§59.美作为德性的象征 

On Beauty as the Symbol of Morality

Von der Schönheit als Symbol der Sittlichkeit         /German Dic

要显示（establish确立证实表明)概念的实在性永远需要有直观。如果它们是经验性的概念,那么这些直观就叫作实例。如果它们是纯粹知性概念,那么这些直观就被称之为图型。如果人们甚至要求理性概念（即理念）的客观实在性，也为了达到对理念的理论知识而得到显示(establish),那么人们就是在欲求某种不可能的东西,因为绝对不可能与这些理念相适合地给出任何直观。 Establishing that our concepts have reality always requires intuitions. If the concepts are empirical, the intuitions are called examples. If they are pure concepts of the understanding, the intuitions are called schemata. But if anyone goes as far as to demand that we establish the objective reality of the rational concepts (i.e., the ideas) for the sake of their theoretical cognition, then he asks for something impossible, because absolutely no intuition can be given that would be adequate to them. [但如果有人为了诸理性概念（即诸理念）的理论认知，而要求我们确立它们(理性概念)的客观实在性，那么他就要求一些不可能的东西]

Die Realität unserer Begriffe darzutun证明, werden immer Anschauungen erfordert. Sind es empirische Begriffe, so heißen die letzteren Beispiele. Sind jene reine Verstandesbegriffe, so werden die letzteren Schemate genannt. Verlangt 渴求 man gar（完全），daß die objektive Realität der Vernunftbegriffe, d. i. der Ideen, und zwar (亦即）zum Behuf （目的end) des theoretischen Erkenntnisses derselben dargetan werde, so begehrt man etwas Unmögliches, weil ihnen schlechterdings keine Anschauung angemessen gegeben werden kann.  // dargetan:showed ,begehrt:sought after; derselben(the same,同一个）

Z 论美作为道德性的象征 ……如果人们更要求着理性诸概念，即诸观念的客观的实在性，并且是为了表示出它们的理论的认识，那么人们就是要求着不可能的东西，因没有任何直观能适合这些观念。

一切作为感性化的生动描绘(演示, subiectio sub adspectum 付诸直观)都是双重的:要么是图型式的,这时知性所把握的一个概念被给予了相应的先天直观;要么是象征性的,这时一个只有理性才能想到而没有任何感性直观能与之相适合的概念就被配以这样一种直观,借助于它,判断力的处理方式与它在图型化中所观察到的东西就仅仅是类似的,亦即与这种东西仅仅按照这种处理方式的规则而不是按照直观本身,因而只是按照反思的形式而不是按照内容而达成一致。Z 一切的表现（Hypotypose）作为感性化是在二种场合

All hypotyposis (exhibition, subiectio ad adspectum) consists in making la concepti sensible, and is either schematic or symbolic. In schematic hypotyposis there is a concept that the understanding has formed, and the intuition corresponding to it is given a priori. In symbolic hypotyposis there is a concept which only reason can think and to which no sensible intuition can be adequate, and this concept is supplied with an intuition that judgment treats in a way merely analogous to the procedure it follows in schematizing; i.e., the treatment agrees with this procedure merely in the rule followed rather than in terms of the intuition itself, and hence merely in terms of the form of the reflection rather than its content.   //hypotyposis:lifelike description of a thing or scene.Greek hypotypōsis outline, copy pattern, equivalent to hypo-(under) hypo- + typōsis forming, molding   (typ(os) beat, impression, mold + -ōsis . -osis)  a suffix occurring in nouns that denote actions, conditions, or states ( hypnosis.. ), especially disorders or abnormal states ( chlorosis; tuberculosis )

…

   durch einen beseelten Körper,

  Thus a monarchical state is represented by a soul-filled body…

 Thus a monarchy ruled according to its own constitutional laws would be presented as an animate body, but a monarchy ruled by an individual absolute will would be presented as a mere machine (such as a hand mill); but in either case the presentation is only sye wmbolic.  then all our cognition of God is merely symbolic. Whoever regards it as schematic--while including in it the properties of understanding, will, etc., whose objective reality is proved only in worldly beings--falls into anthropomorphism, just as anyone who omits everything intuitive falls into deism, which allows us to cognize nothing whatsoever, not even from a practical point of view) .[任何人把它看作图式——包括知性、意志等属性，其客观实在性只在世俗的人身上得到证明——就属于拟人化，就像任何人忽略了一切直觉的东西就属于有神论/神化一样，…）[anthropomorphism 拟人论，拟人观；deism 自然神论，理神论 ]

 D 那么我们一切关于上帝的知识都只是象征的,而谁借助于知性意志等等这些只有在尘世的存在者身上才表明其客观实在性的东西的特点而把这些知识看作图型式的,就会陷入拟人主义,正如当他离开了直觉就会陷入理神论一样,这样一来就在任何地方哪怕在实践的意图上 也不会认识任何东西了。

 Z …如果他把一切直觉的排去，就陷入合理主义的有神论，在这个立场上任何方面不能有所认识，也不能在实践的意味里。

so ist alle unsere Erkenntnis von Gott bloß symbolisch; und der, welcher sie mit den Eigenschaften Verstand, Wille, usw., die allein an Weltwesen ihre objektive Realität beweisen, für schematisch nimmt, gerät in den Anthropomorphism, so wie, wenn er alles Intuitive wegläßt, in den Deism, wodurch überall nichts, auch nicht in praktischer Absicht, erkannt wird. 

