PART I. The Transcendental Aesthetic

THE TRANSCENDENTAL AESTHETIC

The Aesthetic opens with a series of definitions. =Intuition= (Anschauung) is knowledge (Erkenntnis) which is in immediate relation to objects (sich auf Gegenstände unmittelbar bezieht). Each term in this definition calls for comment. Anschauung etymologically applies only to visual sensation. Kant extends it to cover sensations of all the senses. The current term was Empfindung. Kant’s reason for introducing the term intuition in place of sensation was evidently the fact that the latter could not be made to cover space and time. We can speak of pure intuitions, but not of pure sensations. Knowledge is used in a very wide sense, not strictly consistent with A 50-1 = B 74-5. The phrase sich bezieht is quite indefinite and ambiguous. Its meaning will depend upon the interpretation of its context. Object is used in its widest and most indefinite meaning. It may be taken as signifying content (Inhalt, a term which does not occur in this passage, but which Kant elsewhere employs). That, at least, is the meaning which best fits the context. For when Kant adds that intuition relates itself to objects immediately, it becomes clear that he has in mind its distinction from conception (Begriff) which as expressing the universal is related to objects only indirectly, representing some one or more attributes of the given objects. Ultimately the whole content of conception must be given. The phrase “relates itself to objects” may, therefore, be paraphrased “has some content, such as red or cold, as its immediate object.” Through the content of intuition the whole material of thought is supplied. Intuition in itself is blind, but not empty. “Thoughts without content are empty; intuitions without concepts are blind.”

But the phrase “is in relation to objects” has also for Kant a second meaning, implied in the above, but supplementary to it. As he states in the very next sentence, intuition can have an object, meaning thereby a content, only in so far as that content is given. The material of thought must be supplied; it cannot be invented. The only mode, however, in which it can be supplied, at least to the human mind, is through the affecting of the mind by “the object.” This is an excellent instance of Kant’s careless mode of expressing himself. In the first part of the sentence object means object of intuition. In the latter part it signifies the cause of intuition. And on Kant’s view the two cannot coincide. The object which affects the mind is independently real; the immediate object of the intuition is a sense-content, which Kant, following the universally accepted view of his time, regards as purely subjective. The term object is thus used in two quite distinct meanings within one and the same sentence.

Kant’s definition of intuition, when stated quite explicitly, and cleared of all ambiguity, is therefore as follows. Intuition is the immediate apprehension of a content which as given is due to the action of an independently real object upon the mind. This definition is obviously not meant to be a description of intuition as it presents itself to introspection, but to be a reflective statement of its indispensable conditions. Also it has in view only empirical intuitions. It does not cover the pure intuitions space and time. Though space and time are given, and though each possesses an intrinsic content, these contents are not due to the action of objects upon the sensibility.

“An intuition is such a representation as immediately depends upon the presence of the object. Hence it seems impossible originally to intuit a priori because intuition would in that event take place without either a former or a present object to refer to, and by consequence could not be intuition.”

This interpretation is borne out by Kant’s answer to Beck when the latter objected that only through subsumption under the categories can a representation become objective. Kant replies in a marginal note, the meaning of which, though difficult to decipher, admits of a fairly definite interpretation.

“The determining of a concept through intuition so as to yield knowledge of the object falls within the province of the faculty of judgment, but not the relation of the intuition to an object in general [i.e. the view of it as having a content which is given and which is therefore due to some object], for that is merely the logical use of the representation, whereby it is thought as falling within the province of knowledge. On the other hand, if this single representation is related only to the subject, the use is aesthetic (feeling), and the representation cannot be an act of knowledge.”

=Mind= (Gemüt) is a neutral term without metaphysical implications. It is practically equivalent to the term which is substituted for it in the next paragraph, power of representation (Vorstellungsfähigkeit). =Representation= (Vorstellung) Kant employs in the widest possible meaning. It covers any and every cognitive state. The definition here given of =sensibility=--“the capacity (receptivity) to obtain representations through the mode in which we are affected by objects”--is taken directly over from the Dissertation. In this definition, as in that of intuition, Kant, without argument or question, postulates the existence of independently existing objects. The existence of given sensations presupposes the existence of things in themselves. Sensibility is spoken of as the source both of objects and of intuitions. This is legitimate since object and intuition mutually imply one another; the latter is the apprehension of the former. By “objects” is obviously meant what in the third paragraph is called the matter of appearances, i.e. sensations in their objective aspect, as qualities or contents. The term “object” is similarly employed in the last line of this first paragraph.

