Kant's Three Critiques: The Critique of Pure Reason, The Critique of Practical Reason & The Critique of Judgment. Immanuel Kant

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      First Part. Transcendental Aesthetic.

       Table of Contents

      §§ 1. Introductory.

      In whatsoever mode, or by whatsoever means, our knowledge may relate to objects, it is at least quite clear that the only manner in which it immediately relates to them is by means of an intuition. To this as the indispensable groundwork, all thought points. But an intuition can take place only in so far as the object is given to us. This, again, is only possible, to man at least, on condition that the object affect the mind in a certain manner. The capacity for receiving representations (receptivity) through the mode in which we are affected by objects, is called sensibility. By means of sensibility, therefore, objects are given to us, and it alone furnishes us with intuitions; by the understanding they are thought, and from it arise conceptions. But a thought must directly, or indirectly, by means of certain signs, relate ultimately to intuitions; consequently, with us, to sensibility, because in no other way can an object be given to us.

      The effect of an object upon the faculty of representation, so far as we are affected by the said object, is sensation. That sort of intuition which relates to an object by means of sensation is called an empirical intuition. The undetermined object of an empirical intuition is called phenomenon. That which in the phenomenon corresponds to the sensation, I term its matter; but that which effects that the content of the phenomenon can be arranged under certain relations, I call its form. But that in which our sensations are merely arranged, and by which they are susceptible of assuming a certain form, cannot be itself sensation. It is, then, the matter of all phenomena that is given to us a posteriori; the form must lie ready a priori for them in the mind, and consequently can be regarded separately from all sensation.

      I call all representations pure, in the transcendental meaning of the word, wherein nothing is met with that belongs to sensation. And accordingly we find existing in the mind a priori, the pure form of sensuous intuitions in general, in which all the manifold content of the phenomenal world is arranged and viewed under certain relations. This pure form of sensibility I shall call pure intuition. Thus, if I take away from our representation of a body all that the understanding thinks as belonging to it, as substance, force, divisibility, etc., and also whatever belongs to sensation, as impenetrability, hardness, colour, etc.; yet there is still something left us from this empirical intuition, namely, extension and shape. These belong to pure intuition, which exists a priori in the mind, as a mere form of sensibility, and without any real object of the senses or any sensation.

The science of all the principles of sensibility a priori, I call transcendental aesthetic.¹² There must, then, be such a science forming the first part of the transcendental doctrine of elements, in contradistinction to that part which contains the principles of pure thought, and which is called transcendental logic.

      In the science of transcendental aesthetic accordingly, we shall first isolate sensibility or the sensuous faculty, by separating from it all that is annexed to its perceptions by the conceptions of understanding, so that nothing be left but empirical intuition. In the next place we shall take away from this intuition all that belongs to sensation, so that nothing may remain but pure intuition, and the mere form of phenomena, which is all that the sensibility can afford a priori. From this investigation it will be found that there are two pure forms of sensuous intuition, as principles of knowledge a priori, namely, space and time. To the consideration of these we shall now proceed.

¹² The Germans are the only people who at present use this word to indicate what others call the critique of taste. At the foundation of this term lies the disappointed hope, which the eminent analyst, Baumgarten, conceived, of subjecting the criticism of the beautiful to principles of reason, and so of elevating its rules into a science. But his endeavours were vain. For the said rules or criteria are, in respect to their chief sources, merely empirical, consequently never can serve as determinate laws a priori, by which our judgement in matters of taste is to be directed. It is rather our judgement which forms the proper test as to the correctness of the principles. On this account it is advisable to give up the use of the term as designating the critique of taste, and to apply it solely to that doctrine, which is true science — the science of the laws of sensibility — and thus come nearer to the language and the sense of the ancients in their well-known division of the objects of cognition into aiotheta kai noeta, or to share it with speculative philosophy, and employ it partly in a transcendental, partly in a psychological signification.

Section I. Of Space.

       Table of Contents

      §§ 2. Metaphysical Exposition of this Conception.

      By means of the external sense (a property of the mind), we represent to ourselves objects as without us, and these all in space. Herein alone are their shape, dimensions, and relations to each other determined or determinable. The internal sense, by means of which the mind contemplates itself or its internal state, gives, indeed, no intuition of the soul as an object; yet there is nevertheless a determinate form, under which alone the contemplation of our internal state is possible, so that all which relates to the inward determinations of the mind is represented in relations of time. Of time we cannot have any external intuition, any more than we can have an internal intuition of space. What then are time and space? Are they real existences? Or, are they merely relations or determinations of things, such, however, as would equally belong to these things in themselves, though they should never become objects of intuition; or, are they such as belong only to the form of intuition, and consequently to the subjective constitution of the mind, without which these predicates of time and space could not be attached to any object? In order to become informed on these points, we shall first give an exposition of the conception of space. By exposition, I mean the clear, though not detailed, representation of that which belongs to a conception; and an exposition is metaphysical when it contains that which represents the conception as given a priori.

      1. Space is not a conception which has been derived from outward experiences. For, in order that certain sensations may relate to something without me (that is, to something which occupies a different part of space from that in which I am); in like manner, in order that I may represent them not merely as without, of, and near to each other, but also in separate places, the representation of space must already exist as a foundation. Consequently, the representation of space cannot be borrowed from the relations of external phenomena through experience; but, on the contrary, this external experience is itself only possible through the said antecedent representation.

      2. Space then is a necessary representation a priori, which serves for the foundation of all external intuitions. We never can imagine or make a representation to ourselves of the non-existence of space, though we may easily enough think that no objects are found in it. It must, therefore, be considered as the condition of the possibility of phenomena, and by no means as a determination dependent on them, and is a representation a priori, which necessarily supplies the basis for external phenomena.

      3. Space is no discursive, or as we say, general conception of the relations of things, but a pure intuition. For, in the first place, we can only represent to ourselves one space, and, when we talk of divers spaces, we mean only parts of one and the same space. Moreover, these parts cannot antecede this one all-embracing space, as the component parts from which the aggregate can be made up, but can be cogitated only as existing in it. СКАЧАТЬ