* 自然神论（Deism）是17到18世纪的出现的哲学观点，主要是回应牛顿力学对传统神学世界观的冲击。这个思想认为上帝创造了宇宙和它存在的规则，在此之后上帝并不再对这个世界的发展产生影响（与婆罗门教对梵天的解释相仿），而让世界按照它本身的规律存在和发展下去。这里的自然神论主要是指具有闪米特一神教背景，并受其影响的西方唯一神教派自然神论者的观点，而不是具有多神教背景的自然神论者等的观点如泛自然神论。 自然神论者宗教观为把上帝解释为非人格的始因的宗教哲学理论，又称理性神论。

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1 美直接地令人喜欢(但只是在反思性的直观中,而不是像德性那样在概念中)。2.它没有任何利害而令人喜欢(德性-善虽然必然与某种兴趣利害结合着,但不是与那种先行于有关愉悦的判断的兴趣而是与那种通过这判断才被引起的兴趣结合着)。3 想像力的(因而我们能力的感性的)自由在对美的评判中被表现为与知性的合规律性是一致的(在道德判断中意志的自由被设想为意志按照普遍的理性法则而与自身相协调)。

(1) The beautiful we like directly (but only in intuition reflect[ed upon], not in its concept, as we do morality). (2) We like it without any interest. (Our liking for the morally good is connected necessarily with an interest, but with an interest that does not precede our judgment about the liking but is produced by this judgment in the first place.) (3) In judging the beautiful, we present the freedom of the imagination (and hence [of] our power [of] sensibility) as harmonizing with the lawfulness of the understanding. (In a moral judgment we think the freedom of the will as the will's harmony with itself according to universal laws of reason.)

1) Das Schöne gefällt unmittelbar (aber nur in der reflektierenden Anschauung, nicht, wie Sittlichkeit, im Begriffe). 2) Es gefällt ohne alles Interesse (das Sittlich-Gute zwar notwendig mit einem Interesse, aber nicht einem solchen, was vor dem Urteile über das Wohlgefallen vorhergeht, verbunden, sondern was dadurch allererst bewirkt wird). 3) Die Freiheit der Einbildungskraft (also der Sinnlichkeit unseres Vermögens) wird in der Beurteilung des Schönen mit der Gesetzmäßigkeit des Verstandes als einstimmig vorgestellt (im moralischen Urteile wird die Freiheit des Willens als Zusammenstimmung des letzteren mit sich selbst nach allgemeinen Vernunftgesetzen gedacht). 

4.美的评判的主观原则被表现为普遍有效、即对每个人都有效的,但却不是通过任何普遍概念而看出的(道德的客观原则也被解释为普遍的,即对一切主体、同时也对同一主体的一切行动都是普遍的,但却是通过一个普遍概念而看出的)。因此,道德判断不仅能够是确定的构成性原则,而且只有通过把准则建立在这些原则及其普遍性之上才有可能。

 (4) We present the subjective principle for judging the beautiful as universal. i.e., as valid for everyone, but as unknowable through any universal concept. (The objective principle of morality we also declare to be universal[ly valid]. i.e., [valid] for all subjects, as well as for all acts of the same subject, but also declare to be knowable through a universal concept.) Hence not only is a moral judgment capable of [having] determinate constitutive principles, but its possibility depends on our basing the[se] maxims on those principles and their universality. 

4) Das subjektive Prinzip der Beurteilung des Schönen wird als allgemein, d. i. für jedermann gültig, aber durch keinen allgemeinen Begriff kenntlich, vorgestellt (das objektive Prinzip der Moralität wird auch für allgemein, d. i. für alle Subjekte, zugleich auch für alle Handlungen desselben Subjekts, und dabei durch einen allgemeinen Begriff kenntlich, erklärt). Daher ist das moralische Urteil nicht allein bestimmter konstitutiver Prinzipien fähig, sondern ist nur durch Gründung der Maximen auf dieselben und ihre Allgemeinheit möglich.

