�On the necessity to have limits in the use of beautiful forms�

�On the necessity to have limits in the use of beautiful forms�, is the aesthetic essay par excellence and exposes the different relationships in our personal skills of which we should be aware of in order to use discernment.

On the necessity to have limits in the use of beautiful forms
(1793 � 1795)



The misuse of the concept of Beautiful and the conceit of the capacity of conceptualization, there, where it only possesses an exerting power, and the ability to also seize the legislating power, caused so much troubles in life as well as in science, that it is not of minor importance to determine exactly the limits in the use of beautiful forms.

These limits are already encompassed in the nature of the Beautiful and we may only remind ourselves, how taste manifests its influence, in order to be able to determine how much it may extend it. The actions of taste, taken in general, are aimed at bringing into harmony the humans� sensible and spiritual forces and to unite them into an internal alliance.

Where, hence, such an internal alliance between Reason and the senses is practical and legitimate, there, taste is allowed to have an influence. However, there are cases, where in order to reach a goal or to perform a duty adequately, we must act freely from every sensible influence and must act as a reasonable human being, where, hence, the link between the spirit and the material must instantly be lifted up, there has taste its limits, which it may not over cross without either preventing the reaching of a goal or diverting us from our duty.

However, there are really such cases and they are already prescribed to us through our determination. Our determination it is to acquire knowledge and to act according to whatever knowledge is available. These two duties possess a skill which excludes sense from what the spirit does, because any judgment must be generalized from sentiments and any moral yearning from desire.

When we recognize something, hence, we relate ourselves actively to this something, and our attention is directed towards a subject, towards a relationship between some presentations and various other ones. When we feel, we are submissive and our attention (if one can call otherwise something that is not a conscious act of the spirit) is only directed towards our (emotional) state, in so far as the same state will change through a received impression.

As we, now, only feel and not recognize the Beautiful, hence, we notice in that occasion not the relationship of the same Beautiful to other objects, but rather we relate the presentation of the same Beautiful not onto other presentations, but rather onto our sensitive self. With the beautiful subject, we experience nothing; but from the same subject, we experience a transformation of our (emotional) state, the expression of which sentiment is.

Our knowledge will not be extended through judgments of taste, and any comprehension, not even that of Beauty, will not be acquired through the sentiment of Beauty. Where, hence, comprehension is the goal, there taste can not be of any service to us, at least, directly and immediately; but rather more, it is comprehension which will be just postponed as long as Beauty still occupies us.

Then, now, one could object, for what use would a tasteful adornment of the concept be, if the goal of the treatise which can not be other than to produce comprehension, will be much more hindered than advanced through the process? The Beauty of the adornment can contribute so little to convince the intellect, the same way as the tasteful arrangement of a meal can not contribute to the satiety of the guests or the external elegance of a man to the judgment of his inner worth.


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