son, the moral nature of man, his
predisposition and destination, which point beyond the present world.
Schiller declares that "in space the sublime does not dwell," and
Kant says, "Sublimity is contained in none of the things of nature, but
only in our mind, in so far as we are conscious of being superior to nature
within us and without us." Nevertheless, since in this contemplation we fix
our thoughts entirely on the object without reflecting on ourselves, we
transfer the admiration of right due to the reason and its Idea of the
infinite by subreption to the object by which the Idea is occasioned, and
call the object itself sublime, instead of the mood which it wakes in us.

If the sublime marks the point where the aesthetic touches on the boundary
of the moral, the beautiful is also not without some relation to the good.
By showing the agreement of sensibility and reason, which is demanded by
the moral law, realized in aesthetic intuition (as a voluntary yielding of
the imagination to the legitimacy of the understanding), it gives us the
inspiring consciousness that the antithesis is reconcilable, that the
rational can be presented in the sensuous, and so becomes a "symbol of the
good."

%(b) Teleological Judgment.%--Teleological judgment is not knowledge, but
a way of looking at things which comes into play where the causal or
mechanical explanation fails us. This is not the case if the purposiveness
is external, relative to its utility for something else. The fact that the
sand of the sea-shore furnishes a good soil for the pine neither furthers
nor prevents a causal knowledge of it. Only inner purposiveness, as it
is manifested in the products of organic nature, brings the mechanical
explanation to a halt. Organisms are distinguished above inorganic forms by
the fact that of themselves they are at once cause and effect, that they
are self-productive and this both as a species (the oak springs from the
acorn, and in its turn bears acorns) and as individuals (self-preservation,
growth, and the replacement of dying parts by new ones), and also by the
fact that the reciprocally productive parts are in their form and their
existence all conditioned by the whole. This latter fact, that the whole is
the determining ground for the parts, is perfectly obvious in the products
of human art. For here it is the representation of the whole (the idea of
the work desired) which as the ground precedes the existence and the form
of