60 鉴赏的方法论 On Methodology Concerning Taste

Z 先行于科学的把批判区分为要素论和方法论，是不能运用在鉴赏判断上的：因为没有美的科学，也不能有。而鉴赏的判断是不能通过诸原理来规定的。涉及每种艺术里的科学性的东西，即是在客体的表现里以真理为目的，这个固然是美的艺术的不可避免的条件，却不是美的艺术的自身。

A critique that precedes a science is divided into elementology and methodology. But this division is not applicable to a critique of taste, since there neither is, nor can be, a science of the beautiful, and a judgment of taste cannot be determined by means of principles. It is true that in every art there is a scientific [element] whose concern is that the object of this art be exhibited [or rendered ] truthfully, and which is indeed the indispensable condition (conditio sine qua non) of fine art, though it is not itself fine art. [的确，在每一门艺术中都有一种科学元素，它的关注点在于这一艺术的客体/对象被真实地展示（或呈现）出来，这确实是美术的必要条件（必要条件），尽管它本身不是美术。

D 在科学之前先把一种批判划分为要素论和方法论,这不能够应用在鉴赏力的批判上,因为没有、也不可能有关于美的科学,而且鉴赏的判断是不能通过原则来规定的。至于任何艺术中的科学性的东西,即针对着在表现艺术客体时的真实性的东西,那么它虽然是美的艺术的不可回避的条件(conditio sine qua non 1),但不是美的艺术本身。

Denn was das Wissenschaftliche in jeder Kunst anlangt, welches auf Wahrheit in der Darstellung ihres Objekts geht, so ist dieses zwar die unumgängliche Bedingung (conditio sine qua non) der schönen Kunst, aber diese nicht selber. Es gibt also für die schöne Kunst nur eine Manier (modus), nicht Lehrart (methodus). [For as far as the scientific in every art is concerned, which is concerned with truth in the representation of its object 关注是其客体的表现方面的真相/真实性 , this is indeed the indispensable condition (conditio sine qua non) of fine art, but this is not itself. So there is only one style  for fine art, not teaching.]

 Z 所以对于美的艺术只有手法（modus），没有方法（methodus）。学生应该做到的东西，须老师先做给他看。他的手续最后概括出的那些一般性的法则，主要的关键是帮助学生们记忆，并不是定下规范来。

So in fine art there is only manner (modus), not method (methodus):[1] the master must show by his example [vormachen] what the student is to produce, and how. [所以在美术中只有方式，而不是方法：大师必须以身作则，展示学生要做什么，以及如何做。]He may in the end bring his procedure under universal rules, but these are more likely to be useful to the student as occasional reminders of what the main features of that procedure are, than as prescriptions of these features. [最后，他可能会将他的程序（如何做）置于普遍规则之下，但这些规则更可能对学生有用，作为对该程序的主要特征的不时地提醒，而不是作为这些特征的处方。]

D 所以对于美的艺术来说只有风格(modus),而没有教学法( methodus)。大师必须示范学生应当做什么和应当如何做;而他最后使他的处理方式所服从的那些普遍规则,与其说可以用来把这种处理的主要因素颁布给学生,倒不如说只能用来附带地把这些因素纳入记忆之中。

[1]  Cf. the Logic. § 94, Ak. IX, 139: "All cognition, and a whole of cognition, must conform to a rule. (A lack of rules is also a lack of reason.) This rule is either manner (which is free) or method (which is constraint)." Cf. also above, § 49, Ak. 318-19.] 所有的认知和整个认知都必须符合规则。 （缺乏规则也是缺乏理性。）这个规则要么是方式（自由的），要么是方法（这是约束的）。

Der Meister muß es vormachen, was und wie es der Schüler zustande bringen soll;   
   The master must demonstrate[show how to do]what and how the pupil should do it;  
   und die allgemeinen Regeln, worunter er zuletzt sein Verfahren bringt,  
   and the general rules under which he last （最后） brings his  method处理行事方法,做法   
   können eher dienen, die Hauptmomente desselben gelegentlich in Erinnerung zu bringen,   
   may more serve，the chief moments of the same，occasionally in memory to bring (=recall),   
    als   sie   ihm vorzuschreiben.    (desselben=of the same 同一个)    
     than them him prescribe.(开处方，指示命令)   
    Hierbei muß dennoch auf ein gewisses Ideal Rücksicht genommen werden,    
     Nevertheless, consideration must be given to a certain ideal, 必须加以考虑的是某种理想
   welches die Kunst vor Augen haben muß, ob sie es gleich in ihrer Ausübung nie völlig erreicht.    
    which art must have in mind, whether it never fully attains it in its exercise.

