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David Hume’s Moral Psychology: Taste and Sentiment
This List Is By:
Liberty Fund Staff
Liberty Fund, Inc., Indianapolis, Indiana
This reading list is for a discussion held at Liberty Fund on David Hume’s moral psychology.
The readings were drawn from two of his works:
- David Hume, Essays Moral, Political, Literary, edited and with a Foreword, Notes, and Glossary by Eugene F. Miller, with an appendix of variant readings from the 1889 edition by T.H. Green and T.H. Grose, revised edition (Indianapolis: Liberty Fund 1987).
- *A Treatise of Human Nature by David Hume, reprinted from the Original Edition in three volumes and edited, with an analytical index, by L.A. Selby-Bigge, M.A. (Oxford: Clarendon Press, 1896).
For additional readings see:
1: 1. From the Treatise: Book II (The Passions) Part I, sect. 1 “Division of the Subject”
David Hume, A Treatise of Human Nature by David Hume, reprinted from the Original Edition in three volumes and edited, with an analytical index, by L.A. Selby-Bigge, M.A. (Oxford: Clarendon Press, 1896). Chapter: SECTION I.: Division of the Subject.
Accessed from oll.libertyfund.org/title/342/55135 on 2008-03-06
The text is in the public domain.
SECTION I.
Division of the Subject.
As all the perceptions of the mind may be divided into impressions and ideas, so the impressions admit of another division into original and secondary. This division of the impressions is the same with that which1 I formerly made use of when I distinguish’d them into impressions of sensation and reflexion. Original impressions or impressions of sensation are such as without any antecedent perception arise in the soul, from the constitution of the body, from the animal spirits, or from the application of objects to the external organs. Secondary, or reflective impressions are such as proceed from some of these original ones, either immediately or by the interposition of its idea. Of the first kind are all the impressions of the senses, and all bodily pains and pleasures: Of the second are the passions, and other emotions resembling them.
’Tis certain, that the mind, in its perceptions, must begin somewhere; and that since the impressions precede their correspondent ideas, there must be some impressions, which without any introduction make their appearance in the soul. As these depend upon natural and physical causes, the examination of them wou’d lead me too far from my present subject, into the sciences of anatomy and natural philosophy. For this reason I shall here confine myself to those other impressions, which I have call’d secondary and reflective, as arising either from the original impressions, or from their ideas. Bodily pains and pleasures are the source of many passions, both when felt and consider’d by the mind; but arise originally in the soul, or in the body, whichever you please to call it, without any preceding thought or perception. A fit of the gout produces a long train of passions, as grief, hope, fear; but is not deriv’d immediately from any affection or idea.
The reflective impressions may be divided into two kinds, viz. the calm and the violent. Of the first kind is the sense of beauty and deformity in action, composition, and external objects. Of the second are the passions of love and hatred, grief and joy, pride and humility. This division is far from being exact. The raptures of poetry and music frequently rise to the greatest height; while those other impressions, properly called passions, may decay into so soft an emotion, as to become, in a manner, imperceptible. But as in general the passions are more violent than the emotions arising from beauty and deformity, these impressions have been commonly distinguish’d from each other. The subject of the human mind being so copious and various, I shall here take advantage of this vulgar and specious division, that I may proceed with the greater order; and having said all I thought necessary concerning our ideas, shall now explain these violent emotions or passions, their nature, origin, causes, and effects.
When we take a survey of the passions, there occurs a division of them into direct and indirect. By direct passions I understand such as arise immediately from good or evil, from pain or pleasure. By indirect such as proceed from the same principles, but by the conjunction of other qualities. This distinction I cannot at present justify or explain any farther. I can only observe in general, that under the indirect passions I comprehend pride, humility, ambition, vanity, love, hatred, envy, pity, malice, generosity, with their dependants. And under the direct passions, desire, aversion, grief, joy, hope, fear, despair and security. I shall begin with the former.
[1 ]Book I. Part I. sect. 2.
2: 2. From the Treatise: Book II (The Passions) Part I, sect. 4 “Of the Relations of Impressions and Ideas”
David Hume, A Treatise of Human Nature by David Hume, reprinted from the Original Edition in three volumes and edited, with an analytical index, by L.A. Selby-Bigge, M.A. (Oxford: Clarendon Press, 1896). Chapter: SECTION IV.: Of the relations of impressions and ideas.
Accessed from oll.libertyfund.org/title/342/55141 on 2008-03-06
The text is in the public domain.
SECTION IV.
Of the relations of impressions and ideas.
Thus we have establish’d two truths without any obstacle or difficulty, that ’tis from natural principles this variety of causes excite pride and humility, and that ’tis not by a different principle each different cause is adapted to its passion. We shall now proceed to enquire how we may reduce these principles to a lesser number, and find among the causes something common, on which their influence depends.
In order to this we must reflect on certain properties of human nature, which tho’ they have a mighty influence on every operation both of the understanding and passions, are not commonly much insisted on by philosophers. The first of these is the association of ideas, which I have so often observ’d and explain’d. ’Tis impossible for the mind to fix itself steadily upon one idea for any considerable time; nor can it by its utmost efforts ever arrive at such a constancy. But however changeable our thoughts may be, they are not entirely without rule and method in their changes. The rule, by which they proceed, is to pass from one object to what is resembling, contiguous to, or produc’d by it. When one idea is present to the imagination, any other, united by these relations, naturally follows it, and enters with more facility by means of that introduction.
The second property I shall observe in the human mind is a like association of impressions. All resembling impressions are connected together, and no sooner one arises than the rest immediately follow. Grief and disappointment give rise to anger, anger to envy, envy to malice, and malice to grief again, till the whole circle be compleated. In like manner our temper, when elevated with joy, naturally throws itself into love, generosity, pity, courage, pride, and the other resembling affections. ’Tis difficult for the mind, when actuated by any passion, to confine itself to that passion alone, without any change or variation. Human nature is too inconstant to admit of any such regularity. Changeableness is essential to it. And to what can it so naturally change as to affections or emotions, which are suitable to the temper, and agree with that set of passions, which then prevail? ’Tis evident, then, there is an attraction or association among impressions, as well as among ideas; tho’ with this remarkable difference, that ideas are associated by resemblance, contiguity, and causation; and impressions only by resemblance.
In the third place, ’tis observable of these two kinds of association, that they very much assist and forward each other, and that the transition is more easily made where they both concur in the same object. Thus a man, who, by any injury from another, is very much discompos’d and ruffled in his temper, is apt to find a hundred subjects of discontent, impatience, fear, and other uneasy passions; especially if he can discover these subjects in or near the person, who was the cause of his first passion. Those principles, which forward the transition of ideas, here concur with those, which operate on the passions; and both uniting in one action, bestow on the mind a double impulse. The new passion, therefore, must arise with so much greater violence, and the transition to it must be render’d so much more easy and natural.
Upon this occasion I may cite the authority of an elegant writer, who expresses himself in the following manner. ‘As the fancy delights in every thing that is great, strange, or beautiful, and is still more pleas’d the more it finds of these perfections in the same object, so it is capable of receiving a new satisfaction by the assistance of another sense. Thus any continu’d sound, as the music of birds, or a fall of waters, awakens every moment the mind of the beholder, and makes him more attentive to the several beauties of the place, that lie before him. Thus if there arises a fragrancy of smells or perfumes, they heighten the pleasure of the imagination, and make even the colours and verdure of the landschape appear more agreeable; for the ideas of both senses recommend each other, and are pleasanter together than when they enter the mind separately: As the different colours of a picture, when they are well disposed, set off one another, and receive an additional beauty from the advantage of the situation.’ In this phænomenon we may remark the association both of impressions and ideas, as well as the mutual assistance they lend each other.
3: 3. From the Treatise: Book II (The Passions) Part I, sect. 8 “Of Beauty and Deformity”
David Hume, A Treatise of Human Nature by David Hume, reprinted from the Original Edition in three volumes and edited, with an analytical index, by L.A. Selby-Bigge, M.A. (Oxford: Clarendon Press, 1896). Chapter: SECTION VIII.: Of beauty and deformity.
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The text is in the public domain.
SECTION VIII.
Of beauty and deformity.
Whether we consider the body as a part of ourselves, or assent to those philosophers, who regard it as something external, it must still be allow’d to be near enough connected with us to form one of these double relations, which I have asserted to be necessary to the causes of pride and humility. Wherever, therefore, we can find the other relation of impressions to join to this of ideas, we may expect with assurance either of these passions, according as the impression is pleasant or uneasy. But beauty of all kinds gives us a peculiar delight and satisfaction; as deformity produces pain, upon whatever subject it may be plac’d, and whether survey’d in an animate or inanimate object. If the beauty or deformity, therefore, be plac’d upon our own bodies, this pleasure or uneasiness must be converted into pride or humility, as having in this case all the circumstances requisite to produce a perfect transition of impressions and ideas. These opposite sensations are related to the opposite passions. The beauty or deformity is closely related to self, the object of both these passions. No wonder, then, our own beauty becomes an object of pride, and deformity of humility.