=Understanding= (Verstand) is defined only in its logical or discursive employment. Kant wisely defers all reference to its more fundamental synthetic activities. In us (bei uns) is an indirect reference to the possibility of intellectual (non-sensuous) intuition which is further developed in other parts of the Aesthetic. Sensuous intuition is due to affection by an object. In intellectual intuition the mind must produce the object in the act of apprehending it.

Kant’s definition of intuition applies, as already noted, only to empirical intuition. He proceeds to define the relation in which =sensation= (Empfindung) stands to empirical intuition. What he here says amounts to the assertion that through sensation intuition acquires its object, i.e. that sensation is the content of intuition. And that being so, it is also through sensation that empirical intuition acquires its relation to the object (= thing in itself) which causes it. (That would seem to be the meaning of the ambiguous second sentence; but it still remains uncertain whether the opposition intended is to pure or to intellectual intuition.) If this interpretation of the paragraph be correct, sensation is counted as belonging exclusively to the content side of subjective apprehension. But Kant views sensation in an even more definite manner than he here indicates. Though sensation is given, it likewise involves a reaction of the mind.

“Whatever is sensuous in knowledge depends upon the subject’s peculiar nature, in so far as it is capable of this or that modification upon the presence of the object.”

Thus for Kant sensation is a modification or state of the subject, produced by affection through an object. The affection produces a modification or state of the subject, and this subjective modification is the sensation.

“Sensation is a perception [Perception] which relates itself solely to the subject as the modification of its state.”

This view of sensation, as subjective, was universally held in Kant’s day. He accepts it without argument or question. That it could possibly be challenged never seems to have occurred to him. He is equally convinced that it establishes the existence of an actually present object.

“Sensation argues the presence of something, but depends as to its quality upon the nature of the subject.” “Sensation presupposes the actual presence of the object.”

Kant’s view of sensation, as developed in the Aesthetic, thus involves three points: (1) It must be counted as belonging to the content side of mental apprehension. (2) Though a quality or content, it is purely subjective, depending upon the nature of our sensibility. (3) It is due to the action of some object upon the sensibility.

Kant distinguishes between =sensation= (Empfindung) and =feeling= (Gefühl). It had been usual to employ them as synonyms.

“We understand by the word sensation an objective representation of the senses; and in order to preclude the danger of being misunderstood, we shall denote that which must always remain merely subjective and can constitute absolutely no representation of an object by the ordinary (sonst üblichen) term feeling.”

=Appearance= (Erscheinung) is here defined as the undetermined object of an intuition. By undetermined object is meant, as we have seen, the object in so far as it consists of the given sense contents. When these contents are interpreted through the categories they become phenomena.

“Appearances so far as they are thought as objects according to the unity of the categories are called phenomena.”

But this distinction between appearance and phenomenon is not held to by Kant. He more usually speaks of the categorised objects as appearances. The term phenomenon is of comparatively rare occurrence in the Critique. This has been concealed from English readers, as both Meiklejohn and Max Müller almost invariably translate Erscheinung phenomenon. The statement that appearance is the object of an empirical intuition raises a very fundamental and difficult question, namely, as to the relation in which representation stands to the represented. Frequently Kant’s argument implies this distinction, yet constantly he speaks and argues as if it were non-existent. We have to recognise two tendencies in Kant, subjectivist and phenomenalist. When the former tendency is in the ascendent, he regards all appearances, all phenomena, all empirical objects, as representations, modifications of the sensibility, merely subjective. When, on the other hand, his thinking is dominated by the latter tendency, appearances gain an existence independent of the individual mind. They are known through subjective representations, but must not be directly equated with them. They have a genuine objectivity. To this distinction, and its consequences, we shall have frequent occasion to return.

