This human right of ruling is exercised by man in the art of appearance; and his success in extending the empire of the beautiful, and guarding the frontiers of truth, will be in proportion with the strictness with which he separates form from substance: for if he frees appearance from reality he must also do the converse.
But man possesses sovereign power only in the world of appearance, in the unstibstantial realm of imagination, only by abstaining from giving being to appearance in theory, and by giving it being in practice. It follows that the poet transgresses his proper limits when he attributes being to his ideal, and when he gives this ideal aim as a determined existence. For he can only reach this result by exceeding his right as a poet, that of encroaching by the ideal on the field of experience, and by pretending to determine real existence in virtue of a simple possibility, or else he renounces his right as poet by letting experience encroach on the sphere of the ideal, and by restricting possibility to the conditions of reality.
It is only by being frank or disclaiming all reality, and by being independent or doing without reality, that the appearance is aesthetical. Directly it apes reality or needs reality for effect it is nothing more than a vile instrument for material ends, and can prove nothing for the freedom of the mind. Moreover, the object in which we find beauty need not be unreal if pur judgment disregards this reality; nor if it regards this the judgment is no longer aesthetical. A beautiful woman if living would no doubt please us as much and rather more than an equally beautiful woman seen in painting; but what makes the former please men is not her being an independent appearance; she no longer pleases the pure aesthetic feeling. In the painting, life must only attract as an appearance, and reality as an idea. But it is certain that to feel in a living object only the pure appearance, requires a greatly higher aesthetic culture than to do without life in the appearance.
When the frank and independent appearance is found in man separately, or in a whole people, it may be inferred they have mind, taste, and all prerogatives connected with them. In this case, the ideal will be seen to govern real life, honour triumphing over fortune, thought over enjoyment, the dream of immortality over a transitory existence.
In this case public opinion will no longer be feared and an olive crown will be more valued than a purple mantle. Impotence and perversity alone have recourse to false and paltry semblance, and individuals as well as nations who lend to reality the support of appearance, or to the aesthetical appearance the support of reality, show their moral unworthiness and their aesthetical impotence.
Therefore, a short and conclusive answer can be given to this question--How far will appearance be permitted in the moral world?
It will run 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 a.s.surances, 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 enn.o.bles a vulgar reality. Their strict sense of truth is rightlyl offended by the falsity of manners; unfortunately, they cla.s.s 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 coa.r.s.eness, 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 antic.i.p.ating 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 enn.o.bled 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 emanc.i.p.ation 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 lat.i.tude 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 emanc.i.p.ated 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 ent.i.tled to infer that there is in it an independent plastic force.
From this play of free a.s.sociation 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, pa.s.ses 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 appet.i.tes, constantly crosses.
It is on that account that we see the taste, still coa.r.s.e, 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 sh.e.l.ls 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 emanc.i.p.ated 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 n.o.ble 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 n.o.bler necessity binds the two s.e.xes 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 pleasure becomes a generous exchange of mutual inclination. Desire enlarges and rises to love, in proportion as it sees humanity dawn in its object; and, despising the vile triumphs gained by the senses, man tries to win a n.o.bler victory over the will. The necessity of pleasing subjects the powerful nature to the gentle laws of taste; pleasure may be stolen, but love must be a gift. To obtain this higher recompense, it is only through the form and not through matter that it can carry on the contest. It must cease to act on feeling as a force, to appear in the intelligence as a simple phenomenon; it must respect liberty, as it is liberty it wishes to please. The beautiful reconciles the contrast of different natures in its simplest and purest expression.
It also reconciles the eternal contrast of the two s.e.xes, in the whole complex framework of society, or at all events it seeks to do so; and, taking as its model the free alliance it has knit between manly strength and womanly gentleness, it strives to place in harmony, in the moral world, all the elements of gentleness and of violence. Now, at length, weakness becomes sacred, and an unbridled strength disgraces; the injustice of nature is corrected by the generosity of chivalrous manners. The being whom no power can make tremble, is disarmed by the amiable blush of modesty, and tears extinguish a vengeance that blood could not have quenched. Hatred itself hears the delicate voice of honour, the conqueror"s sword spares the disarmed enemy, and a hospitable hearth smokes for the stranger on the dreaded hill-side where murder alone awaited him before.
In the midst of the formidable realm of forces, and of the sacred empire of laws, the aesthetic impulse of form creates by degrees a third and a joyous realm, that of play and of the appearance, where she emanc.i.p.ates man from fetters, in all his relations, and from all that is named constraint, whether physical or moral.
If in the dynamic state of rights men mutually move and come into collision as forces, in the moral (ethical) state of duties, man opposes to man the majesty of the laws, and chains down his will. In this realm of the beautiful or the aesthetic state, man ought to appear to man only as a form, and an object of free play. To give freedom through freedom is the fundamental law of this realm.