Z 但在这里仍须顾虑到艺术必须放置在眼前的某一规定的理想，虽然这是在他们的实践里永远不能达到的。只有唤起学生的想象力来适合一被给予的概念，注意表现对于观念的不可企及性，这观念是概念自身不能达到的，因此观念是审美性质的。通过尖锐的批评可以防止他把那些摆在他面前的范例立刻就当做原型，而不再有更高的标准和他根据自己的批判所愿摹写的范型，并且不使天才以及想象力的自由在它的合规律性里被窒息；没有这自由就没有美的艺术，甚至于不可能有对于它正确评判的鉴赏。

And yet the artist must bear in mind a certain ideal; art must keep this ideal in view even though in practice it never achieves it in full. The master must stimulate the student's imagination until it becomes commensurate 相称with a given concept; he must inform the student if the latter [概念不能充分表达理念]has not adequately expressed the idea, the idea that even the concept cannot reach because the idea is aesthetic;

D 然而在这里必须加以考虑的是某种理想,它是艺术必须紧紧盯着的,尽管艺术在自己的进行过程中永远也不能完全达到它。只有通过唤起学生的想像力去适合某种给予的概念,通过觉察到由于理念是审美的、是概念本身所达不到的,因而表达对它[理念]是不充分的,

and he must provide the student with sharp criticism. For only in this way can the master keep the student from immediately treating the examples offered him as if they were archetypes, models that he should imitate as if they were not subject to a still higher standard and to his own judgment, [an attitude] which would stifle窒息 his genius, and along with it would stifle also /the freedom that his imagination has /even in its lawfulness, [它即使在合规律性中也会扼杀其想象力所拥有的自由]， the freedom without which there can be no fine art, indeed not even a correct taste of one's own by which to judge such art.

D 并且通过尖锐的批判, 才有可能防止那些摆在学生面前的榜样[范例√]马上就被他当作原型、当作决不服从任何更高的规范而是服从于他自己的评判的模仿范本,因而使天才、但与天才一起也使想像力本身 在其合规律性中 的自由遭到窒息,而没有这种自由就没有美的艺术,甚至就连一个正确地对美的艺术作评判的自己的鉴赏力也都是不可能的。

D一切美的艺术的入门,就其着眼于美的艺术的最高程度的完满性而言,似乎并不在于规范,而在于使内心能力通过人们称之为humaniorad[人文学科]的预备知识而得到陶冶:

It seems that for all fine art, insofar as we aim at its highest degree of perfection, the propaedeutic 预备；基本的does not consist in [following] precepts but in cultivating our mental powers by exposing ourselves beforehand to what we call humaniora; [似乎对于所有的艺术来说，就我们所追求的最高完美程度而言，基本的并不在于（遵循）戒律，而是在于通过事先将自己暴露于我们所称的人文学科中来培养我们的精神力量；]

Z 一切美的艺术的入门，在它意图达成完满性的最高程度的范围内，似乎不在设立范则，而是在于心的诸力的陶冶通过人们所称的古典学科的预备知识：大概因为人文主义一方面意味着共同感，另一方面意味着能够自己最内心地和普通地传达。

they are called that presumably because humanity [Humanitat] means both the universal feeling of sympathy, and the ability to engage universally in very intimate communication. [之所以那样称谓，大概是因为人性（humanitat）既意味着普遍的同情心，也意味着能够普遍参与非常亲密的交流。]

D 大概因为人道一方面意味着普遍的同情感,另方面意味着使自己最内心的东西能够普遍传达的能力;这些特点结合在一起就构成了与人性相适合的社交性,通过这种社交性,人类就把自己和动物的局限性区别开来。

When these two qualities are combined, they constitute the sociability that befits [our] humanity [Menschheit] and distinguishes it from the limitation [characteristic] of animals. 

Die Propädeutik zu aller schönen Kunst, sofern es auf den höchsten Grad ihrer Vollkommenheit angelegt ist, scheint nicht in Vorschriften规范, sondern in der Kultur der Gemütskräfte心理能力 durch diejenigen那些Vorkenntnisse预备知识 zu liegen[在于lie], welche man humaniora nennt:

[The propaedeutic 预备-基本 of all fine art, insofar as it is concerned with the highest degree of perfection, seems not to be governed by regulations, but by the culture of the mind by those precognitions预知 which are called humaniora,

 Vermutlich想必, weil Humanität einerseits das allgemeine Teilnehmungsgefühl 参与感, andererseits 另方面das Vermögen能力 sich innigst 密切 und allgemein [genarally] mitteilen [交流tell] zu können bedeutet 意味着; welche Eigenschaften属性 zusammen一起 verbunden 连接, die der Menschheit angemessene合适 Glückseligkeit 幸福 ausmachen构成, wodurch sie sich von der tierischen Eingeschränktheit unterscheidet./ animal -limited awareness-differentiate/

[presumably because humanity, on the one hand, is the general feeling of participation; the ability to communicate intimately and generally; which attributes together that make humanity adequate bliss, distinguishing it from animal limitation.]  mitteilen ① 把心里话全部说出来,倾诉衷情;② 传播到,传给