But this effect of personal and bodily qualities is not only a proof of the present system, by shewing that the passions arise not in this case without all the circumstances I have requir’d, but may be employ’d as a stronger and more convincing argument. If we consider all the hypotheses, which have been form’d either by philosophy or common reason, to explain the difference betwixt beauty and deformity, we shall find that all of them resolve into this, that beauty is such an order and construction of parts, as either by the primary constitution of our nature, by custom, or by caprice, is fitted to give a pleasure and satisfaction to the soul. This is the distinguishing character of beauty, and forms all the difference betwixt it and deformity, whose natural tendency is to produce uneasiness. Pleasure and pain, therefore, are not only necessary attendants of beauty and deformity, but constitute their very essence. And indeed, if we consider, that a great part of the beauty, which we admire either in animals or in other objects, is deriv’d from the idea of convenience and utility, we shall make no scruple to assent to this opinion. That shape, which produces strength, is beautiful in one animal; and that which is a sign of agility in another. The order and convenience of a palace are no less essential to its beauty, than its mere figure and appearance. In like manner the rules of architecture require, that the top of a pillar shou’d be more slender than its base, and that because such a figure conveys to us the idea of security, which is pleasant; whereas the contrary form gives us the apprehension of danger, which is uneasy. From innumerable instances of this kind, as well as from considering that beauty like wit, cannot be defin’d, but is discern’d only by a taste or sensation, we may conclude, that beauty is nothing but a form, which produces pleasure, as deformity is a structure of parts, which conveys pain; and since the power of producing pain and pleasure make in this manner the essence of beauty and deformity, all the effects of these qualities must be deriv’d from the sensation; and among the rest pride and humility, which of all their effects are the most common and remarkable.
This argument I esteem just and decisive; but in order to give greater authority to the present reasoning, let us suppose it false for a moment, and see what will follow. ’Tis certain, then, that if the power of producing pleasure and pain forms not the essence of beauty and deformity, the sensations are at least inseparable from the qualities, and ’tis even difficult to consider them apart. Now there is nothing common to natural and moral beauty, (both of which are the causes of pride) but this power of producing pleasure; and as a common effect supposes always a common cause, ’tis plain the pleasure must in both cases be the real and influencing cause of the passion. Again; there is nothing originally different betwixt the beauty of our bodies and the beauty of external and foreign objects, but that the one has a near relation to ourselves, which is wanting in the other. This original difference, therefore, must be the cause of all their other differences, and among the rest, of their different influence upon the passion of pride, which is excited by the beauty of our person, but is not affected in the least by that of foreign and external objects. Placing, then, these two conclusions together, we find they compose the preceding system betwixt them, viz. that pleasure, as a related or resembling impression, when plac’d on a related object, by a natural transition, produces pride; and its contrary, humility. This system, then, seems already sufficiently confirm’d by experience; tho’ we have not yet exhausted all our arguments.
’Tis not the beauty of the body alone that produces pride, but also its strength and force. Strength is a kind of power; and therefore the desire to excel in strength is to be consider’d as an inferior species of ambition. For this reason the present phænomenon will be sufficiently accounted for, in explaining that passion.
Concerning all other bodily accomplishments we may observe in general, that whatever in ourselves is either useful, beautiful, or surprising, is an object of pride; and it’s contrary, of humility. Now ’tis obvious, that every thing useful, beautiful or surprising, agrees in producing a separate pleasure, and agrees in nothing else. The pleasure, therefore, with the relation to self must be the cause of the passion.
Tho’ it shou’d be question’d, whether beauty be not something real, and different from the power of producing pleasure, it can never be disputed, that as surprize is nothing but a pleasure arising from novelty, it is not, properly speaking, a quality in any object, but merely a passion or impression in the soul. It must, therefore, be from that impression, that pride by a natural transition arises. And it arises so naturally, that there is nothing in us or belonging to us, which produces surprize, that does not at the same time excite that other passion. Thus we are vain of the surprising adventures we have met with, the escapes we have made, and dangers we have been expos’d to. Hence the origin of vulgar lying; where men without any interest, and merely out of vanity, heap up a number of extraordinary events, which are either the fictions of their brain, or if true, have at least no connexion with themselves. Their fruitful invention supplies them with a variety of adventures; and where that talent is wanting, they appropriate such as belong to others, in order to satisfy their vanity.
In this phænomenon are contain’d two curious experiments, which if we compare them together, according to the known rules, by which we judge of cause and effect in anatomy, natural philosophy, and other sciences, will be an undeniable argument for that influence of the double relations above-mention’d. By one of these experiments we find, that an object produces pride merely by the interposition of pleasure; and that because the quality, by which it produces pride, is in reality nothing but the power of producing pleasure. By the other experiment we find, that the pleasure produces the pride by a transition along related ideas; because when we cut off that relation the passion is immediately destroy’d. A surprising adventure, in which we have been ourselves engag’d, is related to us, and by that means produces pride: But the adventures of others, tho’ they may cause pleasure, yet for want of this relation of ideas, never excite that passion. What farther proof can be desired for the present system?
There is only one objection to this system with regard to our body; which is, that tho’ nothing be more agreeable than health, and more painful than sickness, yet commonly men are neither proud of the one, nor mortify’d with the other. This will easily be accounted for, if we consider the second and fourth limitations, propos’d to our general system. It was observ’d, that no object ever produces pride or humility, if it has not something peculiar to ourself; as also, that every cause of that passion must be in some measure constant, and hold some proportion to the duration of ourself, which is its object. Now as health and sickness vary incessantly to all men, and there is none, who is solely or certainly fix’d in either, these accidental blessings and calamities are in a manner separated from us, and are never consider’d as connected with our being and existence. And that this account is just appears hence, that wherever a malady of any kind is so rooted in our constitution, that we no longer entertain any hopes of recovery, from that moment it becomes an object of humility; as is evident in old men, whom nothing mortifies more than the consideration of their age and infirmities. They endeavour, as long as possible, to conceal their blindness and deafness, their rheums and gouts; nor do they ever confess them without reluctance and uneasiness. And tho’ young men are not asham’d of every head-ach or cold they fall into, yet no topic is so proper to mortify human pride, and make us entertain a mean opinion of our nature, than this, that we are every moment of our lives subject to such infirmities. This sufficiently proves that bodily pain and sickness are in themselves proper causes of humility; tho’ the custom of estimating every thing by comparison more than by its intrinsic worth and value, makes us overlook these calamities, which we find to be incident to every one, and causes us to form an idea of our merit and character independent of them.
We are asham’d of such maladies as affect others, and are either dangerous or disagreeable to them. Of the epilepsy; because it gives a horror to every one present: Of the itch; because it is infectious: Of the king’s-evil; because it commonly goes to posterity. Men always consider the sentiments of others in their judgment of themselves. This has evidently appear’d in some of the foregoing reasonings; and will appear still more evidently, and be more fully explain’d afterwards.
4: 4. From the Treatise: Book II (The Passions) Part 3, sect. 3 “Of the Influencing Motives of the Will”
David Hume, A Treatise of Human Nature by David Hume, reprinted from the Original Edition in three volumes and edited, with an analytical index, by L.A. Selby-Bigge, M.A. (Oxford: Clarendon Press, 1896). Chapter: SECTION III.: Of the influencing motives of the will.
Accessed from oll.libertyfund.org/title/342/55191 on 2008-03-06
The text is in the public domain.
SECTION III.
Of the influencing motives of the will.
Nothing is more usual in philosophy, and even in common life, than to talk of the combat of passion and reason, to give the preference to reason, and to assert that men are only so far virtuous as they conform themselves to its dictates. Every rational creature, ’tis said, is oblig’d to regulate his actions by reason; and if any other motive or principle challenge the direction of his conduct, he ought to oppose it, ’till it be entirely subdu’d, or at least brought to a conformity with that superior principle. On this method of thinking the greatest part of moral philosophy, ancient and modern, seems to be founded; nor is there an ampler field, as well for metaphysical arguments, as popular declamations, than this suppos’d pre-eminence of reason above passion. The eternity, invariableness, and divine origin of the former have been display’d to the best advantage: The blindness, unconstancy and deceitfulness of the latter have been as strongly insisted on. In order to shew the fallacy of all this philosophy, I shall endeavour to prove first, that reason alone can never be a motive to any action of the will; and secondly, that it can never oppose passion in the direction of the will.
The understanding exerts itself after two different ways, as it judges from demonstration or probability; as it regards the abstract relations of our ideas, or those relations of objects, of which experience only gives us information. I believe it scarce will be asserted, that the first species of reasoning alone is ever the cause of any action. As it’s proper province is the world of ideas, and as the will always places us in that of realities, demonstration and volition seem, upon that account, to be totally remov’d, from each other. Mathematics, indeed, are useful in all mechanical operations, and arithmetic in almost every art and profession: But ’tis not of themselves they have any influence. Mechanics are the art of regulating the motions of bodies to some design’d end or purpose; and the reason why we employ arithmetic in fixing the proportions of numbers, is only that we may discover the proportions of their influence and operation. A merchant is desirous of knowing the sum total of his accounts with any person: Why? but that he may learn what sum will have the same effects in paying his debt, and going to market, as all the particular articles taken together. Abstract or demonstrative reasoning, therefore, never influences any of our actions, but only as it directs our judgment concerning causes and effects; which leads us to the second operation of the understanding.
’Tis obvious, that when we have the prospect of pain or pleasure from any object, we feel a consequent emotion of aversion or propensity, and are carry’d to avoid or embrace what will give us this uneasiness or satisfaction. ’Tis also obvious, that this emotion rests not here, but making us cast our view on every side, comprehends whatever objects are connected with its original one by the relation of cause and effect. Here then reasoning takes place to discover this relation; and according as our reasoning varies, our actions receive a subsequent variation. But ’tis evident in this case, that the impulse arises not from reason, but is only directed by it. ’Tis from the prospect of pain or pleasure that the aversion or propensity arises towards any object: And these emotions extend themselves to the causes and effects of that object, as they are pointed out to us by reason and experience. It can never in the least concern us to know, that such objects are causes, and such others effects, if both the causes and effects be indifferent to us. Where the objects themselves do not affect us, their connexion can never give them any influence; and ’tis plain, that as reason is nothing but the discovery of this connexion, it cannot be by its means that the objects are able to affect us.