The phenomenalist standpoint is dominant in these first two paragraphs of the Aesthetic, and it finds still more pronounced expression in the opening of the third paragraph. “That in the appearances which corresponds (correspondirt) to sensation, I call its matter.” This sentence, through the use of the term corresponds, clearly implies a distinction between sensation and the real object apprehended in and through it. That, in turn, involves a threefold distinction, between sensation as subjective content (= appearance in the strict sense), the real enduring object in space (= phenomenon, the categorised object, appearance in its wider and more usual sense), and the thing in itself. Yet in the immediately following sentence Kant says that “the matter of all appearance is given a posteriori.” By “matter of appearance” Kant must there mean sensations, for they alone are given a posteriori. On this view the phenomena or empirical objects reduce to, and consist of, sensations. The intermediate term of the above threefold distinction is eliminated. The matter of appearance does not correspond to, but itself is, sensation. Thus in these successive sentences the two conflicting tendencies of Kant’s teaching find verbal expression. They intervene even in the preliminary definition of his terms. This fundamental conflict cannot, however, be profitably discussed at this stage.

The =manifold of appearance= (das Mannichfaltige der Erscheinung). The meaning to be assigned to this phrase must depend upon the settlement of the above question. But in this passage it allows only of a subjectivist interpretation, whereby sensations are appearance. The given sensations as such constitute a manifold; as objects in space they are already ordered. Kant’s more usual phrase is “the manifold of intuition.” His adoption of the term “manifold” (the varia of the Dissertation) expresses his conviction that synthesis is indispensable for all knowledge, and also his correlative view that nothing absolutely simple can be apprehended in sense-experience. By the manifold Kant does not mean, however, as some of his commentators would seem to imply, the chaotic or disordered. The emphasis is on manifoldness or plurality, as calling for reduction to unity and system. The unity has to be found in it, not introduced into it forcibly from the outside. The manifold has to be interpreted, even though the principles of interpretation may originate independently of it. Though, for instance, the manifold as given is not in space and time, the specific space and time relations assigned by us are determined for us by the inherent nature of the manifold itself.

The form of appearance is defined--if the definition given in the first edition be translated literally--as “that which causes (dasjenige, welches macht dass) the manifold of appearance to be intuited as ordered in certain relations.” This phrase is employed by Kant in other connections, and, as Vaihinger points out, need not necessarily indicate activity. “Sensation is that in our knowledge which causes it to be called a posteriori knowledge.” In the second edition Kant altered the text from “geordnet angeschaut wird” to “geordnet werden kann.” The reason probably was that the first edition’s wording might seem to imply that the form is (as the Dissertation taught) capable in and by itself of ordering the manifold. Throughout the second edition Kant makes more prominent the part which understanding plays in the apprehension of space.

This distinction between matter and form is central in Kant’s system. As he himself says:

“These are two conceptions which underlie all other reflection, so inseparably are they bound up with all employment of the understanding. The one [matter] signifies the determinable in general, the other its determination.”

On the side of matter falls the manifold, given, empirical, contingent material of sense; on the side of form fall the unifying, a priori, synthetic, relational instruments of sensibility and thought. For Kant these latter are no mere abstractions, capable of being distinguished by the mind; they differ from the matter of experience in nature, in function, and in origin. Upon this dualistic mode of conceiving the two factors depends the strength as well as the weakness of his position. To its perverting influence most of the unsatisfactory features of his doctrine of space and time can be directly traced. But to it is also due his appreciation of the new Critical problems, with their revolutionary consequences, as developed in the Analytic.

Kant proceeds to argue: (a) that the distinction is between two elements of fundamentally different nature and origin. The matter is given a posteriori in sensation; the form, as distinct from all sensation, must lie ready a priori in the mind. (b) Kant also argues that form, because of its separate origin, is capable of being contemplated apart from all sensation. The above statements rest upon the unexpressed assumption that sensations have no spatial attributes of any kind. In themselves they have only intensive, not extensive, magnitude. Kant assumes this without question, and without the least attempt at proof. The assumption appears in Kant’s writings as early as 1768 as a self-evident principle; and throughout the Critique is treated as a premiss for argument, never as a statement calling for proof. The only kind of supporting argument which is even indirectly suggested by Kant is that space cannot by itself act upon the senses. This would seem to be his meaning when he declares that it is no object, but only an ens imaginarium. “Space is no object of the senses.” Such argument, however, presupposes that space can be conceived apart from objects. It is no proof that an extended object may not yield extended sensations. Kant completely ignores the possibility that formal relations may be given in and with the sensations. If our sensibility, in consequence of the action of objects upon it, is able to generate qualitative sensations, why, as Vaihinger very pertinently enquires, should it be denied the power of also producing, in consequence of these same causes, impressions of quantitative formal nature? Sensations, on Kant’s view, are the product of mind much more than of objects. Why, then, may not space itself be sensational? From the point of view of empirical science there is no such radical difference between cause and effect in the latter case as exists in the former. As Herbert Spencer has remarked, Kant makes the enormous assumption

