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Click on the phrases to see them in context. The original texts by Immanuel Kant and David Hume are available from the Gutenberg Projet.

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Nature, therefore, and transcendental freedom are distinguishable as conformity to law and lawlessness.

 In relation, however, to the principle, whereby reason sets bounds to a freedom which is in itself without law, and consequently when we attend merely to their form, they may be considered as pure conceptions of reason. At the same time, while I cannot cognize, I can quite well think freedom, that is to say, my representation of it involves at least no contradiction, if we bear in mind the critical distinction of the two modes of representation (the sensible and the intellectual) and the consequent limitation of the conceptions of the pure understanding and of the principles which flow from them. We blame all treachery and breach of faith; because we consider, that the freedom and extent of human commerce depend entirely on a fidelity with regard to promises. But since the moral law is binding on each individual in the use of his freedom of volition, even if others should not act in conformity with this law, neither the nature of things, nor the causality of actions and their relation to morality, determine how the consequences of these actions will be related to happiness; and the necessary connection of the hope of happiness with the unceasing endeavour to become worthy of happiness, cannot be cognized by reason, if we take nature alone for our guide. This philosopher found his ideas especially in all that is practical,* that is, which rests upon freedom, which in its turn ranks under cognitions that are the peculiar product of reason. The reader must be careful to remark that my intention in the above remarks has not been to prove the actual existence of freedom, as a faculty in which resides the cause of certain sensuous phenomena. By confining the view to particular passages, taking these out of their connection and comparing them with one another, it is easy to pick out apparent contradictions, especially in a work written with any freedom of style.