Since reason alone can never produce any action, or give rise to volition, I infer, that the same faculty is as incapable of preventing volition, or of disputing the preference with any passion or emotion. This consequence is necessary. ’Tis impossible reason cou’d have the latter effect of preventing volition, but by giving an impulse in a contrary direction to our passion; and that impulse, had it operated alone, wou’d have been able to produce volition. Nothing can oppose or retard the impulse of passion, but a contrary impulse; and if this contrary impulse ever arises from reason, that latter faculty must have an original influence on the will, and must be able to cause, as well as hinder any act of volition. But if reason has no original influence, ’tis impossible it can withstand any principle, which has such an efficacy, or ever keep the mind in suspence a moment. Thus it appears, that the principle, which opposes our passion, cannot be the same with reason, and is only call’d so in an improper sense. We speak not strictly and philosophically when we talk of the combat of passion and of reason. Reason is, and ought only to be the slave of the passions, and can never pretend to any other office than to serve and obey them. As this opinion may appear somewhat extraordinary, it may not be improper to confirm it by some other considerations.
A passion is an original existence, or, if you will, modification of existence, and contains not any representative quality, which renders it a copy of any other existence or modification. When I am angry, I am actually possest with the passion, and in that emotion have no more a reference to any other object, than when I am thirsty, or sick, or more than five foot high. ’Tis impossible, therefore, that this passion can be oppos’d by, or be contradictory to truth and reason; since this contradiction consists in the disagreement of ideas, consider’d as copies, with those objects, which they represent.
What may at first occur on this head, is, that as nothing can be contrary to truth or reason, except what has a reference to it, and as the judgments of our understanding only have this reference, it must follow, that passions can be contrary to reason only so far as they are accompany’d with some judgment or opinion. According to this principle, which is so obvious and natural, ’tis only in two senses, that any affection can be call’d unreasonable. First, When a passion, such as hope or fear, grief or joy, despair or security, is founded on the supposition of the existence of objects, which really do not exist. Secondly, When in exerting any passion in action, we chuse means insufficient for the design’d end, and deceive ourselves in our judgment of causes and effects. Where a passion is neither founded on false suppositions, nor chuses means insufficient for the end, the understanding can neither justify nor condemn it. ’Tis not contrary to reason to prefer the destruction of the whole world to the scratching of my finger. ’Tis not contrary to reason for me to chuse my total ruin, to prevent the least uneasiness of an Indian or person wholly unknown to me. ’Tis as little contrary to reason to prefer even my own acknowledg’d lesser good to my greater, and have a more ardent affection for the former than the latter. A trivial good may, from certain circumstances, produce a desire superior to what arises from the greatest and most valuable enjoyment; nor is there any thing more extraordinary in this, than in mechanics to see one pound weight raise up a hundred by the advantage of its situation. In short, a passion must be accompany’d with some false judgment, in order to its being unreasonable; and even then ’tis not the passion, properly speaking, which is unreasonable, but the judgment.
The consequences are evident. Since a passion can never, in any sense, be call’d unreasonable, but when founded on a false supposition, or when it chuses means insufficient for the design’d end, ’tis impossible, that reason and passion can ever oppose each other, or dispute for the government of the will and actions. The moment we perceive the falshood of any supposition, or the insufficiency of any means our passions yield to our reason without any opposition. I may desire any fruit as of an excellent relish; but whenever you convince me of my mistake, my longing ceases. I may will the performance of certain actions as means of obtaining any desir’d good; but as my willing of these actions is only secondary, and founded on the supposition, that they are causes of the propos’d effect; as soon as I discover the falshood of that supposition, they must become indifferent to me.
’Tis natural for one, that does not examine objects with a strict philosophic eye, to imagine, that those actions of the mind are entirely the same, which produce not a different sensation, and are not immediately distinguishable to the feeling and perception. Reason, for instance, exerts itself without producing any sensible emotion; and except in the more sublime disquisitions of philosophy, or in the frivolous subtilties of the schools, scarce ever conveys any pleasure or uneasiness. Hence it proceeds, that every action of the mind, which operates with the same calmness and tranquillity, is confounded with reason by all those, who judge of things from the first view and appearance. Now ’tis certain, there are certain calm desires and tendencies, which, tho’ they be real passions, produce little emotion in the mind, and are more known by their effects than by the immediate feeling or sensation. These desires are of two kinds; either certain instincts originally implanted in our natures, such as benevolence and resentment, the love of life, and kindness to children; or the general appetite to good, and aversion to evil, consider’d merely as such. When any of these passions are calm, and cause no disorder in the soul, they are very readily taken for the determinations of reason, and are suppos’d to proceed from the same faculty, with that, which judges of truth and falshood. Their nature and principles have been suppos’d the same, because their sensations are not evidently different.
Beside these calm passions, which often determine the will, there are certain violent emotions of the same kind, which have likewise a great influence on that faculty. When I receive any injury from another, I often feel a violent passion of resentment, which makes me desire his evil and punishment, independent of all considerations of pleasure and advantage to myself. When I am immediately threaten’d with any grievous ill, my fears, apprehensions, and aversions rise to a great height, and produce a sensible emotion.
The common error of metaphysicians has lain in ascribing the direction of the will entirely to one of these principles, and supposing the other to have no influence. Men often act knowingly against their interest: For which reason the view of the greatest possible good does not always influence them. Men often counter-act a violent passion in prosecution of their interests and designs: ’Tis not therefore the present uneasiness alone, which determines them. In general we may observe, that both these principles operate on the will; and where they are contrary, that either of them prevails, according to the general character or present disposition of the person. What we call strength of mind, implies the prevalence of the calm passions above the violent; tho’ we may easily observe, there is no man so constantly possess’d of this virtue, as never on any occasion to yield to the sollicitations of passion and desire. From these variations of temper proceeds the great difficulty of deciding concerning the actions and resolutions of men, where there is any contrariety of motives and passions.
5: 5. From the Treatise: Book III (Morals) Part I, sect. 2 “Moral Distinctions derived from Moral Sense”
David Hume, A Treatise of Human Nature by David Hume, reprinted from the Original Edition in three volumes and edited, with an analytical index, by L.A. Selby-Bigge, M.A. (Oxford: Clarendon Press, 1896). Chapter: SECTION II.: Moral distinctions deriv’d from a moral sense.
Accessed from oll.libertyfund.org/title/342/55213 on 2008-03-06
The text is in the public domain.
SECTION II.
Moral distinctions deriv’d from a moral sense.
Thus the course of the argument leads us to conclude, that since vice and virtue are not discoverable merely by reason, or the comparison of ideas, it must be by means of some impression or sentiment they occasion, that we are able to mark the difference betwixt them. Our decisions concerning moral rectitude and depravity are evidently perceptions; and as all perceptions are either impressions or ideas, the exclusion of the one is a convincing argument for the other. Morality, therefore, is more properly felt than judg’d of; tho’ this feeling or sentiment is commonly so soft and gentle, that we are apt to confound it with an idea, according to our common custom of taking all things for the same, which have any near resemblance to each other.
The next question is, Of what nature are these impressions, and after what manner do they operate upon us? Here we cannot remain long in suspense, but must pronounce the impression arising from virtue, to be agreeable, and that proceeding from vice to be uneasy. Every moment’s experience must convince us of this. There is no spectacle so fair and beautiful as a noble and generous action; nor any which gives us more abhorrence than one that is cruel and treacherous. No enjoyment equals the satisfaction we receive from the company of those we love and esteem; as the greatest of all punishments is to be oblig’d to pass our lives with those we hate or contemn. A very play or romance may afford us instances of this pleasure, which virtue conveys to us; and pain, which arises from vice.
Now since the distinguishing impressions, by which moral good or evil is known, are nothing but particular pains or pleasures; it follows, that in all enquiries concerning these moral distinctions, it will be sufficient to shew the principles, which make us feel a satisfaction or uneasiness from the survey of any character, in order to satisfy us why the character is laudable or blameable. An action, or sentiment, or character is virtuous or vicious; why? because its view causes a pleasure or uneasiness of a particular kind. In giving a reason, therefore, for the pleasure or uneasiness, we sufficiently explain the vice or virtue. To have the sense of virtue, is nothing but to feel a satisfaction of a particular kind from the contemplation of a character. The very feeling constitutes our praise or admiration. We go no farther; nor do we enquire into the cause of the satisfaction. We do not infer a character to be virtuous, because it pleases: But in feeling that it pleases after such a particular manner, we in effect feel that it is virtuous. The case is the same as in our judgments concerning all kinds of beauty, and tastes, and sensations. Our approbation is imply’d in the immediate pleasure they convey to us.