“...that no differences among our sensations are determined by any differences in the non-ego (for to say that they are so determined is to say that the form under which the non-ego exists produces an effect upon the ego); and as it similarly follows that the order of coexistence and sequence among these sensations is not determined by any order in the non-ego; we are compelled to conclude that all these differences and changes in the ego are self-determined.”

Kant’s argument in the Dissertation is exactly of this nature.

“Objects do not strike the senses by their form. In order, therefore, that the various impressions from the object acting on the sense may coalesce into some whole of representation, there is required an inner principle of the mind through which in accordance with stable and innate laws that manifold may take on some form.”

In the paragraph before us Kant may, at first sight, seem to offer an argument. He is really only restating his premiss. “That wherein alone sensations can be arranged (sich ordnen) and placed in a certain form cannot itself again be sensation.” Now, of course, if the term sensation is to be limited to the sense qualities, i.e. to content or matter, conceived as existing apart from all formal relations, the formal elements cannot possibly be sensational. The legitimacy of that limitation is, however, the question at issue. It cannot be thus decided by an arbitrary verbal distinction.

“Were the contention that the relations of sensations are not themselves sensed correct, the inference to the pure apriority of the form of our perception would be inevitable. For sensation is the sole form of interaction between consciousness and reality.... But that contention is false. The relations of sensations, their determined coexistence and sequence, impress consciousness, just as do the sensations. We feel this impression in the compulsion which the determinateness of the empirical manifolds lays upon the perceiving consciousness. The mere affection of consciousness by these relations does not, indeed, by itself suffice for their apprehension; but neither does it suffice for the apprehension of the sensation itself. Thus there is in these respects no difference between the matter and the form of appearance.”

In this way, then, by means of his definition of sensation, Kant surreptitiously introduces his fundamental assumption. That assumption reappears as the conclusion that since the form of appearance cannot be sensation, it does not arise through the action of the object, and consequently must be a priori. Though the paragraph seems to offer an argument in support of the apriority of space and time, it is found on examination merely to unfold a position adopted without the slightest attempt at proof.

=The form of appearance must lie ready in the mind.=--Comment upon this, in order to be adequate, had best take the form of a systematic discussion of Kant’s views, here and elsewhere, of space as an a priori form of intuition. As already stated, the definition which Kant gives of intuition--as knowledge which stands in immediate relation to objects--applies only to empirical intuition. Though by the term object Kant, in so far as he is definite, means content, that content is such as can arise only through the action of some independent object upon the sensibility. In other words, the content apprehended must be sensuous. Now such a view of intuition obviously does not apply to pure intuition. As the concluding line of the paragraph before us states, pure intuition “can be contemplated in separation from all sensation;” and as the next paragraph adds, it exists in the mind “without any actual object of the senses.” Yet Kant does not mean to imply that it is without content of any kind. “This pure form of sensibility may also itself be called pure intuition.” “It can be known before all actual perception, and for that reason is called pure intuition.” Though, therefore, pure intuition has an intrinsic content, and is the immediate apprehension of that content, it stands in no relation to any actual independent object. The content as well as the form is a priori. That, however, raises wider questions, and these we must now discuss.

Here, as in most of his fundamental positions, Kant entertains divergent and mutually contradictory doctrines. Only in his later utterances does he in any degree commit himself to one consistent view. The position to which he finally inclines must not, however, be allowed to dominate the interpretation of his earlier statements. The Aesthetic calls for its own separate exegesis, quite as if it formed by itself an independent work. Its problems are discussed from a standpoint more or less peculiar to itself. The commentator has the twofold task of stating its argumentation both in its conflict with, and in its relation to, the other parts of the Critique.

