the critique of judgement-第30部分

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for　the　rational　idea　of　the　supersensible　it　is　not　excessive；　but　conformable　to　law；　and　directed　to　drawing　out　such　an　effort　on　the　part　of　the　imagination：　and　so　in　turn　as　much　a　source　of　attraction　as　it　was　repellent　to　mere　sensibility。　But　the　judgement　itself　all　the　while　steadfastly　preserves　its　aesthetic　character；　because　it　represents；　without　being　grounded　on　any　definite　concept　of　the　object；　merely　the　subjective　play　of　the　mental　powers　（imagination　and　reason）　as　harmonious　by　virtue　of　their　very　contrast。　For　just　as　in　the　estimate　of　the　beautiful　imagination　and　understanding　by　their　concert　generate　subjective　finality　of　the　mental　faculties；　so　imagination　and　reason　do　so　here　by　their　conflict…that　is　to　say　they　induce　a　feeling　of　our　possessing　a　pure　and　self…sufficient　reason；　or　a　faculty　for　the　estimation　of　magnitude；　whose　preeminence　can　only　be　made　intuitively　evident　by　the　inadequacy　of　that　faculty　which　in　the　presentation　of　magnitudes　（of　objects　of　sense）　is　itself　unbounded。　　　Measurement　of　a　space　（as　apprehension）　is　at　the　same　time　a　description　of　it；　and　so　an　objective　movement　in　the　imagination　and　a　progression。　On　the　other　hand；　the　comprehension　of　the　manifold　in　the　unity；　not　of　thought；　but　of　intuition；　and　consequently　the　comprehension　of　the　successively　apprehended　parts　at　one　glance；　is　a　retrogression　that　removes　the　time…condition　in　the　progression　of　the　imagination；　and　renders　coexistence　intuitable。　Therefore；　since　the　time…series　is　a　condition　of　the　internal　sense　and　of　an　intuition；　it　is　a　subjective　movement　of　the　imagination　by　which　it　does　violence　to　the　internal　sense…a　violence　which　must　be　proportionately　more　striking　the　greater　the　quantum　which　the　imagination　comprehends　in　one　intuition。　The　effort；　therefore；　to　receive　in　a　single　intuition　a　measure　for　magnitudes　which　it　takes　an　appreciable　time　to　apprehend；　is　a　mode　of　representation　which；　subjectively　considered；　is　contra…final；　but　objectively；　is　requisite　for　the　estimation　of　magnitude；　and　is　consequently　final。　Here　the　very　same　violence　that　is　wrought　on　the　subject　through　the　imagination　is　estimated　as　final　for　the　whole　province　of　the　mind。　　　The　quality　of　the　feeling　of　the　sublime　consists　in　being；　in　respect　of　the　faculty　of　forming　aesthetic　estimates；　a　feeling　of　displeasure　at　an　object；　which　yet；　at　the　same　time；　is　represented　as　being　final…a　representation　which　derives　its　possibility　from　the　fact　that　the　subject's　very　incapacity　betrays　the　consciousness　of　an　unlimited　faculty　of　the　same　subject；　and　that　the　mind　can　only　form　an　aesthetic　estimate　of　the　latter　faculty　by　means　of　that　incapacity。　　　In　the　case　of　the　logical　estimation　of　magnitude；　the　impossibility　of　ever　arriving　at　absolute　totality　by　the　progressive　measurement　of　things　of　the　sensible　world　in　time　and　space　was　cognized　as　an　objective　impossibility；　i。e。；　one　of　thinking　the　infinite　as　given；　and　not　as　simply　subjective；　i。e。；　an　incapacity　for　grasping　it；　for　nothing　turns　there　on　the　amount　of　the　comprehension　in　one　intuition；　as　measure；　but　everything　depends　on　a　numerical　concept。　But　in　an　aesthetic　estimation　of　magnitude　the　numerical　concept　must　drop　out　of　count　or　undergo　a　change。　The　only　thing　that　is　final　for　such　estimation　is　the　comprehension　on　the　part　of　imagination　in　respect　of　the　unit　of　measure　（the　concept　of　a　law　of　the　successive　production　of　the　concept　of　magnitude　being　consequently　avoided）。　If；　now；　a　magnitude　begins　to　tax　the　utmost　stretch　of　our　faculty　of　comprehension　in　an　intuition；　and　still　numerical　magnitudes…in　respect　of　which　we　are　conscious　of　the　boundlessness　of　our　faculty…call　upon　the　imagination　for　aesthetic　comprehension　in　a　greater　unit；　the　mind　then　gets　a　feeling　of　being　aesthetically　confined　within　bounds。　Nevertheless；　with　a　view　to　the　extension　of　imagination　necessary　for　adequacy　with　what　is　unbounded　in　our　faculty　of　reason；　namely　the　idea　of　the　absolute　whole；　the　attendant　displeasure；　and；　consequently；　the　want　of　finality　in　our　faculty　of　imagination；　is　still　represented　as　final　for　ideas　of　reason　and　their　animation。　But　in　this　very　way　the　aesthetic　judgement　itself　is　subjectively　final　for　reason　as　source　of　ideas；　i。e。；　of　such　an　intellectual　comprehension　as　makes　all　aesthetic　comprehension　small；　and　the　object　is　received　as　sublime　with　a　pleasure　that　is　only　possible　through　the　mediation　of　a　displeasure。

