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Observations on the Feeling of the Beautiful and Sublime
Section One
Of the Distinct Objects of the Feeling of the Beautiful and Sublime
Kant states that feelings of enjoyment are subjective. In this book, he describes his observations. His interest is not in coarse, thoughtless feelings or in the other extreme, the finest feelings of intellectual discovery. Instead, he writes about the finer feelings, which are intermediate. These require some sensitivity, intellectual excellence, talent, or virtue.
There are two kinds of finer feeling: the feeling of the sublime and the feeling of the beautiful. Kant gives examples of these pleasant feelings. Some of his examples of feelings of the beautiful are the sight of flower beds, grazing flocks, and daylight. Feelings of the sublime are the result of seeing mountain peaks, raging storms, and night.
In this section, Kant gives many particular examples of feelings of the beautiful and the sublime. Feelings of the beautiful occasion a pleasant sensation but one that is joyous and smiling. On the other hand, feelings of the sublime arouse enjoyment but with horror.
Kant subdivided the sublime into three kinds. The feeling of the terrifying sublime is sometimes accompanied with a certain dread or melancholy. The feeling of the noble sublime is quiet wonder. Feelings of the splendid sublime are pervaded with beauty.
Section Two
Of the Attributes of the Beautiful and Sublime in Man in General
Kant described the relationship between these finer feelings and humanity. The feelings are not totally separate from each other. Beauty and the sublime can be joined or alternated. Kant claimed that tragedy, for the most part, stirs the feeling of the sublime. Comedy arouses feelings for beauty. The personal appearance of humans prompts these feelings in various cases. A persons social position also affects these feelings.
Human nature has many variations of the feelings of the beautiful and the sublime. Some variations of the terrifying sublime are the adventurous and grotesque. Visionaries and cranks are persons who have fantasies and whims. The beautiful, when it degenerates, produces triflers, fops, dandies, chatterers, silliness, bores, and fools.
Sympathy or compassion and also good-natured agreeableness are not true virtues, according to Kant. True virtue is the quality of raising the feeling of humanitys beauty and dignity to a principle. When a person acts in accordance with this principle, regardless of inclination, that person is truly and sublimely virtuous.
A profound feeling for the beauty and dignity of human nature and a firmness and determination of the mind to refer all ones actions to this as to a universal ground is earnest, and does not at all join with a changeable gaiety nor with the inconstancy of a frivolous person. With this observation, Kant will attempt to fit the various feelings of the beautiful and sublime, and the resulting moral characters, into Galens rigid arrangement of the four humours or human temperaments: melancholic, sanguine, choleric, and phlegmatic.
Kant asserted that the human temperaments or dispositions are fixed and separate characters. An individual who has one frame of mind has no feeling or sense for the finer feelings that occur in a person of another temperament.
A person who has a constitution that is melancholic will have a predominating feeling for the sublime. That person may possess genuine virtue based on the principle that humanity has beauty and worth.
One who has a sanguine nature will mostly have a feeling for the beautiful. This results in an adoptive virtue that rests on goodheartedness. This persons compassion and sympathy depend on the impression of the moment.
A choleric human will have a feeling for the splendid or showy sublime. As a result, this person will possess an apparent virtue. Kant calls it a gloss of virtue. This includes a sense of honor and concern for outward appearance.
Phlegmatic people have apathy or lack of any finer feeling. They therefore may have an absence of virtue.
As a whole, human nature in general is a combination of these virtues. As such, it is a splendid expression of beauty and dignity.
Observations on the Feeling of the Beautiful and Sublime
Section One
Of the Distinct Objects of the Feeling of the Beautiful and Sublime
Kant states that feelings of enjoyment are subjective. In this book, he describes his observations. His interest is not in coarse, thoughtless feelings or in the other extreme, the finest feelings of intellectual discovery. Instead, he writes about the finer feelings, which are intermediate. These require some sensitivity, intellectual excellence, talent, or virtue.
There are two kinds of finer feeling: the feeling of the sublime and the feeling of the beautiful. Kant gives examples of these pleasant feelings. Some of his examples of feelings of the beautiful are the sight of flower beds, grazing flocks, and daylight. Feelings of the sublime are the result of seeing mountain peaks, raging storms, and night.
In this section, Kant gives many particular examples of feelings of the beautiful and the sublime. Feelings of the beautiful occasion a pleasant sensation but one that is joyous and smiling. On the other hand, feelings of the sublime arouse enjoyment but with horror.
Kant subdivided the sublime into three kinds. The feeling of the terrifying sublime is sometimes accompanied with a certain dread or melancholy. The feeling of the noble sublime is quiet wonder. Feelings of the splendid sublime are pervaded with beauty.
Section Two
Of the Attributes of the Beautiful and Sublime in Man in General
Kant described the relationship between these finer feelings and humanity. The feelings are not totally separate from each other. Beauty and the sublime can be joined or alternated. Kant claimed that tragedy, for the most part, stirs the feeling of the sublime. Comedy arouses feelings for beauty. The personal appearance of humans prompts these feelings in various cases. A persons social position also affects these feelings.
Human nature has many variations of the feelings of the beautiful and the sublime. Some variations of the terrifying sublime are the adventurous and grotesque. Visionaries and cranks are persons who have fantasies and whims. The beautiful, when it degenerates, produces triflers, fops, dandies, chatterers, silliness, bores, and fools.
Sympathy or compassion and also good-natured agreeableness are not true virtues, according to Kant. True virtue is the quality of raising the feeling of humanitys beauty and dignity to a principle. When a person acts in accordance with this principle, regardless of inclination, that person is truly and sublimely virtuous.
A profound feeling for the beauty and dignity of human nature and a firmness and determination of the mind to refer all ones actions to this as to a universal ground is earnest, and does not at all join with a changeable gaiety nor with the inconstancy of a frivolous person. With this observation, Kant will attempt to fit the various feelings of the beautiful and sublime, and the resulting moral characters, into Galens rigid arrangement of the four humours or human temperaments: melancholic, sanguine, choleric, and phlegmatic.
Kant asserted that the human temperaments or dispositions are fixed and separate characters. An individual who has one frame of mind has no feeling or sense for the finer feelings that occur in a person of another temperament.
A person who has a constitution that is melancholic will have a predominating feeling for the sublime. That person may possess genuine virtue based on the principle that humanity has beauty and worth.
One who has a sanguine nature will mostly have a feeling for the beautiful. This results in an adoptive virtue that rests on goodheartedness. This persons compassion and sympathy depend on the impression of the moment.
A choleric human will have a feeling for the splendid or showy sublime. As a result, this person will possess an apparent virtue. Kant calls it a gloss of virtue. This includes a sense of honor and concern for outward appearance.
Phlegmatic people have apathy or lack of any finer feeling. They therefore may have an absence of virtue.
As a whole, human nature in general is a combination of these virtues. As such, it is a splendid expression of beauty and dignity.