I have objected to the system, which establishes eternal rational measures of right and wrong, that ’tis impossible to shew, in the actions of reasonable creatures, any relations, which are not found in external objects; and therefore, if morality always attended these relations, ’twere possible for inanimate matter to become virtuous or vicious. Now it may, in like manner, be objected to the present system, that if virtue and vice be determin’d by pleasure and pain, these qualities must, in every case, arise from the sensations; and consequently any object, whether animate or inanimate, rational or irrational, might become morally good or evil, provided it can excite a satisfaction or uneasiness. But tho’ this objection seems to be the very same, it has by no means the same force, in the one case as in the other. For, first, ’tis evident, that under the term pleasure, we comprehend sensations, which are very different from each other, and which have only such a distant resemblance, as is requisite to make them be express’d by the same abstract term. A good composition of music and a bottle of good wine equally produce pleasure; and what is more, their goodness is determin’d merely by the pleasure. But shall we say upon that account, that the wine is harmonious, or the music of a good flavour? In like manner an inanimate object, and the character or sentiments of any person may, both of them, give satisfaction; but as the satisfaction is different, this keeps our sentiments concerning them from being confounded, and makes us ascribe virtue to the one, and not to the other. Nor is every sentiment of pleasure or pain, which arises from characters and actions, of that peculiar kind, which makes us praise or condemn. The good qualities of an enemy are hurtful to us; but may still command our esteem and respect. ’Tis only when a character is considered in general, without reference to our particular interest, that it causes such a feeling or sentiment, as denominates it morally good or evil. ’Tis true, those sentiments, from interest and morals, are apt to be confounded, and naturally run into one another. It seldom happens, that we do not think an enemy vicious, and can distinguish betwixt his opposition to our interest and real villainy or baseness. But this hinders not, but that the sentiments are, in themselves, distinct; and a man of temper and judgment may preserve himself from these illusions. In like manner, tho’ ’tis certain a musical voice is nothing but one that naturally gives a particular kind of pleasure; yet ’tis difficult for a man to be sensible, that the voice of an enemy is agreeable, or to allow it to be musical. But a person of a fine ear, who has the command of himself, can separate these feelings, and give praise to what deserves it.
Secondly, We may call to remembrance the preceding system of the passions, in order to remark a still more considerable difference among our pains and pleasures. Pride and humility, love and hatred are excited, when there is any thing presented to us, that both bears a relation to the object of the passion, and produces a separate sensation related to the sensation of the passion. Now virtue and vice are attended with these circumstances. They must necessarily be plac’d either in ourselves or others, and excite either pleasure or uneasiness; and therefore must give rise to one of these four passions; which clearly distinguishes them from the pleasure and pain arising from inanimate objects, that often bear no relation to us: And this is, perhaps, the most considerable effect that virtue and vice have upon the human mind.
It may now be ask’d in general, concerning this pain or pleasure, that distinguishes moral good and evil, From what principles is it derived, and whence does it arise in the human mind? To this I reply, first, that ’tis absurd to imagine, that in every particular instance, these sentiments are produc’d by an original quality and primary constitution. For as the number of our duties is, in a manner, infinite, ’tis impossible that our original instincts should extend to each of them, and from our very first infancy impress on the human mind all that multitude of precepts, which are contain’d in the compleatest system of ethics. Such a method of proceeding is not conformable to the usual maxims, by which nature is conducted, where a few principles produce all that variety we observe in the universe, and every thing is carry’d on in the easiest and most simple manner. ’Tis necessary, therefore, to abridge these primary impulses, and find some more general principles, upon which all our notions of morals are founded.
But in the second place, should it be ask’d, Whether we ought to search for these principles in nature, or whether we must look for them in some other origin? I wou’d reply, that our answer to this question depends upon the definition of the word, Nature, than which there is none more ambiguous and equivocal. If nature be oppos’d to miracles, not only the distinction betwixt vice and virtue is natural, but also every event, which has ever happen’d in the world, excepting those miracles, on which our religion is founded. In saying, then, that the sentiments of vice and virtue are natural in this sense, we make no very extraordinary discovery.
But nature may also be opposed to rare and unusual; and in this sense of the word, which is the common one, there may often arise disputes concerning what is natural or unnatural; and one may in general affirm, that we are not possess’d of any very precise standard, by which these disputes can be decided. Frequent and rare depend upon the number of examples we have observ’d; and as this number may gradually encrease or diminish, ’twill be impossible to fix any exact boundaries betwixt them. We may only affirm on this head, that if ever there was any thing, which cou’d be call’d natural in this sense, the sentiments of morality certainly may; since there never was any nation of the world, nor any single person in any nation, who was utterly depriv’d of them, and who never, in any instance, shew’d the least approbation or dislike of manners. These sentiments are so rooted in our constitution and temper, that without entirely confounding the human mind by disease or madness, ’tis impossible to extirpate and destroy them.
But nature may also be opposed to artifice, as well as to what is rare and unusual; and in this sense it may be disputed, whether the notions of virtue be natural or not. We readily forget, that the designs, and projects, and views of men are principles as necessary in their operation as heat and cold, moist and dry: But taking them to be free and entirely our own, ’tis usual for us to set them in opposition to the other principles of nature. Shou’d it, therefore, be demanded, whether the sense of virtue be natural or artificial, I am of opinion, that ’tis impossible for me at present to give any precise answer to this question. Perhaps it will appear afterwards, that our sense of some virtues is artificial, and that of others natural. The discussion of this question will be more proper, when we enter upon an exact detail of each particular vice and virtue1 .
Mean while it may not be amiss to observe from these definitions of natural and unnatural, that nothing can be more unphilosophical than those systems, which assert, that virtue is the same with what is natural, and vice with what is unnatural. For in the first sense of the word, Nature, as opposed to miracles, both vice and virtue are equally natural; and in the second sense, as oppos’d to what is unusual, perhaps virtue will be found to be the most unnatural. At least it must be own’d, that heroic virtue, being as unusual, is as little natural as the most brutal barbarity. As to the third sense of the word, ’tis certain, that both vice and virtue are equally artificial, and out of nature. For however it may be disputed, whether the notion of a merit or demerit in certain actions be natural or artificial, ’tis evident, that the actions themselves are artificial, and are perform’d with a certain design and intention; otherwise they cou’d never be rank’d under any of these denominations. ’Tis impossible, therefore, that the character of natural and unnatural can ever, in any sense, mark the boundaries of vice and virtue.
Thus we are still brought back to our first position, that virtue is distinguished by the pleasure, and vice by the pain, that any action, sentiment or character gives us by the mere view and contemplation. This decision is very commodious; because it reduces us to this simple question, Why any action or sentiment upon the general view or survey, gives a certain satisfaction or uneasiness, in order to shew the origin of its moral rectitude or depravity, without looking for any incomprehensible relations and qualities, which never did exist in nature, nor even in our imagination, by any clear and distinct conception. I flatter myself I have executed a great part of my present design by a state of the question, which appears to me so free from ambiguity and obscurity.
PART II.
of justice and injustice.
[1 ]In the following discourse natural is also opposed sometimes to civil, sometimes to moral. The opposition will always discover the sense, in which it is taken.
6: 6. From the Treatise: Book III (Morals) Part 2, sect. 8 “Of the Sources of Allegiance”
Note especially the famous footnote:
This proposition must hold strictly true, with regard to every quality, that is determin’d merely by sentiment. In what sense we can talk either of a right or a wrong taste in morals, eloquence, or beauty, shall be consider’d afterwards. In the mean time, it may be observ’d, that there is such an uniformity in the general sentiments of mankind, as to render such questions of but small importance.
David Hume, A Treatise of Human Nature by David Hume, reprinted from the Original Edition in three volumes and edited, with an analytical index, by L.A. Selby-Bigge, M.A. (Oxford: Clarendon Press, 1896). Chapter: SECTION VIII.: Of the source of allegiance.
Accessed from oll.libertyfund.org/title/342/55231 on 2008-03-06
The text is in the public domain.
SECTION VIII.
Of the source of allegiance.
Though government be an invention very advantageous, and even in some circumstances absolutely necessary to mankind; it is not necessary in all circumstances, nor is it impossible for men to preserve society for some time, without having recourse to such an invention. Men, ’tis true, are always much inclin’d to prefer present interest to distant and remote; nor is it easy for them to resist the temptation of any advantage, that they may immediately enjoy, in apprehension of an evil, that lies at a distance from them: But still this weakness is less conspicuous, where the possessions, and the pleasures of life are few, and of little value, as they always are in the infancy of society. An Indian is but little tempted to dispossess another of his hut, or to steal his bow, as being already provided of the same advantages; and as to any superior fortune, which may attend one above another in hunting and fishing, ’tis only casual and temporary, and will have but small tendency to disturb society. And so far am I from thinking with some philosophers, that men are utterly incapable of society without government, that I assert the first rudiments of government to arise from quarrels, not among men of the same society, but among those of different societies. A less degree of riches will suffice to this latter effect, than is requisite for the former. Men fear nothing from public war and violence but the resistance they meet with, which, because they share it in common, seems less terrible; and because it comes from strangers, seems less pernicious in its consequences, than when they are expos’d singly against one whose commerce is advantageous to them, and without whose society ’tis impossible they can subsist. Now foreign war to a society without government necessarily produces civil war. Throw any considerable goods among men, they instantly fall a quarrelling, while each strives to get possession of what pleases him, without regard to the consequences. In a foreign war the most considerable of all goods, life and limbs, are at stake; and as every one shuns dangerous ports, seizes the best arms, seeks excuse for the slightest wounds, the laws, which may be well enough observ’d, while men were calm, can now no longer take place, when they are in such commotion.
This we find verified in the American tribes, where men live in concord and amity among themselves without any establish’d government; and never pay submission to any of their fellows, except in time of war, when their captain enjoys a shadow of authority, which he loses after their return from the field, and the establishment of peace with the neighbouring tribes. This authority, however, instructs them in the advantages of government, and teaches them to have recourse to it, when either by the pillage of war, by commerce, or by any fortuitous inventions, their riches and possessions have become so considerable as to make them forget, on every emergence, the interest they have in the preservation of peace and justice. Hence we may give a plausible reason, among others, why all governments are at first monarchical, without any mixture and variety; and why republics arise only from the abuses of monarchy and despotic power. Camps are the true mothers of cities; and as war cannot be administred, by reason of the suddenness of every exigency, without some authority in a single person, the same kind of authority naturally takes place in that civil government, which succeeds the military. And this reason I take to be more natural, than the common one deriv’d from patriarchal government, or the authority of a father, which is said first to take place in one family, and to accustom the members of it to the government of a single person. The state of society without government is one of the most natural states of men, and must subsist with the conjunction of many families, and long after the first generation. Nothing but an encrease of riches and possessions cou’d oblige men to quit it; and so barbarous and uninstructed are all societies on their first formation, that many years must elapse before these can encrease to such a degree, as to disturb men in the enjoyment of peace and concord.