One essential difference between Kant’s earlier and later treatments of space is that in his earlier utterances it is viewed almost exclusively as a psychological a priori. The logical aspect of the problem first receives anything like adequate recognition in the Analytic. If we keep this important fact in mind, two distinct and contradictory views of the psychological nature of space intuition can be traced throughout the Aesthetic. On one view, it antedates experience as an actual, completed, conscious intuition. On the other view, it precedes experience only as a potential disposition. We rule ourselves out from understanding Kant’s most explicit utterances if we refuse to recognise the existence of both views. Kant’s commentators have too frequently shut their eyes to the first view, and have then blamed Kant for using misleading expressions. It is always safer to take Kant quite literally. He nearly always means exactly what he says at the time when he says it. Frequently he holds views which run completely counter to present-day psychology, and on several occasions he flatly contradicts what he has with equal emphasis maintained in other contexts. The aspects of Kant’s problems are so complex and various, and he is so preoccupied in doing complete justice to each in turn, that the question of the mutual consistency of his results is much less considered than is ideally desirable.

The two views can be more explicitly formulated. The first view alone is straightforward and unambiguous. Space lies ready (liegt bereit) in the mind, i.e. it does not arise. Prior even to sense-experience it exists as a conscious intuition. For this reason it can be contemplated apart from all sensation. It still remains when all sense content is thought away, and yet is not a mere form. In independence of the sensuous manifold it possesses a pure manifold of its own. The ground thesis of the second view--that space, prior to sense-experience, exists only as a permanent endowment of the mind--is likewise unambiguous. But in its development Kant throws consistency to the winds. The possible ways in which, on the second view, consciousness of space may be gained, can be tabulated as follows:

(a) By reflection upon the activity of the mind in the construction of experience, yielding the intuition of a pure manifold; or (b) by reflection upon the space-endowed products of experience. The latter mode of reflection may reveal:

(α) A pure manifold distinct from the manifold of sense; or

(β) Space as a form of the sensuous manifold.

There are thus three different ways (a, α, β) in which the second view can be developed: (a) represents the view of the Dissertation (1770), of the reply to Eberhard (1790), and of those parts of the first edition’s deduction of the categories which are of very early origin; (α) represents the final standpoint of the Analytic; (β), the prevailing view of the present day, is nowhere accepted by Kant.

Kant’s utterances in the Aesthetic are all of them coloured by the first main view. We can best approach them by way of the contrasted teaching of the Dissertation of 1770. The teaching there formulated practically coincides, as above stated, with (a) of the second main view. Space, he maintains, is neither innate nor acquired from sense-experience.

“Certainly both conceptions [of time and of space] are undoubtedly acquired, not indeed by abstraction from our sensations of objects (for sensation gives the matter, not the form of human cognition), but from the mind’s own action in co-ordinating its sensations in accordance with unchanging laws. Each represents, as it were, an immutable type, and so can be known intuitively. Sensations excite this act of mind but do not contribute to the intuition. There is here nothing innate except this law of the mind according to which it conjoins in a certain manner the sensations derived from the presence of some object.”

How this view is to be reconciled with the contention, no less explicitly maintained, that space is not only a form of intuition but itself a pure intuition, Kant does not make clear. Reflection upon an activity of the mind may yield the representation of space as a form; it is difficult to comprehend how it should also yield an a priori content.

Kant nowhere in the Critique directly discusses the question whether the representation of space is innate or acquired. Such suggestions as occur refer (with the solitary exceptions of A 196 = B 241 and B 166 ff.) only to the categories, or as in the Prolegomena to the Ideas of reason. But in 1790 Kant in his reply to Eberhard again formulates the view of the Dissertation. The Critique allows, he there says, of no innate representations. All, without exception, are acquired. But of certain representations there is an original acquisition (ursprüngliche Erwerbung). Their ground (Grund) is inborn. In the case of space this ground is the mind’s peculiar capacity for acquiring sensations in accordance with its subjective constitution.

