第58章 ANALYTIC OF AESTHETIC JUDGEMENT(25)

It has been with the best intentions that those who love to see in the ultimate end of humanity, namely the morally good, the goal of all activities to which men are impelled by the inner bent of their nature, have regarded it as a mark of a good moral character to take an interest in the beautiful generally.But they have, not without reason, been contradicted, by others, who appeal to the fact of experience, that virtuosi in matters of taste being not alone often, but one might say as a general rule, vain, capricious, and addicted to injurious passions, could perhaps more rarely than others lay claim to any pre-eminent attachment to moral principles.And so it would seem, not only that the feeling for the beautiful is specifically different from the moral feeling (which as a matter of fact is the case), but also that the interest which we may combine with it will hardly consort with the moral, and certainly not on grounds of inner affinity.

Now I willingly admit that the interest in the beautiful of art (including under this heading the artificial use of natural beauties for personal adornment, and so from vanity) gives no evidence at all of a habit of mind attached to the morally good, or even inclined that way.But, on the other hand, I do maintain that to take an immediate interest in the beauty of nature (not merely to have taste in estimating it) is always a mark of a good soul; and that, where this interest is habitual, it is at least indicative of a temper of mind favourable to the moral feeling that it should readily associate itself with the contemplation of nature.It must, however, be borne in mind that I mean to refer strictly to the beautiful forms of nature, and to put to one side the charms which she is wont so lavishly to combine with them; because, though the interest in these is no doubt immediate, it is nevertheless empirical.

One who alone (and without any intention of communicating his observations to others) regards the beautiful form of a wild flower, a bird, an insect, or the like, out of admiration and love of them, and being loath to let them escape him in nature, even at the risk of some misadventure to himself-so far from there being any prospect of advantage to him-such a one takes an immediate, and in fact intellectual, interest in the beauty of nature.This means that he is not alone pleased with nature's product in respect of its form, but is also pleased at its existence, and is so without any charm of sense having a share in the matter, or without his associating with it any end whatsoever.

In this connection, however, it is of note that were we to play a trick on our lover of the beautiful, and plant in the ground artificial flowers (which can be made so as to look just like natural ones), and perch artfully carved birds on the branches of trees, and he were to find out how he had been taken in, the immediate interest which these things previously had for him would at once vanish-though, perhaps, a different interest might intervene in its stead, that, namely, of vanity in decorating his room with them for the eyes of others.The fact is that our intuition and reflection must have as their concomitant the thought that the beauty in question is nature's handiwork; and this is the sole basis of the immediate interest that is taken in it.Failing this, we are either left with a bare judgement of taste void of all interest whatever, or else only with one that is combined with an interest that is mediate, involving, namely, a reference to society; which latter affords no reliable indication of morally good habits of thought.

The superiority which natural beauty has over that of art, even where it is excelled by the latter in point of form, in yet being alone able to awaken an immediate interest, accords with the refined and well-grounded habits of thought of all men who have cultivated their moral feeling.If a man with taste enough to judge of works of fine art with the greatest correctness and refinement readily quits the room in which he meets with those beauties that minister to vanity or, at least, social joys, and betakes himself to the beautiful in nature, so that he may there find as it were a feast for his soul in a train of thought which he can never completely evolve, we will then regard this his choice even with veneration, and give him credit for a beautiful soul, to which no connoisseur or art collector can lay claim on the score of the interest which his objects have for him.Here, now, are two kinds of objects which in the judgement of mere taste could scarcely contend with one another for a superiority.What then, is the distinction that makes us hold them in such different esteem?

We have a faculty of judgement which is merely aesthetic-a faculty of judging of forms without the aid of concepts, and of finding, in the mere estimate of them, a delight that we at the same time make into a rule for every one, without this judgement being founded on an interest, or yet producing one.On the other hand, we have also a faculty of intellectual judgement for the mere forms of practical maxims (so far as they are of themselves qualified for universal legislation)-a faculty of determining an a priori delight, which we make into a law for everyone, without our judgement being founded on any interest, though here it produces one.The pleasure or displeasure in the former judgement is called that of taste; the latter is called that of the moral feeling.