But tho’ it be possible for men to maintain a small uncultivated society without government, ’tis impossible they shou’d maintain a society of any kind without justice, and the observance of those three fundamental laws concerning the stability of possession, its translation by consent, and the performance of promises. These are, therefore, antecedent to government, and are suppos’d to impose an obligation before the duty of allegiance to civil magistrates has once been thought of. Nay, I shall go farther, and assert, that government, upon its first establishment, wou’d naturally be suppos’d to derive its obligation from those laws of nature, and, in particular, from that concerning the performance of promises. When men have once perceiv’d the necessity of government to maintain peace, and execute justice, they wou’d naturally assemble together, wou’d chuse magistrates, determine their power, and promise them obedience. As a promise is suppos’d to be a bond or security already in use, and attended with a moral obligation, ’tis to be consider’d as the original sanction of government, and as the source of the first obligation to obedience. This reasoning appears so natural, that it has become the foundation of our fashionable system of politics, and is in a manner the creed of a party amongst us, who pride themselves, with reason, on the soundness of their philosophy, and their liberty of thought. All men, say they, are born free and equal: Government and superiority can only be establish’d by consent: The consent of men, in establishing government, imposes on them a new obligation, unknown to the laws of nature. Men, therefore, are bound to obey their magistrates, only because they promise it; and if they had not given their word, either expressly or tacitly, to preserve allegiance, it would never have become a part of their moral duty. This conclusion, however, when carried so far as to comprehend government in all its ages and situations, is entirely erroneous; and I maintain, that tho’ the duty of allegiance be at first grafted on the obligation of promises, and be for some time supported by that obligation, yet it quickly takes root of itself, and has an original obligation and authority, independent of all contracts. This is a principle of moment, which we must examine with care and attention, before we proceed any farther.
’Tis reasonable for those philosophers, who assert justice to be a natural virtue, and antecedent to human conventions, to resolve all civil allegiance into the obligation of a promise, and assert that ’tis our own consent alone, which binds us to any submission to magistracy. For as all government is plainly an invention of men, and the origin of most governments is known in history, ’tis necessary to mount higher, in order to find the source of our political duties, if we wou’d assert them to have any natural obligation of morality. These philosophers, therefore, quickly observe, that society is as antient as the human species, and those three fundamental laws of nature as antient as society: So that taking advantage of the antiquity, and obscure origin of these laws, they first deny them to be artificial and voluntary inventions of men, and then seek to ingraft on them those other duties, which are more plainly artificial. But being once undeceiv’d in this particular, and having found that natural, as well as civil justice, derives its origin from human conventions, we shall quickly perceive, how fruitless it is to resolve the one into the other, and seek, in the laws of nature, a stronger foundation for our political duties than interest, and human conventions; while these laws themselves are built on the very same foundation. On which ever side we turn this subject, we shall find, that these two kinds of duty are exactly on the same footing, and have the same source both of their first invention and moral obligation. They are contriv’d to remedy like inconveniences, and acquire their moral sanction in the same manner, from their remedying those inconveniences. These are two points, which we shall endeavour to prove as distinctly as possible.
We have already shewn, that men invented the three fundamental laws of nature, when they observ’d the necessity of society to their mutual subsistance, and found, that ’twas impossible to maintain any correspondence together, without some restraint on their natural appetites. The same self-love, therefore, which renders men so incommodious to each other, taking a new and more convenient direction, produces the rules of justice, and is the first motive of their observance. But when men have observ’d, that tho’ the rules of justice be sufficient to maintain any society, yet ’tis impossible for them, of themselves, to observe those rules, in large and polish’d societies; they establish government, as a new invention to attain their ends, and preserve the old, or procure new advantages, by a more strict execution of justice. So far, therefore, our civil duties are connected with our natural, that the former are invented chiefly for the sake of the latter; and that the principal object of government is to constrain men to observe the laws of nature. In this respect, however, that law of nature, concerning the performance of promises, is only compriz’d along with the rest; and its exact observance is to be consider’d as an effect of the institution of government, and not the obedience to government as an effect of the obligation of a promise. Tho’ the object of our civil duties be the enforcing of our natural, yet the1first motive of the invention, as well as performance of both, is nothing but self-interest: And since there is a separate interest in the obedience to government, from that in the performance of promises, we must also allow of a separate obligation. To obey the civil magistrate is requisite to preserve order and concord in society. To perform promises is requisite to beget mutual trust and confidence in the common offices of life. The ends, as well as the means, are perfectly distinct; nor is the one subordinate to the other.
To make this more evident, let us consider, that men will often bind themselves by promises to the performance of what it wou’d have been their interest to perform, independent of these promises; as when they wou’d give others a fuller security, by super-adding a new obligation of interest to that which they formerly lay under. The interest in the performance of promises, besides its moral obligation, is general, avow’d, and of the last consequence in life. Other interests may be more particular and doubtful; and we are apt to entertain a greater suspicion, that men may indulge their humour, or passion, in acting contrary to them. Here, therefore, promises come naturally in play, and are often requir’d for fuller satisfaction and security. But supposing those other interests to be as general and avow’d as the interest in the performance of a promise, they will be regarded as on the same footing, and men will begin to repose the same confidence in them. Now this is exactly the case with regard to our civil duties, or obedience to the magistrate; without which no government cou’d subsist, nor any peace or order be maintain’d in large societies, where there are so many possessions on the one hand, and so many wants, real or imaginary, on the other. Our civil duties, therefore, must soon detach themselves from our promises, and acquire a separate force and influence. The interest in both is of the very same kind: ’Tis general, avow’d, and prevails in all times and places. There is, then, no pretext of reason for founding the one upon the other; while each of them has a foundation peculiar to itself. We might as well resolve the obligation to abstain from the possessions of others, into the obligation of a promise, as that of allegiance. The interests are not more distinct in the one case than the other. A regard to property is not more necessary to natural society, than obedience is to civil society or government; nor is the former society more necessary to the being of mankind, than the latter to their well-being and happiness. In short, if the performance of promises be advantageous, so is obedience to government: If the former interest be general, so is the latter: If the one interest be obvious and avow’d, so is the other. And as these two rules are founded on like obligations of interest, each of them must have a peculiar authority, independent of the other.
But ’tis not only the natural obligations of interest, which are distinct in promises and allegiance; but also the moral obligations of honour and conscience: Nor does the merit or demerit of the one depend in the least upon that of the other. And indeed, if we consider the close connexion there is betwixt the natural and moral obligations, we shall find this conclusion to be entirely unavoidable. Our interest is always engag’d on the side of obedience to magistracy; and there is nothing but a great present advantage, that can lead us to rebellion, by making us over-look the remote interest, which we have in the preserving of peace and order in society. But tho’ a present interest may thus blind us with regard to our own actions, it takes not place with regard to those of others; nor hinders them from appearing in their true colours, as highly prejudicial to public interest, and to our own in particular. This naturally gives us an uneasiness, in considering such seditious and disloyal actions, and makes us attach to them the idea of vice and moral deformity. ’Tis the same principle, which causes us to disapprove of all kinds of private injustice, and in particular of the breach of promises. 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. We blame all disloyalty to magistrates; because we perceive, that the execution of justice, in the stability of possession, its translation by consent, and the performance of promises, is impossible, without submission to government. As there are here two interests entirely distinct from each other, they must give rise to two moral obligations, equally separate and independant. Tho’ there was no such thing as a promise in the world, government wou’d still be necessary in all large and civiliz’d societies; and if promises had only their own proper obligation, without the separate sanction of government, they wou’d have but little efficacy in such societies. This separates the boundaries of our public and private duties, and shews that the latter are more dependant on the former, than the former on the latter. Education, and the artifice of politicians, concur to bestow a farther morality on loyalty, and to brand all rebellion with a greater degree of guilt and infamy. Nor is it a wonder, that politicians shou’d be very industrious in inculcating such notions, where their interest is so particularly concern’d.
Lest those arguments shou’d not appear entirely conclusive (as I think they are) I shall have recourse to authority, and shall prove, from the universal consent of mankind, that the obligation of submission to government is not deriv’d from any promise of the subjects. Nor need any one wonder, that tho’ I have all along endeavour’d to establish my system on pure reason, and have scarce ever cited the judgment even of philosophers or historians on any article, I shou’d now appeal to popular authority, and oppose the sentiments of the rabble to any philosophical reasoning. For it must be observ’d, that the opinions of men, in this case, carry with them a peculiar authority, and are, in a great measure, infallible. The distinction of moral good and evil is founded on the pleasure or pain, which results from the view of any sentiment, or character; and as that pleasure or pain cannot be unknown to the person who feels it, it follows, 1 that there is just so much vice or virtue in any character, as every one places in it, and that ’tis impossible in this particular we can ever be mistaken. And tho’ our judgments concerning the origin of any vice or virtue, be not so certain as those concerning their degrees; yet, since the question in this case regards not any philosophical origin of an obligation, but a plain matter of fact, ’tis not easily conceiv’d how we can fall into an error. A man, who acknowledges himself to be bound to another, for a certain sum, must certainly know whether it be by his own bond, or that of his father; whether it be of his mere goodwill, or for money lent him; and under what conditions, and for what purposes he has bound himself. In like manner, it being certain, that there is a moral obligation to submit to government, because every one thinks so; it must be as certain, that this obligation arises not from a promise; since no one, whose judgment has not been led astray by too strict adherence to a system of philosophy, has ever yet dreamt of ascribing it to that origin. Neither magistrates nor subjects have form’d this idea of our civil duties.