The dynamic state can only make society simply possible by subduing nature through nature; the moral (ethical) state can only make it morally necessary by submitting the will of the individual to the general will. The aesthetic state alone can make it real, because it carries out the will of all through the nature of the individual. If necessity alone forces man to enter into society, and if his reason engraves on his soul social principles, it is beauty only that can give him a social character; taste alone brings harmony into society, because it creates harmony in the individual. All other forms of perception divide the man, because they are based exclusively either in the sensuous or in the spiritual part of his being. It is only the perception of beauty that makes of him an entirety, because it demands the co-operation of his two natures.
All other forms of communication divide society, because they apply exclusively either to the receptivity or to the private activity of its members, and therefore to what distinguishes men one from the other. The aesthetic communication alone unites society, because it applies to what is common to all its members. We only enjoy the pleasures of sense as individuals, without the nature of the race in us sharing in it; accordingly, we cannot generalise our individual pleasures, because we cannot generalise our individuality. We enjoy the pleasures of knowledge as a race, dropping the Individual in our judgment; but we cannot generalise the pleasures of the understanding, because we cannot eliminate individuality from the judgments of others as we do from our own. Beauty alone can we enjoy both as individuals and as a race, that is, as representing a race.
Good appertaining to sense can only make one person happy, because it is founded on inclination, which is always exclusive; and it can only make a man partially happy, because his real personality does not share in it. Absolute good can only render a man happy conditionally, for truth is only the reward of abnegation, and a pure heart alone has faith in a pure will. Beauty alone confers happiness on all, and under its influence every being forgets that he is limited.
Taste does not suffer any superior or absolute authority, and the sway of beauty is extended over appearance. It extends up to the seat of reason"s supremacy, suppressing all that is material. It extends down to where sensuous impulse rules with blind compulsion, and form is undeveloped. Taste ever maintains its power on these remote borders, where legislation is taken from it. Particular desires must renounce their egotism, and the agreeable, otherwise tempting the senses, must in matters of taste adorn the mind with the attractions of grace.
Duty and stern necessity must change their forbidding tone, only excused by resistance, and do homage to nature by a n.o.bler trust in her. Taste leads our knowledge from the mysteries of science into the open expanse of common sense, and changes a narrow scholasticism into the common property of the human race. Here the highest genius must leave its particular elevation, and make itself familiar to the comprehension even of a child. Strength must let the Graces bind it, and the arbitrary lion must yield to the reins of love. For this purpose taste throws a veil over physical necessity, offending a free mind by its coa.r.s.e nudity, and dissimulating our degrading parentage with matter by a delightful illusion of freedom. Mercenary art itself rises from the dust; and the bondage of the bodily, at its magic touch, falls off from the inanimate and animate. In the aesthetic state the most slavish tool is a free citizen, having the same rights as the n.o.blest; and the intellect which shapes the ma.s.s to its intent must consult it concerning its destination.
Consequently in the realm of aesthetic appearance, the idea of equality is realised, which the political zealot would gladly see carried out socially. It has often been said that perfect politeness is only found near a throne. If thus restricted in the material, man has, as elsewhere appears, to find compensation in the ideal world.
Does such a state of beauty in appearance exist, and where? It must be in every finely harmonised soul; but as a fact, only in select circles, like the pure ideal of the church and state--in circles where manners are not formed by the empty imitations of the foreign, but by the very beauty of nature; where man pa.s.ses through all sorts of complications in all simplicity and innocence, neither forced to trench on another"s freedom to preserve his own, nor to show grace at the cost of dignity.
FUNDAMENTAL PRINCIPLES OF THE METAPHYSIC OF MORALS
BY
IMMANUEL KANT
TRANSLATED BY
T. K. ABBOTT
INTRODUCTORY NOTE
Immanuel Kant was born in Konigsberg, East Prussia, April 22, 1724, the son of a saddler of Scottish descent. The family was pietist, and the future philosopher entered the university of his native city in 1740, with a view to studying theology. He developed, however, a many-sided interest in learning, and his earlier publications were in the field of speculative physics. After the close of his period of study at the university he became a private tutor; then In 1755, privat-docent; and in 1770, professor. During the first eleven years of his professorship Kant published little, spending his energies in the meditation that was to result in the philosophical system of which the first part was given to the world in his "Critique of Pure Reason" in 1781. From that time till near the end of the century he issued volume after volume; yet when he died In 1804 he regarded his statement of his system as fragmentary.
Of the enormous importance of Kant in the history of philosophy, no idea can be given here. The important doc.u.ment which follows was published in 1785, and forms the basis of the moral system on which he erected the whole structure of belief in G.o.d, Freedom, and Immortality. Kant is often difficult and obscure, and became more so as he grew older; but the present treatise can be followed, in its main lines, by any intelligent person who is interested enough in the fundamental problems of human life and conduct to give it serious and concentrated attention. To such a reader the subtle yet clear distinctions, and the lofty and rigorous principles of action, which it lays down, will prove an intellectual and moral tonic such as hardly any other modern writer affords.
