Harvard Classics, vol 32 by Immanuel Kant (classic fiction .TXT) 📖

thus in proportion as this appearance will be sesthetical, that is, an appearance that does not try to make up for reality, nor requires to be made up for by it. The aesthetical appearance can never endanger the truth of morals: wherever it seems to do so the appearance is not aesthetical. Only a stranger to the fashionable world can take the polite assurances, which are only a form, for proofs of affection, and say he has been deceived; but only a clumsy fellow in good society calls in the aid of duplicity and flatters to become amiable. The former lacks the pure sense for independent appearance; therefore he can only give a value to appearance by truth. The second lacks reality, and wishes to replace it by appearance. Nothing is more common than to hear depreciators of the times utter these paltry complaints—that all solidity has disappeared from the world, and that essence is neglected for semblance. Though I feel by no means called upon to defend this age against these reproaches, I must say that the wide application of these criticisms shows that they attach blame to the age, not only on the score of the falsez but also of the frank appearance. And even the exceptions they admit in favour of the beautiful have for their object less the independent appearance than the needy appearance. Not only do they attack the artificial colouring that hides truth and replaces reality, but also the beneficent appearance that fills a vacuum and clothes poverty; and they even attack the ideal appearance that ennobles a vulgar reality. Their strict sense of truth is rightlyl offended by the falsity of manners; unfortunately, they class politeness in this category. It displeases them that the noisy and showy so often eclipse true merit, but they are no less shocked that appearance is also demanded from merit, and that a real substance does not dispense with an agreeable form. They regret the cordiality, the energy, and solidity of ancient times; they would restore with them ancient coarseness, heaviness, and the old Gothic profusion. By judgments of this kind they show an esteem for the matter itself unworthy of humanity, which ought only to value tne matter inasmuch as it can receive a form and enlarge the empire of ideas. Accordingly, the taste of the age need not much fear these criticisms, if it can clear itself before better judges. Our defect is not to grant a value to aesthetic appearance (we do not do this enough): a severe judge of the beautiful might rather reproach us with not having arrived at pure appearance, with not having separated clearly enough existence from the phaenomenon, and thus established their limits. We shall deserve this reproach so long as we cannot enjoy the beautiful in living nature without desiring it; as long as we cannot admire the beautiful in the imitative arts without having an end in view; as long as we do not grant to imagination an absolute legislation of its own; and as long as we do not inspire it with care for its dignity by the esteem we testify for its works. LETTER XXVII.

Do not fear for reality and truth. Even if the elevated idea of aesthetic appearance became general, it would not become so, as long as man remains so little cultivated as to abuse it; and if it became general, this would result from a culture that would prevent all abuse of it. The pursuit of independent appearance requires more power of abstraction, freedom of heart, and energy of will than man requires to shut himself up in reality; and he must have left the latter behind him if he wishes to attain to aesthetic appearance. Therefore a man would calculate very badly who took the road of the ideal to save himself that of reality. Thus reality would not have much to fear from appearance, as we understand it; but, on the other hand, appearance would have more to fear from reality. Chained to matter, man uses appearance for his purposes before he allows it a proper personality in the art of the ideal: to come to that point a complete revolution must take place in his mode of feeling, otherwise he would not be even on the way to the ideal. Consequently, when we find in man the signs of a pure and disinterested esteem, we can infer that this revolution has taken place in his nature, and that humanity has really begun in him. Signs of this kind are found even in the first and rude attempts that he makes to embellish his existence, even at the risk of making it worse in its material conditions. As soon as he begins to prefer form to substance and to risk reality for appearance (known by him to be such), the barriers of animal life fall, and he finds himself on a track that has no end.

Not satisfied with the needs of nature, he demands the superfluous. First, only the superfluous of matter, to secure his enjoyment beyond the present necessity; but afterwards he wishes a superabundance in matter, an aesthetical supplement to satisfy the impulse for the formal, to extend enjoyment beyond necessity. By piling up provisions simply for a future use, and anticipating their enjoyment in the imagination, he outsteps the limits of the present moment, but not those of time in general. He enjoys more; he does not enjoy differently. But as soon as he makes form enter into his enjoyment, and he keeps in view the forms of the objects which satisfy his desires, he has not only increased his pleasure in extent and intensity, but he has also ennobled it in mode and species.

No doubt nature has given more than is necessary to unreasoning beings; she has caused a gleam of freedom to shine even in the darkness of animal life. When the lion is not tormented by hunger, and when no wild beast challenges him to fight, his unemployed energy creates an object for himself; full of ardour, he fills the re-echoing desert with his terrible roars, and his exuberant force rejoices in itself, showing itself without an object. The insect flits about rejoicing in life in the sunlight, and it is certainly not the cry of want that makes itself heard in the melodious song of the bird; there is undeniably freedom in these movements, though it is not emancipation from want in general, but from a determinate external necessity.

