Abstract
In contrast with Kant's "Theory of Beauty" his "Analytics of the Sublime" has till now been paid meager systematic attention. This essay on the architectonics of the sublime proves three theses. (1) Beauty and sublime are not experiences of two different object classes, but of two contrary moods of mind. (2) Kant's exposition of the "mathematical-sublime" is based on not immediately evident premises. But these difficulties concerning the "comprehensio aesthetica" can be explained retrospectively from the "dynamical-sublime". For only in view of a symbolically threatening nature its mere "extensively" immeasurable oversize is apperceived asan "intensively" overwhelming power, which evokes the feeling of reluctance. And even the (strictly thought) absurd idea of a "totallygiven infinity" is the playing retort of the imaginative power, by which a reversal of the proportions, a belittling of nature, and the restoration of pleasure is accomplished. (3) The symmetry of the fourmoments of judgment is novel, but plausible