The division of a critique into elementology and methodology-a division which is introductory to science-is one inapplicable to the critique of taste.For there neither is, nor can be, a science of the beautiful, and the judgement of taste is not determinable by principles.For, as to the element of science in every art -a matter which turns upon truth in the presentation of the object of the art-while this is, no doubt, the indispensable condition (conditio sine qua non) of fine art, it is not itself fine art.Fine art, therefore, has only got a manner (modus), and not a method of teaching (methodus).The master must illustrate what the pupil is to achieve and how achievement is to be attained, and the proper function of the universal rules to which he ultimately reduces his treatment is rather that of supplying a convenient text for recalling its chief moments to the pupil's mind, than of prescribing them to him.Yet, in all this, due regard must be paid to a certain ideal which art must keep in view, even though complete success ever eludes its happiest efforts.Only by exciting the pupil's imagination to conformity with a given concept, by pointing out how the expression falls short of the idea to which, as aesthetic, the concept itself fails to attain, and by means of severe criticism, is it possible to prevent his promptly looking upon the examples set before him as the prototypes of excellence, and as models for him to imitate, without submission to any higher standard or to his own critical judgement.This would result in genius being stifled, and, with it, also the freedom of the imagination in its very conformity to law-a freedom without which a fine art is not possible, nor even as much as a correct taste of one's own for estimating it.
第84章 DIALECTIC OF AESTHETIC JUDGEMENT.SS 55(9)（1 / 3）