We find, that magistrates are so far from deriving their authority, and the obligation to obedience in their subjects, from the foundation of a promise or original contract, that they conceal, as far as possible, from their people, especially from the vulgar, that they have their origin from thence. Were this the sanction of government, our rulers wou’d never receive it tacitly, which is the utmost that can be pretended; since what is given tacitly and insensibly can never have such influence on mankind, as what is perform’d expressly and openly. A tacit promise is, where the will is signified by other more diffuse signs than those of speech; but a will there must certainly be in the case, and that can never escape the person’s notice, who exerted it, however silent or tacit. But were you to ask the far greatest part of the nation, whether they had ever consented to the authority of their rulers, or promis’d to obey them, they wou’d be inclin’d to think very strangely of you; and wou’d certainly reply, that the affair depended not on their consent, but that they were born to such an obedience. In consequence of this opinion, we frequently see them imagine such persons to be their natural rulers, as are at that time depriv’d of all power and authority, and whom no man, however foolish, wou’d voluntarily chuse; and this merely because they are in that line, which rul’d before, and in that degree of it, which us’d to succeed; tho’ perhaps in so distant a period, that scarce any man alive cou’d ever have given any promise of obedience. Has a government, then, no authority over such as these, because they never consented to it, and wou’d esteem the very attempt of such a free choice a piece of arrogance and impiety? We find by experience, that it punishes them very freely for what it calls treason and rebellion, which, it seems, according to this system, reduces itself to common injustice. If you say, that by dwelling in its dominions, they in effect consented to the establish’d government; I answer, that this can only be, where they think the affair depends on their choice, which few or none, beside those philosophers, have ever yet imagin’d. It never was pleaded as an excuse for a rebel, that the first act he perform’d, after he came to years of discretion, was to levy war against the sovereign of the state; and that while he was a child he cou’d not bind himself by his own consent, and having become a man, show’d plainly, by the first act he perform’d, that he had no design to impose on himself any obligation to obedience. We find, on the contrary, that civil laws punish this crime at the same age as any other, which is criminal, of itself, without our consent; that is, when the person is come to the full use of reason: Whereas to this crime they ought in justice to allow some intermediate time, in which a tacit consent at least might be suppos’d. To which we may add, that a man living under an absolute government, wou’d owe it no allegiance; since, by its very nature, it depends not on consent. But as that is as natural and common a government as any, it must certainly occasion some obligation; and ’tis plain from experience, that men, who are subjected to it, do always think so. This is a clear proof, that we do not commonly esteem our allegiance to be deriv’d from our consent or promise; and a farther proof is, that when our promise is upon any account expressly engag’d, we always distinguish exactly betwixt the two obligations, and believe the one to add more force to the other, than in a repetition of the same promise. Where no promise is given, a man looks not on his faith as broken in private matters, upon account of rebellion; but keeps those two duties of honour and allegiance perfectly distinct and separate. As the uniting of them was thought by these philosophers a very subtile invention, this is a convincing proof, that ’tis not a true one; since no man can either give a promise, or be restrain’d by its sanction and obligation unknown to himself.
[1 ]First in time, not in dignity or force.
[1 ]This proposition must hold strictly true, with regard to every quality, that is determin’d merely by sentiment. In what sense we can talk either of a right or a wrong taste in morals, eloquence, or beauty, shall be consider’d afterwards. In the mean time, it may be observ’d, that there is such an uniformity in the general sentiments of mankind, as to render such questions of but small importance.
7: 7. From the Treatise: Book III (Morals) Part 3, sect. 1 “Of the Origin of the Natural Virtues and Vices”
David Hume, A Treatise of Human Nature by David Hume, reprinted from the Original Edition in three volumes and edited, with an analytical index, by L.A. Selby-Bigge, M.A. (Oxford: Clarendon Press, 1896). Chapter: SECTION I.: Of the origin of the natural virtues and vices.
Accessed from oll.libertyfund.org/title/342/55243 on 2008-03-06
The text is in the public domain.
SECTION I.
Of the origin of the natural virtues and vices.
We come now to the examination of such virtues and vices as are entirely natural, and have no dependance on the artifice and contrivance of men. The examination of these will conclude this system of morals.
The chief spring or actuating principle of the human mind is pleasure or pain; and when these sensations are remov’d, both from our thought and feeling, we are, in a great measure, incapable of passion or action, of desire or volition. The most immediate effects of pleasure and pain are the propense and averse motions of the mind; which are diversified into volition, into desire and aversion, grief and joy, hope and fear, according as the pleasure or pain changes its situation, and becomes probable or improbable, certain or uncertain, or is consider’d as out of our power for the present moment. But when along with this, the objects, that cause pleasure or pain, acquire a relation to ourselves or others; they still continue to excite desire and aversion, grief and joy: But cause, at the same time, the indirect passions of pride or humility, love or hatred, which in this case have a double relation of impressions and ideas to the pain or pleasure.
We have already observ’d, that moral distinctions depend entirely on certain peculiar sentiments of pain and pleasure, and that whatever mental quality in ourselves or others gives us a satisfaction, by the survey or reflexion, is of course virtuous; as every thing of this nature, that gives uneasiness, is vicious. Now since every quality in ourselves or others, which gives pleasure, always causes pride or love; as every one, that produces uneasiness, excites humility or hatred: It follows, that these two particulars are to be consider’d as equivalent, with regard to our mental qualities, virtue and the power of producing love or pride, vice and the power of producing humility or hatred. In every case, therefore, we must judge of the one by the other; and may pronounce any quality of the mind virtuous, which causes love or pride; and any one vicious, which causes hatred or humility.
If any action be either virtuous or vicious, ’tis only as a sign of some quality or character. It must depend upon durable principles of the mind, which extend over the whole conduct, and enter into the personal character. Actions themselves, not proceeding from any constant principle, have no influence on love or hatred, pride or humility; and consequently are never consider’d in morality.
This reflexion is self-evident, and deserves to be attended to, as being of the utmost importance in the present subject. We are never to consider any single action in our enquiries concerning the origin of morals; but only the quality or character from which the action proceeded. These alone are durable enough to affect our sentiments concerning the person. Actions are, indeed, better indications of a character than words, or even wishes and sentiments; but ’tis only so far as they are such indications, that they are attended with love or hatred, praise or blame.
To discover the true origin of morals, and of that love or hatred, which arises from mental qualities, we must take the matter pretty deep, and compare some principles, which have been already examin’d and explain’d.
We may begin with considering a-new the nature and force of sympathy. The minds of all men are similar in their feelings and operations, nor can any one be actuated by any affection, of which all others are not, in some degree, susceptible. As in strings equally wound up, the motion of one communicates itself to the rest; so all the affections readily pass from one person to another, and beget correspondent movements in every human creature. When I see the effects of passion in the voice and gesture of any person, my mind immediately passes from these effects to their causes, and forms such a lively idea of the passion, as is presently converted into the passion itself. In like manner, when I perceive the causes of any emotion, my mind is convey’d to the effects, and is actuated with a like emotion. Were I present at any of the more terrible operations of surgery, ’tis certain, that even before it begun, the preparation of the instruments, the laying of the bandages in order, the heating of the irons, with all the signs of anxiety and concern in the patients and assistants, wou’d have a great effect upon my mind, and excite the strongest sentiments of pity and terror. No passion of another discovers itself immediately to the mind. We are only sensible of its causes or effects. From these we infer the passion: And consequently these give rise to our sympathy.
Our sense of beauty depends very much on this principle; and where any object has a tendency to produce pleasure in its possessor, it is always regarded as beautiful; as every object, that has a tendency to produce pain, is disagreeable and deform’d. Thus the conveniency of a house, the fertility of a field, the strength of a horse, the capacity, security, and swift-sailing of a vessel, form the principal beauty of these several objects. Here the object, which is denominated beautiful, pleases only by its tendency to produce a certain effect. That effect is the pleasure or advantage of some other person. Now the pleasure of a stranger, for whom we have no friendship, pleases us only by sympathy. To this principle, therefore, is owing the beauty, which we find in every thing that is useful. How considerable a part this is of beauty will easily appear upon reflexion. Wherever an object has a tendency to produce pleasure in the possessor, or in other words, is the proper cause of pleasure, it is sure to please the spectator, by a delicate sympathy with the possessor. Most of the works of art are esteem’d beautiful, in proportion to their fitness for the use of man, and even many of the productions of nature derive their beauty from that source. Handsome and beautiful, on most occasions, is not an absolute but a relative quality, and pleases us by nothing but its tendency to produce an end that is agreeable1 .
The same principle produces, in many instances, our sentiments of morals, as well as those of beauty. No virtue is more esteem’d than justice, and no vice more detested than injustice; nor are there any qualities, which go farther to the fixing the character, either as amiable or odious. Now justice is a moral virtue, merely because it has that tendency to the good of mankind; and, indeed, is nothing but an artificial invention to that purpose. The same may be said of allegiance, of the laws of nations, of modesty, and of good-manners. All these are mere human contrivances for the interest of society. And since there is a very strong sentiment of morals, which in all nations, and all ages, has attended them, we must allow, that the reflecting on the tendency of characters and mental qualities, is sufficient to give us the sentiments of approbation and blame. Now as the means to an end can only be agreeable, where the end is agreeable; and as the good of society, where our own interest is not concern’d, or that of our friends, pleases only by sympathy: It follows, that sympathy is the source of the esteem, which we pay to all the artificial virtues.