PREFACE
Ancient Greek philosophy was divided into three sciences: Physics, Ethics, and Logic. This division is perfectly suitable to the nature of the thing, and the only improvement that can be made in it is to add the principle on which it is based, so that we may both satisfy ourselves of its completeness, and also be able to determine correctly the necessary subdivisions.
All rational knowledge is either material or formal: the former considers some object, the latter is concerned only with the form of the understanding and of the reason itself, and with the universal laws of thought in general without distinction of its objects.
Formal philosophy is called Logic. Material philosophy, however, which has to do with determinate objects and the laws to which they are subject, is again two-fold; for these laws are either laws of nature or of freedom. The science of the former is Physics, that of the latter, Ethics; they are also called natural philosophy and moral philosophy respectively.
Logic cannot have any empirical part; that is, a part in which the universal and necessary laws of thought should rest on grounds taken from experience; otherwise it would not be logic, i. e. a canon for the understanding or the reason, valid for all thought, and capable of demonstration. Natural and moral philosophy, on the contrary, can each have their empirical part, since the former has to determine the laws of nature as an object of experience; the latter the laws of the human will, so far as it is affected by nature: the former, however, being laws according to which everything does happen; the latter, laws according to which everything ought to happen.
[Footnote: The word "law" is here used in two different senses, on which see Whately"s Logic, Appendix, Art. "Law."] Ethics, however, must also consider the conditions under which what ought to happen frequently does not.
We may call all philosophy empirical, so far as it is based on grounds of experience: on the other hand, that which delivers its doctrines from a priori principles alone we may call pure philosophy. When the latter is merely formal it is logic; if it is restricted to definite objects of the understanding it is metaphysic.
In this way there arises the idea of a two-fold metaphysic--a metaphysic of nature and a metaphysic of morals. Physics will thus have an empirical and also a rational part. It is the same with Ethics; but here the empirical part might have the special name of practical anthropology, the name morality being appropriated to the rational part.
All trades, arts, and handiworks have gained by division of labour, namely, when, instead of one man doing everything, each confines himself to a certain kind of work distinct from others in the treatment it requires, so as to be able to perform it With greater facility and. in the greatest perfection. Where the different kinds of work are not so distinguished and divided, where everyone is a jack-of-all-trades, there manufactures remain still in the greatest barbarism. It might deserve to be considered whether pure philosophy in all its parts does not require a man specially devoted to it, and whether it would not be better for the whole business of science if those who, to please the tastes of the public, are wont to blend the rational and empirical elements together, mixed in all sorts of proportions unknown to themselves, and who call themselves independent thinkers, giving the name of minute philosophers to those who apply themselves to the rational part only--if these, I say, were warned not to carry on two employments together which differ widely in the treatment they demand, for each of which perhaps a special talent is required, and the combination of which in one person only produces bunglers. But I only ask here whether the nature of science does not require that we should always carefully separate the empirical from the rational part, and prefix to Physics proper (or empirical physics) a metaphysic of nature, and to practical anthropology a metaphysic of morals, which must be carefully cleared of everything empirical, so that we may know how much can be accomplished by pure reason in both cases, and from whnat sources it draws this its a priori teaching, and that whether the latter inquiry is conducted by all moralists (whose name is legion), or only by some who feel a calling thereto.
As my concern here is with moral philosophy, I limit the question suggested to this: Whether it is not of the utmost necessity to construct a pure moral philosophy, perfectly cleared of everything which is only empirical, and which belongs to anthropology? for that such a philosophy must be possible is evident from the common idea of duty and of the moral laws. Every one must admit that if a law is to have moral force, i. e. to be the basis of an obligation, it must carry with it absolute necessity; that, for example, the precept, "Thou shalt not lie," is not valid for men alone, as if other rational beings had no need to observe it; and so with all the other moral laws properly so called; that, therefore, the basis of obligation must not be sought in the nature of man, or in the circ.u.mstanced in the world in which he is placed, but a priori simply in the conceptions of pure reason; and although any other precept which is founded on principles of mere experience may be in certain respects universal, yet in as far as it rests even in the least degree on an empirical basis, perhaps only as to a motive, such a precept, while it may be a practical rule, can never be called a moral law.
Thus not only are moral laws with their principles essentially distinguished from every other kind of practical knowledge in which there is anything empirical, but all moral philosophy rests wholly on its pure part. When applied to man, it does not borrow the least thing from the knowledge of man himself (anthropology), but gives laws a priori to him as a rational being. No doubt these laws require a judgment sharpened by experience, in order on the one hand to distinguish in what cases they are applicable, and on the other to procure for them access to the will of the man, and effectual influence on conduct; since man is acted on by so many inclinations that, though capable of the idea of a practical pure reason, he is not so easily able to make it effective in concrete in his life.