In both cases, however, we find that the feeling of the Sublime awakens in us a feeling of the supersensible destination of man. “The very capacity of conceiving the sublime,” he tells us, “indicates a mental faculty that far surpasses every standard of sense.” And to explain the necessity belonging to our judgements about the sublime, Kant points out that as we find ourselves compelled to postulate a _sensus communis_ to account for the agreement of men in their appreciation of beautiful objects, so the principle underlying their consent in judging of the sublime is “the presupposition of the moral feeling in man.” The feeling of the sublimity of our own moral destination is the necessary prerequisite for forming such judgements. The connexion between Beauty and Goodness involved to a Greek in the double sense of the word καλόν is developed by Kant with keen insight. To feel interest in the beauty of Nature he regards as a mark of a moral disposition, though he will not admit that the same inference may be drawn as to the character of the art connoisseur (§ 42). But it is specially with reference to the connexion between the capacity for appreciating the Sublime, and the moral feeling, that the originality of Kant’s treatment becomes apparent. The objects of nature, he continues, which we call sublime, inspire us with a feeling of pain rather than of pleasure; as Lucretius has it-- Me quaedam divina voluptas Percipit atque horror. But this “horror” must not inspire actual fear. As no extraneous charm must mingle with the satisfaction felt in a beautiful object, if the judgement about beauty is to remain pure; so in the case of the sublime we must not be afraid of the object which yet in certain aspects is fearful.