Thus it appears, that sympathy is a very powerful principle in human nature, that it has a great influence on our taste of beauty, and that it produces our sentiment of morals in all the artificial virtues. From thence we may presume, that it also gives rise to many of the other virtues; and that qualities acquire our approbation, because of their tendency to the good of mankind. This presumption must become a certainty, when we find that most of those qualities, which we naturally approve of, have actually that tendency, and render a man a proper member of society: While the qualities, which we naturally disapprove of, have a contrary tendency, and render any intercourse with the person dangerous or disagreeable. For having found, that such tendencies have force enough to produce the strongest sentiment of morals, we can never reasonably, in these cases, look for any other cause of approbation or blame; it being an inviolable maxim in philosophy, that where any particular cause is sufficient for an effect, we ought to rest satisfied with it, and ought not to multiply causes without necessity. We have happily attain’d experiments in the artificial virtues, where the tendency of qualities to the good of society, is the sole cause of our approbation, without any suspicion of the concurrence of another principle. From thence we learn the force of that principle. And where that principle may take place, and the quality approv’d of is really beneficial to society, a true philosopher will never require any other principle to account for the strongest approbation and esteem.
That many of the natural virtues have this tendency to the good of society, no one can doubt of. Meekness, beneficence, charity, generosity, clemency, moderation, equity, bear the greatest figure among the moral qualities, and are commonly denominated the social virtues, to mark their tendency to the good of society. This goes so far, that some philosophers have represented all moral distinctions as the effect of artifice and education, when skilful politicians endeavour’d to restrain the turbulent passions of men, and make them operate to the public good, by the notions of honour and shame. This system, however, is not consistent with experience. For, first, there are other virtues and vices beside those which have this tendency to the public advantage and loss. Secondly, had not men a natural sentiment of approbation and blame, it cou’d never be excited by politicians; nor wou’d the words laudable and praise-worthy, blameable and odious, be any more intelligible, than if they were a language perfectly unknown to us, as we have already observ’d. But tho’ this system be erroneous, it may teach us, that moral distinctions arise, in a great measure, from the tendency of qualities and characters to the interests of society, and that ’tis our concern for that interest, which makes us approve or disapprove of them. Now we have no such extensive concern for society but from sympathy; and consequently ’tis that principle, which takes us so far out of ourselves, as to give us the same pleasure or uneasiness in the characters of others, as if they had a tendency to our own advantage or loss.
The only difference betwixt the natural virtues and justice lies in this, that the good, which results from the former, arises from every single act, and is the object of some natural passion: Whereas a single act of justice, consider’d in itself, may often be contrary to the public good; and ’tis only the concurrence of mankind, in a general scheme or system of action, which is advantageous. When I relieve persons in distress, my natural humanity is my motive; and so far as my succour extends, so far have I promoted the happiness of my fellow-creatures. But if we examine all the questions, that come before any tribunal of justice, we shall find, that, considering each case apart, it wou’d as often be an instance of humanity to decide contrary to the laws of justice as conformable to them. Judges take from a poor man to give to a rich; they bestow on the dissolute the labour of the industrious; and put into the hands of the vicious the means of harming both themselves and others. The whole scheme, however, of law and justice is advantageous to the society; and ’twas with a view to this advantage, that men, by their voluntary conventions, establish’d it. After it is once establish’d by these conventions, it is naturally attended with a strong sentiment of morals; which can proceed from nothing but our sympathy with the interests of society. We need no other explication of that esteem, which attends such of the natural virtues, as have a tendency to the public good.
I must farther add, that there are several circumstances, which render this hypothesis much more probable with regard to the natural than the artificial virtues. ’Tis certain, that the imagination is more affected by what is particular, than by what is general; and that the sentiments are always mov’d with difficulty, where their objects are, in any degree, loose and undetermin’d: Now every particular act of justice is not beneficial to society, but the whole scheme or system: And it may not, perhaps, be any individual person, for whom we are concern’d, who receives benefit from justice, but the whole society alike. On the contrary, every particular act of generosity, or relief of the industrious and indigent, is beneficial; and is beneficial to a particular person, who is not undeserving of it. ’Tis more natural, therefore, to think, that the tendencies of the latter virtue will affect our sentiments, and command our approbation, than those of the former; and therefore, since we find, that the approbation of the former arises from their tendencies, we may ascribe, with better reason, the same cause to the approbation of the latter. In any number of similar effects, if a cause can be discover’d for one, we ought to extend that cause to all the other effects, which can be accounted for by it: But much more, if these other effects be attended with peculiar circumstances, which facilitate the operation of that cause.
Before I proceed farther, I must observe two remarkable circumstances in this affair, which may seem objections to the present system. The first may be thus explain’d. When any quality, or character, has a tendency to the good of mankind, we are pleas’d with it, and approve of it; because it presents the lively idea of pleasure; which idea affects us by sympathy, and is itself a kind of pleasure. But as this sympathy is very variable, it may be thought, that our sentiments of morals must admit of all the same variations. We sympathize more with persons contiguous to us, than with persons remote from us: With our acquaintance, than with strangers: With our countrymen, than with foreigners. But notwithstanding this variation of our sympathy, we give the same approbation to the same moral qualities in China as in England. They appear equally virtuous, and recommend themselves equally to the esteem of a judicious spectator. The sympathy varies without a variation in our esteem. Our esteem, therefore, proceeds not from sympathy.
To this I answer: The approbation of moral qualities most certainly is not deriv’d from reason, or any comparison of ideas; but proceeds entirely from a moral taste, and from certain sentiments of pleasure or disgust, which arise upon the contemplation and view of particular qualities or characters. Now ’tis evident, that those sentiments, whence-ever they are deriv’d, must vary according to the distance or contiguity of the objects; nor can I feel the same lively pleasure from the virtues of a person, who liv’d in Greece two thousand years ago, that I feel from the virtues of a familiar friend and acquaintance. Yet I do not say, that I esteem the one more than the other: And therefore, if the variation of the sentiment, without a variation of the esteem, be an objection, it must have equal force against every other system, as against that of sympathy. But to consider the matter a-right, it has no force at all; and ’tis the easiest matter in the world to account for it. Our situation, with regard both to persons and things, is in continual fluctuation; and a man, that lies at a distance from us, may, in a little time, become a familiar acquaintance. Besides, every particular man has a peculiar position with regard to others; and ’tis impossible we cou’d ever converse together on any reasonable terms, were each of us to consider characters and persons, only as they appear from his peculiar point of view. In order, therefore, to prevent those continual contradictions, and arrive at a more stable judgment of things, we fix on some steady and general points of view; and always, in our thoughts, place ourselves in them, whatever may be our present situation. In like manner, external beauty is determin’d merely by pleasure; and ’tis evident, a beautiful countenance cannot give so much pleasure, when seen at the distance of twenty paces, as when it is brought nearer us. We say not, however, that it appears to us less beautiful: Because we know what effect it will have in such a position, and by that reflexion we correct its momentary appearance.
In general, all sentiments of blame or praise are variable, according to our situation of nearness or remoteness, with regard to the person blam’d or prais’d, and according to the present disposition of our mind. But these variations we regard not in our general decisions, but still apply the terms expressive of our liking or dislike, in the same manner, as if we remain’d in one point of view. Experience soon teaches us this method of correcting our sentiments, or at least, of correcting our language, where the sentiments are more stubborn and inalterable. Our servant, if diligent and faithful, may excite stronger sentiments of love and kindness than Marcus Brutus, as represented in history; but we say not upon that account, that the former character is more laudable than the latter. We know, that were we to approach equally near to that renown’d patriot, he wou’d command a much higher degree of affection and admiration. Such corrections are common with regard to all the senses; and indeed ’twere impossible we cou’d ever make use of language, or communicate our sentiments to one another, did we not correct the momentary appearances of things, and overlook our present situation.
’Tis therefore from the influence of characters and qualities, upon those who have an intercourse with any person, that we blame or praise him. We consider not whether the persons, affected by the qualities, be our acquaintance or strangers, countrymen or foreigners. Nay, we over-look our own interest in those general judgments; and blame not a man for opposing us in any of our pretensions, when his own interest is particularly concern’d. We make allowance for a certain degree of selfishness in men; because we know it to be inseparable from human nature, and inherent in our frame and constitution. By this reflexion we correct those sentiments of blame, which so naturally arise upon any opposition.
But however the general principle of our blame or praise may be corrected by those other principles, ’tis certain, they are not altogether efficacious, nor do our passions often correspond entirely to the present theory. ’Tis seldom men heartily love what lies at a distance from them, and what no way redounds to their particular benefit; as ’tis no less rare to meet with persons, who can pardon another any opposition he makes to their interest, however justifiable that opposition may be by the general rules of morality. Here we are contented with saying, that reason requires such an impartial conduct, but that ’tis seldom we can bring ourselves to it, and that our passions do not readily follow the determination of our judgment. This language will be easily understood, if we consider what we formerly said concerning that reason, which is able to oppose our passion; and which we have found to be nothing but a general calm determination of the passions, founded on some distant view or reflexion. When we form our judgments of persons, merely from the tendency of their characters to our own benefit, or to that of our friends, we find so many contradictions to our sentiments in society and conversation, and such an uncertainty from the incessant changes of our situation, that we seek some other standard of merit and demerit, which may not admit of so great variation. Being thus loosen’d from our first station, we cannot afterwards fix ourselves so commodiously by any means as by a sympathy with those, who have any commerce with the person we consider. This is far from being as lively as when our own interest is concern’d, or that of our particular friends; nor has it such an influence on our love and hatred: But being equally conformable to our calm and general principles, ’tis said to have an equal authority over our reason, and to command our judgment and opinion. We blame equally a bad action, which we read of in history, with one perform’d in our neighbourhood t’other day: The meaning of which is, that we know from reflexion, that the former action wou’d excite as strong sentiments of disapprobation as the latter, were it plac’d in the same position.