“This first formal ground is alone inborn, not the space representation itself. For it always requires impressions to determine the faculty of knowledge to the representation of an object (which in every case is its own action). Thus arises the formal intuition, which we name space, as an originally acquired representation (the form of outer objects in general), the ground of which (as mere receptivity) is likewise inborn, and the acquisition of which long antedates the determinate conception of things which are in accordance with this form.”

That last remark is confusing. Kant cannot mean that the representation of space is acquired prior to sense-experience, but only that since the mind gains it by reflection upon its own activity, it is among the first things to be apprehended--an extremely questionable assertion, could the premisses be granted. If “the determinate conception of things” comes late, still later must come the determinate conception of anything so abstract as pure space. The above passage thus repeats without essential modification the teaching of the Dissertation, and is open to the same objections. This teaching coincides with that of Leibniz in his Nouveaux Essais; and in formulating it in the Dissertation Kant was very probably influenced by Leibniz. Though it is an improvement upon the more extreme forms of the Cartesian doctrine of innate ideas, it does not go sufficiently far.

Now while Kant thus in 1770 and in 1790 so emphatically teaches that the representation of space is not innate, he none the less, in the intermediate period represented by the Aesthetic, would seem to maintain the reactionary view. Space is no mere potential disposition. As a conscious representation it lies ready in the mind. What, then, were the causes which constrained Kant to go back upon his own better views and to adopt so retrograde a position? The answer must be conjectural, but may perhaps be found in the other main point in which the teaching of the Aesthetic is distinguished from that of the Dissertation. Throughout the Critique Kant insists that space is a form of receptivity. It is given to the mind. It has nothing to do with spontaneity or understanding, and therefore cannot be acquired by reflection upon any activity of the mind. But neither can it, as a priori, be acquired from without. Consequently it cannot be acquired at all. But if given, and yet not acquired, it must as a representation lie ready in the mind from the very birth of consciousness. Constrained by such reasoning, Kant views it as given in all its completeness just as truly as is a sensation of colour or sound. This conclusion may not be satisfactory. Kant’s candid recognition of it is, however, greatly preferable to the blurring of the issue by most of his commentators.

Kant came, no doubt, to the more consistent position of the Aesthetic chiefly through further reflection upon the arguments of the Dissertation, and especially by recognition of the fact that though reflection upon an activity of the mind may be regarded as yielding a form of intuition, it can hardly be capable of yielding a pure manifold which can be substituted for, and take the place of, the manifold of sense. There are for Kant only two ways of escape from this unhappy quandary: (a) Either he must return to the Dissertation position, and admit that the mind is active in the construction of space. This he does in the 1790 reply to Eberhard, but only by misrepresenting his own teaching in the Critique. In order consistently to maintain that space is acquired by reflection upon an activity of the mind, he would have to recast the entire Aesthetic, as well as much of the Analytic, and to do so in ways which cannot genuinely harmonise with the main tendencies of his teaching. (b) No such obstacle lay in the way of an alternative modification of his position. Kant might very easily have given up the contention that space is a pure intuition. If he had been willing to recognise that the sole possible manifold of intuition is sensuous, he could then have maintained that though space is innate as a potential form of receptivity, it is acquired only through reflection upon the space-endowed products of sensibility. So obvious are the advantages of this position, so completely does it harmonise with the facts of experience and with the teaching of modern psychology, and so obscure are the various passages in which Kant touches on this central issue, that many of his most competent commentators are prepared to regard it as being the actual teaching of the Critique. The evidence seems to me, however, to refute this interpretation of Kant’s position. The traditional, Cartesian, semi-mystical worship of mathematical truth, as altogether independent of the contingencies of sense-experience, and as a body of knowledge absolutely distinct in origin from the merely empirical sciences, influences Kant’s thinking even at the very moment when he is maintaining, in opposition to the Cartesians, that its subject matter is a merely subjective intuition. Kant, as it would seem, still maintains that there is a pure manifold of intuition distinct from the manifold of sense; and so by the inevitable logic of his thought is constrained to view space as innate in conscious form. This is not, of course, a conclusion which he could permanently stand by, but its elimination would have involved a more radical revision of his whole view of pure intuition and of mathematical science than he was willing to undertake. Though in the Analytic he has come to recognise that it is acquired by reflection upon objects, to the end he would seem to persist in the difficult contention that such reflection yields a pure manifold distinct from the manifold of sense. His belief that mathematical science is based upon pure intuition prevented him from recognising that though space may be a pure form of intuition, it can never by itself constitute a complete intuition. Its sole possible content is the manifold of sense. But even apart from the fact that our apprehension of space is always empirically conditioned, Kant’s view of mathematical propositions as grounded in intuition is, as already observed, not itself tenable. For though intuitions may perhaps be the ultimate subject matter of geometry, concepts are its sole possible instruments. Intuitions yield scientific insight in exact proportion to our powers of restating their complex content in the terms of abstract thought. Until the evidence which they supply has been thus intellectually tested and defined, they cannot be accepted as justifying even the simplest proposition.

