus；　as　it　were；　becomes　obtrusive　and　deprives　others；　outside　the　musical　circle；　of　their　freedom。　This　is　a　thing　that　the　arts　that　address　themselves　to　the　eye　do　not　do；　for　if　one　is　not　disposed　to　give　admittance　to　their　impressions；　one　has　only　to　look　the　other　way。　The　case　is　almost　on　a　par　with　the　practice　of　regaling　oneself　with　a　perfume　that　exhales　its　odours　far　and　wide。　The　man　who　pulls　his　perfumed　handkerchief　from　his　pocket　gives　a　treat　to　all　around　whether　they　like　it　or　not；　and　compels　them；　if　they　want　to　breathe　at　all；　to　be　parties　to　the　enjoyment；　and　so　the　habit　has　gone　out　of　fashion。*

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

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

　　　　　　　　　　　　　　　　　　　　　　　　SS　54。　Remark。

　　As　we　have　often　shown；　an　essential　distinction　lies　between　what　pleases　simply　in　the　estimate　formed　of　it　and　what　gratifies　（pleases　in　sensation）。　The　latter　is　something　which；　unlike　the　former；　we　cannot　demand　from　every　one。　Gratification　（no　matter　whether　its　cause　has　its　seat　even　in　ideas）　appears　always　to　consist　in　a　feeling　of　the　furtherance　of　the　entire　life　of　the　man；　and　hence；　also　of　his　bodily　well…being；　i。e。；　his　health。　And　so；　perhaps；　Epicurus　was　not　wide　of　the　mark　when　he　said　that　at　bottom　all　gratification　is　bodily　sensation；　and　only　misunderstood　himself　in　ranking　intellectual　and　even　practical　delight　under　the　head　of　gratification。　Bearing　in　mind　the　latter　distinction；　it　is　readily　explicable　how　even　the　gratification　a　person　feels　is　capable　of　displeasing　him　（as　the　joy　of　a　necessitous　but　good…natured　individual　on　being　made　the　heir　of　an　affectionate　but　penurious　father）；　or　how　deep　pain　may　still　give　pleasure　to　the　sufferer　（as　the　sorrow　of　a　widow　over　the　death　of　her　deserving　husband）；　or　how　there　may　be　pleasure　over　and　above　gratification　（as　in　scientific　pursuits）；　or　how　a　pain　（as；　for　example；　hatred；　envy；　and　desire　for　revenge）　may　in　addition　be　a　source　of　displeasure。　Here　the　delight　or　aversion　depends　upon　reason；　and　is　one　with　approbation　or　disapprobation。　Gratification　and　pain；　on　the　other　hand；　can　only　depend　upon　feeling；　or　upon　the　prospect　of　a　possible　well…being　or　the　reverse　（irrespective　of　source）。　　　The　changing　free　play　of　sensations　（which　do　not　follow　any　preconceived　plan）　is　always　a　source　of　gratification；　because　it　promotes　the　feeling　of　health；　and　it　is　immaterial　whether　or　not　we　experience　delight　in　the　object　of　this　play　or　even　in　the　gratification　itself　when　estimated　in　the　light　of　reason。　Also　this　gratification　may　amount　to　an　affection；　although　we　take　no　interest　in　the　object　itself；　or　none；　at　least；　proportionate　to　the　degree　of　the　affection。　We　may　divide　the　above　play　into　that　of　games　of　chance　（Gluckspiel）；　harmony　（Tonspiel）；　and　wit　（Gedankenspiel）。　The　first　stands　in　need　of　an　interest；　be　it　of　vanity　or　selfseeking；　but　one　which　falls　far　short　of　that　centered　in　the　adopted　mode　of　procurement。　All　that　the　second　requires　is　the　change　of　sensations；　each　of　which　has　its　bearing　on　affection；　though　without　attaining　to　the　degree　of　an　affection；　and　excites　aesthetic　ideas。　The　third　springs　merely　from　the　change　of　the　representations　in　the　judgement；　which；　while　unproductive　of　any　thought　conveying　an　interest；　yet　enlivens　the　mind。　　　What　a　fund　of　gratification　must　be　afforded　by　play；　without　our　having　to　fall　back　upon　any　consideration　of　interest；　is　a　matter　to　which　all　our　evening　parties　bear　witness　for　without　play　they　hardly　ever　escape　falling　flat。　But　the　affections　of　hope；　fear；　joy；　anger；　and　derision　here　engage　in　play；　as　every　moment　they　change　their　parts　and　are　so　lively　that；　as　by　an　internal　motion；　the　whole　vital　function　of　the　body　seems　to　be　furthered　by　the　process…as　is　proved　by　a　vivacity　of　the　mind　produced…although　no　one　comes　by　anything　in　the　way　of　profit　or　instruction。　