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In a word the aesthetical Idea is a representation of the Imagination associated with a given concept, which is bound up with such a multiplicity of partial representations in its free employment, that for it no expression marking a definite concept can be found; and such a representation, therefore, adds to a concept much ineffable thought, the feeling of which quickens the cognitive faculties, and with language, which is the mere letter, binds up spirit also.
The mental powers, therefore, whose union (in a202 certain relation) constitutes genius are Imagination and Understanding. In the employment of the Imagination for cognition it submits to the constraint of the Understanding and is subject to the limitation of being conformable to the concept of the latter. On the other hand, in an aesthetical point of view it is free to furnish unsought, over and above that agreement with a concept, abundance of undeveloped material for the Understanding; to which the Understanding paid no regard in its concept, but which it applies, though not objectively for cognition, yet subjectively to quicken the cognitive powers and therefore also indirectly to cognitions. Thus genius properly consists in the happy relation [between these faculties], which no science can teach and no industry can learn, by which Ideas are found for a given concept; and on the other hand, we thus find for these Ideas the expression, by means of which the subjective state of mind brought about by them, as an accompaniment of the concept, can be communicated to others. The latter talent is properly speaking what is called spirit; for to express the ineffable element in the state of mind implied by a certain representation and to make it universally communicable—whether the expression be in speech or painting or statuary—this requires a faculty of seizing the quickly passing play of Imagination and of unifying it in a concept (which is even on that account original and discloses a new rule that could not have been inferred from any preceding principles or examples), that can be communicated without any constraint [of rules].86
If after this analysis we look back to the explanation203 given above of what is called genius, we find: first, that it is a talent for Art, not for Science, in which clearly known rules must go beforehand and determine the procedure. Secondly, as an artistic talent it presupposes a definite concept of the product, as the purpose, and therefore Understanding; but it also presupposes a representation (although an indeterminate one) of the material, i.e. of the intuition, for the presentment of this concept; and, therefore, a relation between the Imagination and the Understanding. Thirdly, it shows itself not so much in the accomplishment of the proposed purpose in a presentment of a definite concept, as in the enunciation or expression of aesthetical Ideas, which contain abundant material for that very design; and consequently it represents the Imagination as free from all guidance of rules and yet as purposive in reference to the presentment of the given concept. Finally, in the fourth place, the unsought undesigned subjective purposiveness in the free accordance of the Imagination with the legality of the Understanding presupposes such a proportion and disposition of these faculties as no following of rules, whether of science or of mechanical imitation, can bring about, but which only the nature of the subject can produce.
In accordance with these suppositions genius is the exemplary originality of the natural gifts of a subject in the free employment of his cognitive faculties. In this way the product of a genius (as regards what is to be ascribed to genius and not to possible learning or schooling) is an example, not to be imitated (for then that which in it is genius and constitutes the spirit of the work would be lost), but to be followed, by another genius; whom it204 awakens to a feeling of his own originality and whom it stirs so to exercise his art in freedom from the constraint of rules, that thereby a new rule is gained for art, and thus his talent shows itself to be exemplary. But because a genius is a favourite of nature and must be regarded by us as a rare phenomenon, his example produces for other good heads a school, i.e. a methodical system of teaching according to rules, so far as these can be derived from the peculiarities of the products of his spirit. For such persons beautiful art is so far imitation, to which nature through the medium of a genius supplied the rule.
But this imitation becomes a mere aping, if the scholar copies everything down to the deformities, which the genius must have let pass only because he could not well remove them without weakening his Idea. This mental characteristic is meritorious only in the case of a genius. A certain audacity in expression—and in general many a departure from common rules—becomes him well, but it is in no way worthy of imitation; it always remains a fault in itself which we must seek to remove, though the genius is as it were privileged to commit it, because the inimitable rush of his spirit would suffer from over-anxious carefulness. Mannerism is another kind of aping, viz. of mere peculiarity (originality) in general; by which a man separates himself as far as possible from imitators, without however possessing the talent to be at the same time exemplary.—There are indeed in general two ways (modi) in which such a man may put together his notions of expressing himself; the one is called a manner (modus aestheticus), the other a method (modus logicus). They differ in this, that the former has no other standard205 than the feeling of unity in the presentment, but the latter follows definite principles; hence the former alone avails for beautiful art. But an artistic product is said to show mannerism only when the exposition of the artist's Idea is founded on its very singularity, and is not made appropriate to the Idea itself. The ostentatious (prcieux), contorted, and affected [manner, adopted] to differentiate oneself from ordinary persons (though devoid of spirit) is like the behaviour of a man of whom we say, that he hears himself talk, or who stands and moves about as if he were on a stage in order to be stared at; this always betrays a bungler.
To ask whether it is more important for the things of beautiful art that Genius or Taste should be displayed, is the same as to ask whether in it more depends on Imagination or on Judgement. Now, since in respect of the first an art is rather said to be full of spirit, but only deserves to be called a beautiful art on account of the second; this latter is at least, as its indispensable condition (conditio sine qua non), the most important thing to which one has to look in the judging of art as beautiful art. Abundance and originality of Ideas are less necessary to beauty than the accordance of the Imagination in its freedom with the conformity to law of the Understanding. For all the abundance of the former produces in lawless freedom nothing but nonsense; on the other hand, the Judgement is the faculty by which it is adjusted to the Understanding.
206 Taste, like the Judgement in general, is the discipline (or training) of Genius; it clips its wings closely, and makes it cultured and polished; but, at the same time, it gives guidance as to where and how far it may extend itself, if it is to remain purposive. And while it brings clearness and order into the multitude of the thoughts, it makes the Ideas susceptible of being permanently and, at the same time, universally assented to, and capable of being followed by others, and of an ever-progressive culture. If, then, in the conflict of these two properties in a product something must be sacrificed, it should be rather on the side of genius; and the Judgement, which in the things of beautiful art gives its decision from its own proper principles, will rather sacrifice the freedom and wealth of the Imagination than permit anything prejudicial to the Understanding.
