Without quibbling with natural reason about the inference it draws from the analogy between natural products and those of human art, when it does violence to nature and constrains it not to proceed in ac cordance with its own ends but to bend to ours (the similarity of na ture's ends to houses, ships, and clocks), just such a causality, namely understanding and will, is made a ground, when it derives the inner possibility of freely working nature (which makes all art, and perhaps even reason itself, possible) from another though superhuman art, which sort of inference perhaps might not stand up to the sharpest tran scendental critique