The complicated ambiguities of Kant’s treatment of space may be illustrated and further clarified by discussion of another difficulty. Is space a totum analyticum or a totum syntheticum? Does the whole precondition the parts, or does it arise through combination of the parts? Or to ask another but connected question, do we intuit infinitude, or is it conceptually apprehended only as the presupposition of our limited intuitions? To these questions diametrically opposite answers can be cited from the Critique. As we have above noted, Kant teaches in the Aesthetic that space is given as a whole, and that the parts arise only by limitation of it. But in A 162 = B 203 we find him also teaching that a magnitude is to be entitled extensive

“...when the representation of the parts makes possible, and therefore necessarily precedes, the representation of the whole. I cannot represent to myself a line, however small, without drawing it in thought, i.e. generating from a point all its parts one after another, and thus for the first time recording this intuition.”

He adds in the second edition that extensive magnitude cannot be apprehended save through a “synthesis of the manifold,” a “combination of the homogeneous.”

The note which Kant appends to B 136 is a very strange combination of both views. It first of all reaffirms the doctrine of the Aesthetic that space and time are not concepts, but intuitions within which as in a unity a multitude of representations are contained; and then proceeds to argue that space and time, as thus composite, must presuppose an antecedent synthesis. In A 505 = B 533 we find a similar attempt to combine both assertions.

“The parts of a given appearance are first given through and in the regress of decomposing synthesis (decomponirenden Synthesis).”

The clash of conflicting tenets which Kant is striving to reconcile could hardly find more fitting expression than in this assertion of an analytic synthesis. The same conflict appears, though in a less violent form, in A 438 = B 466.

“Space should properly be called not compositum but totum, since its parts are possible only in the whole, not the whole through the parts. It might, indeed, be said to be a compositum that is ideale, but not reale. That, however, is a mere subtlety.”

The arguments by which Kant proves space to be an a priori intuition rest upon the view that space is given as infinite, and that its parts arise through limitation of this prior-existent whole. But a principle absolutely fundamental to the entire Critique is the counter principle, that all analysis rests upon and presupposes a previously exercised synthesis. Synthesis or totality as such can never be given. Only in so far as a whole is synthetically constructed can it be apprehended by the mind. Representation of the parts precedes and renders possible representation of the whole.

The solution of the dilemma arising out of these diverse views demands the drawing of two distinctions. First, between a synthesised totality and a principle of synthesis; the former may involve a prior synthesis; the latter does not depend upon synthesis, but expresses the predetermined nature of some special form of synthesis. Secondly, it demands a distinction between the a priori manifolds of space and time and the empirical manifold which is apprehended in and through them. This, as we have already noted, is a distinction difficult to take quite seriously, and is entirely unsupported by psychological evidence. But it would seem to be insisted upon by Kant, and to have been a determining factor in the formulation of several of his main doctrines.

In terms of the first distinction we are compelled to recognise that the view of space which underlies the Aesthetic is out of harmony with the teaching of the Analytic. In the Aesthetic Kant interprets space not merely as a form of intuition but also as a formal intuition, which is given complete in its totality, and which is capable of being apprehended independently of its empirical contents, and even prior to them. That would seem to be the view of space which is presupposed in Kant’s explanation of pure mathematical science. The passages from the Analytic, quoted above, are, however, its express recantation. Space, as the intuition of a manifold, is a totum syntheticum, not a totum analyticum. It is constructed, not given. The divergence of views between the Aesthetic and the Analytic springs out of the difficulty of meeting at once the logical demands of a world which Kant conceives objectively, and the psychological demands which arise when this same world is conceived as subjectively conditioned. In principle, the whole precedes the parts; in the process of being brought into existence as an intuition, the parts precede the whole. The principle which determines our apprehension of any space, however small or however large, is that it exists in and through universal space. This is the principle which underlies both the synthetic construction of space and also its apprehension once it is constructed. In principle, therefore, i.e. in the order of logical thought, the whole precedes the parts. The process, however, which this principle governs and directs, cannot start with space as a whole, but must advance to it through synthesis of smaller parts.