　　　　　　　　　　　　　B。　THE　DYNAMICALLY　SUBLIME　IN　NATURE。　　　　　　　　　　　　　　　　　　　　　SS　28。　Nature　as　Might。

　　Might　is　a　power　which　is　superior　to　great　hindrances。　It　is　termed　dominion　if　it　is　also　superior　to　the　resistance　of　that　which　itself　possesses　might。　Nature；　considered　in　an　aesthetic　judgement　as　might　that　has　no　dominion　over　us；　is　dynamically　sublime。　　　If　we　are　to　estimate　nature　as　dynamically　sublime；　it　must　be　represented　as　a　source　of　fear　（though　the　converse；　that　every　object　that　is　a　source　of　fear；　in　our　aesthetic　judgement；　sublime；　does　not　hold）。　For　in　forming　an　aesthetic　estimate　（no　concept　being　present）　the　superiority　to　hindrances　can　only　be　estimated　according　to　the　greatness　of　the　resistance。　Now　that　which　we　strive　to　resist　is　an　evil；　and；　if　we　do　not　find　our　powers　commensurate　to　the　task；　an　object　of　fear。　Hence　the　aesthetic　judgement　can　only　deem　nature　a　might；　and　so　dynamically　sublime；　in　so　far　as　it　is　looked　upon　as　an　object　of　fear。　　　But　we　may　look　upon　an　object　as　fearful；　and　yet　not　be　afraid　of　it；　if；　that　is；　our　estimate　takes　the　form　of　our　simply　picturing　to　ourselves　the　case　of　our　wishing　to　offer　some　resistance　to　it　and　recognizing　that　all　such　resistance　would　be　quite　futile。　So　the　righteous　man　fears　God　without　being　afraid　of　Him；　because　he　regards　the　case　of　his　wishing　to　resist　God　and　His　commandments　as　one　which　need　cause　him　no　anxiety。　But　in　every　such　case；　regarded　by　him　as　not　intrinsically　impossible；　he　cognizes　Him　as　One　to　be　feared。　　　One　who　is　in　a　state　of　fear　can　no　more　play　the　part　of　a　judge　of　the　sublime　of　nature　than　one　captivated　by　inclination　and　appetite　can　of　the　beautiful。　He　flees　from　the　sight　of　an　object　filling　him　with　dread；　and　it　is　impossible　to　take　delight　in　terror　that　is　seriously　entertained。　Hence　the　agreeableness　arising　from　the　cessation　of　an　uneasiness　is　a　state　of　joy。　But　this；　depending　upon　deliverance　from　a　danger；　is　a　rejoicing　accompanied　with　a　resolve　never　again　to　put　oneself　in　the　way　of　the　danger：　in　fact　we　do　not　like　bringing　back　to　mind　how　we　felt　on　that　occasion　not　to　speak　of　going　in　search　of　an　opportunity　for　experiencing　it　again。　　　Bold；　overhanging；　and；　as　it　were；　threatening　rocks；　thunderclouds　piled　up　the　vault　of　heaven；　borne　along　with　flashes　and　peals；　volcanos　in　all　their　violence　of　destruction；　hurricanes　leaving　desolation　in　their　track；　the　boundless　ocean　rising　with　rebellious　force；　the　high　waterfall　of　some　mighty　river；　and　the　like；　make　our　power　of　resistance　of　trifling　moment　in　comparison　with　their　m