But　as　the　play　of　chance　is　not　one　that　is　beautiful；　we　will　here　lay　it　aside。　Music；　on　the　contrary；　and　what　provokes　laughter　are　two　kinds　of　play　with　aesthetic　ideas；　or　even　with　representations　of　the　understanding；　by　which；　all　said　and　done；　nothing　is　thought。　By　mere　force　of　change　they　yet　are　able　to　afford　lively　gratification。　This　furnishes　pretty　clear　evidence　that　the　quickening　effect　of　both　is　physical；　despite　its　being　excited　by　ideas　of　the　mind；　and　that　the　feeling　of　health；　arising　from　a　movement　of　the　intestines　answering　to　that　play；　makes　up　that　entire　gratification　of　an　animated　gathering　upon　the　spirit　and　refinement　of　which　we　set　such　store。　Not　any　estimate　of　harmony　in　tones　or　flashes　of　wit；　which；　with　its　beauty；　serves　only　as　a　necessary　vehicle；　but　rather　the　stimulated　vital　functions　of　the　body；　the　affection　stirring　the　intestines　and　the　diaphragm；　and；　in　a　word；　the　feeling　of　health　（of　which　we　are　only　sensible　upon　some　such　provocation）　are　what　constitute　the　gratification　we　experience　at　being　able　to　reach　the　body　through　the　soul　and　use　the　latter　as　the　physician　of　the　former。　　　In　music；　the　course　of　this　play　is　from　bodily　sensation　to　aesthetic　ideas　（which　are　the　objects　for　the　affections）；　and　then　from　these　back　again；　but　with　gathered　strength；　to　the　body。　In　jest　（which　just　as　much　as　the　former　deserves　to　be　ranked　rather　as　an　agreeable　than　a　fine　art）　the　play　sets　out　from　thoughts　which　collectively；　so　far　as　seeking　sensuous　expression；　engage　the　activity　of　the　body。　In　this　presentation　the　understanding；　missing　what　it　expected；　suddenly　lets　go　its　hold；　with　the　result　that　the　effect　of　this　slackening　is　felt　in　the　body　by　the　oscillation　of　the　organs。　This　favours　the　restoration　of　the　equilibrium　of　the　latter；　and　exerts　a　beneficial　influence　upon　the　health。　　　Something　absurd　（something　in　which；　therefore；　the　understanding　can　of　itself　find　no　delight）　must　be　present　in　whatever　is　to　raise　a　hearty　convulsive　laugh。　Laughter　is　an　all　action　arising　from　a　strained　expectation　being　suddenly　reduced　to　nothing。　This　very　reduction；　at　which　certainly　understanding　cannot　rejoice；　is　still　indirectly　a　source　of　very　lively　enjoyment　for　a　moment。　Its　cause　must　consequently　lie　in　the　influence　of　the　representation　upon　the　body　and　the　reciprocal　effect　of　this　upon　the　mind。　This；　moreover；　cannot　depend　upon　the　representation　being　objectively　an　object　of　gratification　（for　how　can　we　derive　gratification　from　a　disappointment？）　but　must　rest　solely　upon　the　fact　that　the　reduction　is　a　mere　play　of　representations；　and；　as　such；　produces　an　equilibrium　of　the　vital　forces　of　the　body。　　　Suppose　that　some　one　tells　the　following　story：　An　Indian　at　an　Englishman's　table　in　Surat　saw　a　bottle　of　ale　opened；　and　all　the　beer　turned　into　froth　and　flowing　out。　The　repeated　exclamations　of　the　Indian　showed　his　great　astonishment。　〃Well；　what　is　so　wonderful　in　that？〃　asked　the　Englishman。　〃Oh；　I'm　not　surprised　myself；〃　said　the　Indian；　〃at　its　getting　out；　but　at　how　you　ever　managed　to　get　it　all　in。〃　At　this　we　laugh；　and　it　gives　us　hearty　pleasure。　This　is　not　because　we　think　ourselves；　maybe；　more　quick…witted　than　this　ignorant　Indian；　or　because　our　understanding　here　brings　to　our　notice　any　other　ground　of　delight。　It　is　rather　that　the　bubble　of　our　expectation　was　extended　to　the　full　and　suddenly　went　off　into　nothing。　Or；　again；　take　the　case　of　the　heir　of　a　wealthy　relative　being　minded　to　make　preparations　for　having　the　funeral　obsequies　on　a　most　imposing　scale；　but　complaining　that　things　would　not　go　right　for　him；　because　（as　he　said）　〃the　more　money　I　give　my　mourners　to　look　sad；　the　more　pleased　they　look。〃　At　this　we　laugh　outright；　and　the　reason　lies　in　th