But Kant does not himself recognise any conflict between this teaching and the doctrine of the Aesthetic. He seems to himself merely to be making more definite a position which he has consistently held all along; and this was possible owing to his retention and more efficient formulation of the second of the two distinctions mentioned above, viz. that between the manifold of sense and the manifold of intuition. This distinction enables him to graft the new view upon the old, and so in the very act of insisting upon the indispensableness of the conceptual syntheses of understanding, none the less to maintain his view of geometry as an intuitive science.

“Space and time contain a manifold of pure a priori intuition, but at the same time are conditions of the receptivity of our mind--conditions under which alone it can receive representations of objects, and which therefore must also affect the concept of them. But if this manifold is to be known, the spontaneity of our thinking requires that it be gone through in a certain way, taken up, and connected. This action I name synthesis.... Such a synthesis is pure, if the manifold is not empirical, but is given a priori, as is that of space and of time.”

Thus Kant recognises that space, as apprehended by us, is constructed, not given, and so by implication that the infinitude of space is a principle of apprehension, not a given intuition. But he also holds to the view that it contains a pure, and presumably infinite, manifold, given as such. In what this pure manifold consists, and how the description of it as a manifold, demanding synthesis for its apprehension, is to be reconciled with its continuity, Kant nowhere even attempts to explain. Nor does he show what the simple elements are from which the synthesis of apprehension and reproduction in pure intuition might start. The unity and multiplicity of space are, indeed, as he himself recognises, inseparably involved in one another; and recognition of this fact must render it extremely difficult to assign them to separate faculties. For the same reason it is impossible to distinguish temporally, as Kant so frequently does, the processes of synthesis and of analysis, making the former in all cases precede the latter in time. The very nature of space and time, and, as he came to recognise, the very nature of all Ideas of reason, in so far as they involve the notion of the unconditioned, conflict with such a view.

Even when Kant is dealing with space as a principle of synthesis, he speaks with no very certain voice. In the Analytic it is ascribed to the co-operation of sensibility and understanding. In the Dialectic it is, by implication, ascribed to Reason; and in the Metaphysical First Principles it is explicitly so ascribed.

“Absolute space cannot be object of experience; for space without matter is no object of perception, and yet it is a necessary conception of Reason, and therefore nothing but a mere Idea.” “Absolute space is not necessary as a conception of an actual object, but as an Idea which can serve as rule....”

Kant’s teaching in the Critique of Judgment is a further development of this position.

“The mind listens to the voice of Reason which, for every given magnitude--even for those that can never be entirely apprehended, although (in sensible representation) they are judged as entirely given--requires totality.... It does not even except the infinite (space and past time) from this requirement; on the contrary, it renders it unavoidable to think the infinite (in the judgment of common reason) as entirely given (in its totality). But the infinite is absolutely (not merely comparatively) great. Compared with it everything else (of the same kind of magnitudes) is small. But what is most important is that the mere ability to think it as a whole indicates a faculty of mind which surpasses every standard of sense.... The bare capability of thinking the given infinite without contradiction requires in the human mind a faculty itself supersensible. For it is only by means of this faculty and its Idea of a noumenon ... that the infinite of the world of sense, in the pure intellectual estimation of magnitude, can be completely comprehended under one concept.... Nature is, therefore, sublime in those of its phenomena, whose intuition brings with it the Idea of its infinity.... For just as imagination and understanding, in judging of the beautiful, generate a subjective purposiveness of the mental powers by means of their harmony, so imagination and Reason do so by means of their conflict.”

Kant has here departed very far indeed from the position of the Aesthetic.

THE TRANSCENDENTAL AESTHETIC