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.
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.
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
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.
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.
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).
whose cause is not determined to causality by concepts (but in lifeless matter by mechanism and in animals by instinct).
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.
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.
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.
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.
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.
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.
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.
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;
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.
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.
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.
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).
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,
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.
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.
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 the subjective [element] in a representation which cannot be an ingredient of cognition, is the pleasure or pain which is bound up with it;
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.
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.
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.
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.
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;
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.
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.
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
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.
The judgement of taste is therefore not a judgement of cognition, and is consequently not logical but aesthetical,
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.
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.
we shall call that, which must always remain merely subjective and can constitute absolutely no representation of an object, by the ordinary term "feeling."
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.
happiness, with the whole abundance of its pleasures, is far from being an unconditioned good.
That which GRATIFIES a man is called pleasant; that which merely PLEASES him is beautiful; that which is ESTEEMED [or approved ] by him, i.e. that to which he accords an objective worth, is good.
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.
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).
he must not call it beautiful if it merely pleases himself.
judges not merely for himself, but for every one, and speaks of beauty as if it were a property of things.
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.
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.
there can be no rule according to which any one is to be forced to recognise anything as beautiful.
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.
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).
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.
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?
The beautiful is that which pleases universally, without a concept.
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).
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.
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;
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; 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.
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.
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.
We linger over the contemplation of the beautiful, because this contemplation strengthens and reproduces itself,
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.
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.
A judgement of taste is therefore pure, only so far as no merely empirical satisfaction is mingled with its determining ground.
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 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.
In the latter case it is either play of figures (in space, viz. pantomime and dancing), or the mere play of sensations (in time).
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 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.
sublimity [with which the feeling 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.
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.
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 feeling (of internal sense) of that harmony in the play of the mental powers, so far as it can be felt in sensation.
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.
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;
Properly speaking, however, perfection gains nothing by beauty or beauty by perfection;
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.
Not that taste can be acquired by imitating others; for it must be an original faculty.
Idea properly means a rational concept, and Ideal the representation of an individual being, regarded as adequate to an Idea.
do we arrive at such an Ideal of beauty? A priori, or empirically? Moreover, what species of the beautiful is susceptible of an Ideal?
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.
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.
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.
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.
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.
Beauty is the form of the purposiveness of an object, so far as this is perceived in it without any representation of a purpose.
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.
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.
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.
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.
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.
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.
we therefore place at its basis not as a private, but as a communal feeling.
It does not say that every one will agree with my judgement, but that he ought.
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:
The beautiful is that which without any concept is cognised as the object of a necessary satisfaction.
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
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;
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.
in the English taste in gardens, or in bizarre taste in furniture, the freedom of the Imagination is pushed almost near to the grotesque,
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.
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;
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.
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.
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.
Ideas of the sublime in its chaos or in its wildest and most irregular disorder and desolation, provided size and might are perceived.
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.
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.
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
to cognise how great it is always requires some other magnitude as a measure.
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.
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.
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.
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.
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
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
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.
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.
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.
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.
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).
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.
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.
War itself, if it is carried on with order and with a sacred respect for the rights of citizens, has something sublime in it,
a long peace generally brings about a predominant commercial spirit, and along with it, low selfishness, cowardice, and effeminacy, and debases the disposition of the people.
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.
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.
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.
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.
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.
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.
astonishment (the affection produced by the representation of novelty exceeding our expectations), as admiration (astonishment that does not cease when the novelty disappears);
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.
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.
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.
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.
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.
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. 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.
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.
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).
Thus this problem of the Critique of Judgement belongs to the general problem of transcendental philosophy, how are synthetical a priori judgements possible?
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 judging a sensible object in general.
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.
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.
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.
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.
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 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.
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.
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.
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.
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.
(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).
(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).
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.
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 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.)
thus aesthetical art, as the art of beauty, has for standard the reflective Judgement and not sensation.
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.
(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.)
Now since learning is nothing but imitation, it follows that the greatest ability and teachableness (capacity) regarded quâ teachableness, cannot avail for genius.
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.
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.
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.
Spirit, in an aesthetical sense, is the name given to the animating principle of the mind.
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.
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;
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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;
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.
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.
(1) The beautiful pleases immediately (but only in reflective intuition, not, like morality, in its 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.
There is therefore for beautiful art only a manner (modus), not a method of teaching (methodus).
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 spirit  of humanity by which it is distinguished from the limitations of animal life.
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.
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.
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.
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.
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.
I would say provisionally: a thing exists as a natural purpose, if it is [although in a double sense]  both cause and effect of itself.
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).
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.
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.
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).
To speak strictly, then, the organisation of nature has in it nothing analogous to any causality we know.
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.
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.
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.
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.
Furthermore, it is in no wise thus decided, whether anything of which we judge by this principle, is a designed purpose of nature;
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.
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.
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.
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;
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.
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.
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)
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.
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.
But the possibility of living matter cannot even be thought; its concept involves a contradiction because lifelessness, inertia, constitutes the essential character of matter.
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 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.
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 as a product of an intelligent cause, [a God]."
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.
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.
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.
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.
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.
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.
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.
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.
(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.
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.
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).
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
cosmopolitan whole, i.e. a system of all states that are in 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 (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.
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.
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;
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 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).
Its endeavour does not come up to its design of being the basis of a Theology, but it always remains only a physical Teleology;
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;
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 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;
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;
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.
Since now it is only as a moral being that we recognise man as the purpose of creation,
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.
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;
though fear first produces gods (demons), it is Reason by means of its moral principles that can first produce the concept of God
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.
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 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.
there would certainly be (relative) purposes in the world, but no (absolute) final purpose,
they prescribe to Reason something as a purpose without any condition, and consequently exactly as the concept of a final purpose requires.
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.
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.
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;
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.
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,
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.
in all probability attention would be directed first by this moral interest to the beauty and the purposes in nature,
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).
Idolatry (a superstitious belief that we can please the Supreme Being by other means than by a moral sentiment).
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),
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.
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
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 peculiar signification.
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.
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.
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).
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.
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
the Being of God and the immortality of the soul, are things of faith (res fidei), and of all objects are the only ones which can be so called.
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.
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.
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;
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 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.
In this way Theology leads immediately to Religion, i.e. the recognition of our duties as divine commands
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,
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
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.
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.)
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,
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)