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 and; in its fruitless efforts to extend this limit; recoils upon itself; but in so doing succumbs to an emotional delight。   At present I am not disposed to deal with the ground of this delight; connected; as it is; with a representation in which we would least of all look for it…a representation; namely; that lets us see its own inadequacy; and consequently its subjective want of finality for our judgement in the estimation of magnitude…but confine myself to the remark that if the aesthetic judgement is to be pure (unmixed with any teleological judgement which; as such; belongs to reason); and if we are to give a suitable example of it for the Critique of aesthetic judgement; we must not point to the sublime in works of art; e。g。; buildings; statues and the like; where a human end determines the form as well as the magnitude; nor yet in things of nature; that in their very concept import a definite end; e。g。; animals of a recognized natural order; but in rude nature merely as involving magnitude (and only in this so far as it does not convey any charm or any emotion arising from actual danger)。 For; in a representation of this kind; nature contains nothing monstrous (nor what is either magnificent or horrible)…the magnitude apprehended may be increased to any extent provided imagination is able to grasp it all in one whole。 An object is monstrous where by its size it defeats the end that forms its concept。 The colossal is the mere presentation of a concept which is almost too great for presentation; i。e。; borders on the relatively monstrous; for the end to be attained by the presentation of a concept is made harder to realize by the intuition of the object being almost too great for our faculty of apprehension。 A pure judgement upon the sublime must; however; have no end belonging to the object as its determining ground; if it is to be aesthetic and not to be tainted with any judgement of understanding or reason。

  Since whatever is to be a source of pleasure; apart from interest; to the merely reflective judgement must involve in its representation subjective; and; as such; universally valid finality…though here; however; no finality of the form of the object underlies our estimate of it (as it does in the case of the beautiful)…the question arises: What is the subjective finality; and what enables it to be prescribed as a norm so as to yield a ground for universally valid delight in the mere estimation of magnitude; and that; too; in a case where it is pushed to the point at which faculty of imagination breaks down in presenting the concept of a magnitude; and proves unequal to its task?   In the successive aggregation of units requisite for the representation of magnitudes; the imagination of itself advances ad infinitum without let or hindrance…understanding; however; conducting it by means of concepts of number for which the former must supply the schema。 This procedure belongs to the logical estimation of magnitude; and; as such; is doubtless something objectively final according to the concept of an end (as all measurement is); but it is hot anything which for the aesthetic judgement is final or pleasing。 Further; in this intentional finality there is nothing compelling us to tax the utmost powers of the imagination; and drive it as far as ever it can reach in its presentations; so as to enlarge the size of the measure; and thus make the single intuition holding the many in one (the comprehension) as great as possible。 For; in the estimation of magnitude by the understanding (arithmetic); we get just as far; whether the comprehension of the units is pushed to the number 10 (as in the decimal scale) or only to 4 (as in the quaternary); the further production of magnitude being carried out by the successive aggregation of units; or; if the quantum is given in intuition; by apprehension; merely progressively (not comprehensively); according to an adopted principle of progression。 In this mathematical estimation of magnitude; understanding is as well served and as satisfied whether imagination selects for the unit a magnitude which one can take in at a glance; e。g。; a foot; or a perch; or else a German mile; or even the earth's diameter; the apprehension of which is indeed possible; but not its comprehension in; sit intuition of the imagination (i。e。; it is not possible by means of a comprehension aesthetica; thought quite so by means of a comprehension logica in a numerical concept)。 In each case the logical estimation of magnitude advances ad infinitum with nothing to stop it。   The mind; however; hearkens now to the voice of reason; which for all given magnitudes…even for those which can never be completely apprehended; though (in sensuous representation) estimated as completely given…requires totality; and consequently comprehension in one intuition; and which calls for a presentation answering to all the above members of a progressively increasing numerical series; and does not exempt even the infinite (space and time past) from this requirement; but rather renders it inevitable for us to regard this infinite (in the judgement of common reason) as completely given (i。e。; given in its totality)。   But the infinite is absolutely (not merely comparatively) great。 In comparison with this all else (in the way of magnitudes of the same order) is small。 But the point of capital importance is that the mere ability even to think it as a whole indicates a faculty of mind transcending every standard of sense。 For the latter would entail a comprehension yielding as unit a standard bearing to the infinite ratio expressible in numbers; which is impossible。 Still the mere ability even to think the given infinite without contradiction; is something that requires the presence in the human mind of a faculty that is itself supersensible。 For it is only through this faculty and its idea of a noumenon; which latter; while not itself admitting of any intuition; is yet introduced as substrate underlying the intuition of the world as mere phenomenon; that the infinite of the world of sense; in the pure intellectual estimation of magnitude; is completely comprehended under a concept; although in the mathematical estimation by means of numerical concepts it can never be completely thought。 Even a faculty enabling the infinite of supersensible intuition to be regarded as given (in its intelligible substrate); transcends every standard of sensibility and is great beyond all comparison even with the faculty of mathematical estimation: not; of course; from a theoretical point of view that looks to the interests of our faculty of knowledge; but as a broadening of the mind that from another (the practical) point of view feels itself empowered to pass beyond the narrow confines of sensibility。   Nature; therefore; is sublime in such of its phenomena as in their intuition convey the idea of their infinity。 But this can only occur through the inadequacy of even the greatest effort of our imagination in the estimation of the magnitude of an object。 But; now; in the case of the mathematical estimation of magnitude; imagination is quite competent to supply a measure equal to the requirements of any object。 For the numerical concepts of the understanding can by progressive synthesis make any measure adequate to any given magnitude。 Hence it must be the aesthetic estimation of magnitude in which we get at once a feeling of the effort towards a comprehension that exceeds the faculty of imagination for mentally grasping the progressive apprehension in a whole of intuition; and; with it; a perception of the inadequacy of this faculty; which has no bounds to its progress; for taking in and using for the estimation of magnitude a fundamental measure that understanding could turn to account without the least trouble。 Now the proper unchangeable fundamental measure of nature is its absolute whole; which; with it; regarded as a phenomenon; means infinity comprehended。 But; since this fundamental measure is a self…contradictory concept (owing to the impossibility of the absolute totality of an endless progression); it follows that where the size of a natural object is such that the imagination spends its whole faculty of comprehension upon it in vain; it must carry our concept of nature; to a supersensible substrate (underlying both nature and our faculty of thought)。 which is; great beyond every standard of sense。 Thus; instead of the object; it is rather the cast of the mind in appreciating it that we have to estimate as sublime。   Therefore; just as the aesthetic judgement in its estimate of the beautiful refers the imagination in its free play to the understanding; to bring out its agreement with the concepts of the latter in general (apart from their determination): so in its estimate of a thing as sublime it refers that faculty to reason to bring out its subjective accord with ideas of reason (indeterminately indicated); i。e。; to induce a temper of mind conformable…to that which the influence of definite (practical) ideas would produce upon feeling; and in common accord with it。   This makes it evident that true sublimity must be sought only in the mind of the judging subject; and not in the object of nature that occasions this attitude by the estimate formed of it。 W

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