The animal works, when a privation is the motor of its activity, and it plays when the plenitude of force is this motor, when an exuberant life is excited to action. Even in inanimate nature a luxury of strength and a latitude of determination are shown, which in this material sense might be styled play. The tree produces numberless germs that are abortive without developing, and it sends forth more roots, branches and leaves, organs of nutrition, than are used for the preservation of the species. Whatever this tree restores to the elements of its exuberant life, without using it, or enjoying it, may be expended by life in free and joyful movements. It is thus that nature offers in her material sphere a sort of prelude to the limitless, and that even there she suppresses partially the chains from which she will be completely emancipated in the realm of form. The constraint of superabundance or physical play, answers as a transition from the constraint of necessity, or of physical seriousness, to aesthetical play; and before shaking off, in the supreme freedom of the beautiful, the yoke of any special aim, nature already approaches, at least remotely, this independence, by the free movement which is itself its own end and means.

The imagination, like the bodily organs, has in man its free movement and its material play, a play in which, without any reference to form, it simply takes pleasure in its arbitrary power and in the absence of all hindrance. These plays of fancy, inasmuch as form is not mixed up with them, and because a free succession of images makes all their charm, though confined to man, belong exclusively to animal life, and only prove one thing—that he is delivered from all external sensuous constraint—without our being entitled to infer that there is in it an independent plastic force.

From this play of free association of ideas, which is still quite material in nature and is explained by simple natural laws, the imagination, by making the attempt of creating a free form, passes at length at a jump to the aesthetic play: I say at one leap, for quite a new force enters into action here; for here, for the first time, the legislative mind is mixed with the acts of a blind instinct, subjects the arbitrary march of the imagination to its eternal and immutable unity, causes its independent permanence to enter in that which is transitory, and its infinity in the sensuous. Nevertheless, as long as rude nature, which knows of no other law than running incessantly from change to change, will yet retain too much strength, it will oppose itself by its different caprices to this necessity; by its agitation to this permanence; by its manifold needs to this independence, and by its insatiability to this sublime simplicity. It will be also troublesome to recognise the instinct of play in its first trials, seeing that the sensuous impulsion, with its capricious humour and its violent appetites, constantly crosses. It is on that account that we see the taste, still coarse, seize that which is new and startling, the disordered, the adventurous and the strange, the violent and the savage, and fly from nothing so much as from calm and simplicity. It invents grotesque figures, it likes rapid transitions, luxurious forms, sharply marked changes, acute tones, a pathetic song. That which man calls beautiful at this time, is that which excites him, that which gives him matter; but that which excites him to give his personality to the object, that which gives matter to a possible plastic operation, for otherwise it would not be the beautiful for him. A remarkable change has therefore taken place in the form of his judgments; he searches for these objects, not because they affect him, but because they furnish him with the occasion of acting; they please him, not because they answer to a want, but because they satisfy a law, which speaks in his breast, although quite low as yet.

Soon it will not be sufficient for things to please him; he will wish to please: in the first place, it is true, only by that which belongs to him; afterwards by that which he is. That which he possesses, that which he produces, ought not merely to bear any more the traces of servitude, nor to mark out the end, simply and scrupulously, by the form. Independently of the use to which it is destined, the object ought also to reflect the enlightened intelligence which imagines it, the hand which shaped it with affection, the mind free and serene which chose it and exposed it to view. Now, the ancient German searches for more magnificent furs, for more splendid antlers of the stag, for more elegant drinking horns; and the Caledonian chooses the prettiest shells for his festivals. The arms themselves ought to be no longer only objects of terror, but also of pleasure; and the skilfully worked scabbard will not attract less attention than the homicidal edge of the sword. The instinct of play, not satisfied with bringing into the sphere of the necessary an aesthetic superabundance for the future more free, is at last completely emancipated from the bonds of duty, and the beautiful becomes of itself an object of man's exertions. He adorns himself. The free pleasure comes to take a place among his wants, and the useless soon becomes the best part of his joys. Form, which from the outside gradually approaches him, in his dwelling, his furniture, his clothing, begins at last to take possession of the man himself, to transform him, at first exteriorly, and afterwards in the interior. The disordered leaps of joy become the dance, the formless gesture is changed into an amiable and harmonious pantomime, the confused accents of feeling are developed, and begin to obey measure and adapt themselves to song. When, like the flight of cranes, the Trojan army rushes on to the field of battle with thrilling cries, the Greek army approaches in silence and with a noble and measured step. On the one side we see but the exuberance of a blind force, on the other; the triumph of form and the simple majesty of law.

Now, a nobler necessity binds the two sexes mutually, and the interests of the heart contribute in rendering durable an alliance which was at first capricious and changing like the desire that knits it. Delivered from the heavy fetters of desire, the eye, now calmer, attends to the form, the soul contemplates the soul, and the interested exchange of