I now proceed to the second remarkable circumstance, which I propos’d to take notice of. Where a person is possess’d of a character, that in its natural tendency is beneficial to society, we esteem him virtuous, and are delighted with the view of his character, even tho’ particular accidents prevent its operation, and incapacitate him from being serviceable to his friends and country. Virtue in rags is still virtue; and the love, which it procures, attends a man into a dungeon or desart, where the virtue can no longer be exerted in action, and is lost to all the world. Now this may be esteem’d an objection to the present system. Sympathy interests us in the good of mankind; and if sympathy were the source of our esteem for virtue, that sentiment of approbation cou’d only take place, where the virtue actually attain’d its end, and was beneficial to mankind. Where it fails of its end, ’tis only an imperfect means; and therefore can never acquire any merit from that end. The goodness of an end can bestow a merit on such means alone as are compleat, and actually produce the end.
To this we may reply, that where any object, in all its parts, is fitted to attain any agreeable end, it naturally gives us pleasure, and is esteem’d beautiful, even tho’ some external circumstances be wanting to render it altogether effectual. ’Tis sufficient if every thing be compleat in the object itself. A house, that is contriv’d with great judgment for all the commodities of life, pleases us upon that account; tho’ perhaps we are sensible, that no-one will ever dwell in it. A fertile soil, and a happy climate, delight us by a reflexion on the happiness which they wou’d afford the inhabitants, tho’ at present the country be desart and uninhabited. A man, whose limbs and shape promise strength and activity, is esteem’d handsome, tho’ condemn’d to perpetual imprisonment. The imagination has a set of passions belonging to it, upon which our sentiments of beauty much depend. These passions are mov’d by degrees of liveliness and strength, which are inferior to belief, and independent of the real existence of their objects. Where a character is, in every respect, fitted to be beneficial to society, the imagination passes easily from the cause to the effect, without considering that there are still some circumstances wanting to render the cause a compleat one. General rules create a species of probability, which sometimes influences the judgment, and always the imagination.
’Tis true, when the cause is compleat, and a good disposition is attended with good fortune, which renders it really beneficial to society, it gives a stronger pleasure to the spectator, and is attended with a more lively sympathy. We are more affected by it; and yet we do not say that it is more virtuous, or that we esteem it more. We know, that an alteration of fortune may render the benevolent disposition entirely impotent; and therefore we separate, as much as possible, the fortune from the disposition. The case is the same, as when we correct the different sentiments of virtue, which proceed from its different distances from ourselves. The passions do not always follow our corrections; but these corrections serve sufficiently to regulate our abstract notions, and are alone regarded, when we pronounce in general concerning the degrees of vice and virtue.
’Tis observ’d by critics, that all words or sentences, which are difficult to the pronunciation, are disagreeable to the ear. There is no difference, whether a man hear them pronounc’d, or read them silently to himself. When I run over a book with my eye, I imagine I hear it all; and also, by the force of imagination, enter into the uneasiness, which the delivery of it wou’d give the speaker. The uneasiness is not real; but as such a composition of words has a natural tendency to produce it, this is sufficient to affect the mind with a painful sentiment, and render the discourse harsh and disagreeable. ’Tis a similar case, where any real quality is, by accidental circumstances, render’d impotent, and is depriv’d of its natural influence on society.
Upon these principles we may easily remove any contradiction, which may appear to be betwixt the extensive sympathy, on which our sentiments of virtue depend, and that limited generosity which I have frequently observ’d to be natural to men, and which justice and property suppose, according to the precedent reasoning. My sympathy with another may give me the sentiment of pain and disapprobation, when any object is presented, that has a tendency to give him uneasiness; tho’ I may not be willing to sacrifice any thing of my own interest, or cross any of my passions, for his satisfaction. A house may displease me by being ill-contriv’d for the convenience of the owner; and yet I may refuse to give a shilling towards the rebuilding of it. Sentiments must touch the heart, to make them controul our passions: But they need not extend beyond the imagination, to make them influence our taste. When a building seems clumsy and tottering to the eye, it is ugly and disagreeable; tho’ we be fully assur’d of the solidity of the workmanship. ’Tis a kind of fear, which causes this sentiment of disapprobation; but the passion is not the same with that which we feel, when oblig’d to stand under a wall, that we really think tottering and insecure. The seeming tendencies of objects affect the mind: And the emotions they excite are of a like species with those, which proceed from the real consequences of objects, but their feeling is different. Nay, these emotions are so different in their feeling, that they may often be contrary, without destroying each other; as when the fortifications of a city belonging to an enemy are esteem’d beautiful upon account of their strength, tho’ we cou’d wish that they were entirely destroy’d. The imagination adheres to the general views of things, and distinguishes the feelings they produce, from those which arise from our particular and momentary situation.
If we examine the panegyrics that are commonly made of great men, we shall find, that most of the qualities, which are attributed to them, may be divided into two kinds, viz. such as make them perform their part in society; and such as render them serviceable to themselves, and enable them to promote their own interest. Their prudence, temperance, frugality, industry, assiduity, enterprize, dexterity, are celebrated, as well as their generosity and humanity. If we ever give an indulgence to any quality, that disables a man from making a figure in life, ’tis to that of indolence, which is not suppos’d to deprive one of his parts and capacity, but only suspends their exercise; and that without any inconvenience to the person himself, since ’tis, in some measure, from his own choice. Yet indolence is always allow’d to be a fault, and a very great one, if extreme: Nor do a man’s friends ever acknowledge him to be subject to it, but in order to save his character in more material articles. He cou’d make a figure, say they, if he pleas’d to give application: His understanding is sound, his conception quick, and his memory tenacious; but he hates business, and is indifferent about his fortune. And this a man sometimes may make even a subject of vanity; tho’ with the air of confessing a fault: Because he may think, that this incapacity for business implies much more noble qualities; such as a philosophical spirit, a fine taste, a delicate wit, or a relish for pleasure and society. But take any other case: Suppose a quality, that without being an indication of any other good qualities, incapacitates a man always for business, and is destructive to his interest; such as a blundering understanding, and a wrong judgment of every thing in life; inconstancy and irresolution; or a want of address in the management of men and business: These are all allow’d to be imperfections in a character; and many men wou’d rather acknowledge the greatest crimes, than have it suspected, that they are, in any degree, subject to them.
’Tis very happy, in our philosophical researches, when we find the same phænomenon diversified by a variety of circumstances; and by discovering what is common among them, can the better assure ourselves of the truth of any hypothesis we may make use of to explain it. Were nothing esteem’d virtue but what were beneficial to society, I am persuaded, that the foregoing explication of the moral sense ought still to be receiv’d, and that upon sufficient evidence: But this evidence must grow upon us, when we find other kinds of virtue, which will not admit of any explication except from that hypothesis. Here is a man, who is not remarkably defective in his social qualities; but what principally recommends him is his dexterity in business, by which he has extricated himself from the greatest difficulties, and conducted the most delicate affairs with a singular address and prudence. I find an esteem for him immediately to arise in me: His company is a satisfaction to me; and before I have any farther acquaintance with him, I wou’d rather do him a service than another, whose character is in every other respect equal, but is deficient in that particular. In this case, the qualities that please me are all consider’d as useful to the person, and as having a tendency to promote his interest and satisfaction. They are only regarded as means to an end, and please me in proportion to their fitness for that end. The end, therefore, must be agreeable to me. But what makes the end agreeable? The person is a stranger: I am no way interested in him, nor lie under any obligation to him: His happiness concerns not me, farther than the happiness of every human, and indeed of every sensible creature: That is, it affects me only by sympathy. From that principle, whenever I discover his happiness and good, whether in its causes or effects, I enter so deeply into it, that it gives me a sensible emotion. The appearance of qualities, that have a tendency to promote it, have an agreeable effect upon my imagination, and command my love and esteem.
This theory may serve to explain, why the same qualities, in all cases, produce both pride and love, humility and hatred; and the same man is always virtuous or vicious, accomplish’d or despicable to others, who is so to himself. A person, in whom we discover any passion or habit, which originally is only incommodious to himself, becomes always disagreeable to us, merely on its account; as on the other hand, one whose character is only dangerous and disagreeable to others, can never be satisfied with himself, as long as he is sensible of that disadvantage. Nor is this observable only with regard to characters and manners, but may be remark’d even in the most minute circumstances. A violent cough in another gives us uneasiness; tho’ in itself it does not in the least affect us. A man will be mortified, if you tell him he has a stinking breath; tho’ ’tis evidently no annoyance to himself. Our fancy easily changes its situation; and either surveying ourselves as we appear to others, or considering others as they feel themselves, we enter, by that means, into sentiments, which no way belong to us, and in which nothing but sympathy is able to interest us. And this sympathy we sometimes carry so far, as even to be displeas’d with a quality commodious to us, merely because it displeases others, and makes us disagreeable in their eyes; tho’ perhaps we never can have any interest in rendering ourselves agreeable to them.
There have been many systems of morality advanc’d by philosophers in all ages; but if they are strictly examin’d, they may be reduc’d to two, which alone merit our attention. Moral good and evil are certainly distinguish’d by our sentiments, not by reason: But these sentiments may arise either from the mere species or appearance of characters and passions, or from reflexions on their tendency to the happiness of mankind, and of particular persons. My opinion is, that both these causes are intermix’d in our judgments of morals; after the same manner as they are in our decisions concerning most kinds of external beauty: Tho’ I am also of opinion, that reflexions on the tendencies of actions have by far the greatest influence, and determine all the great lines of our duty. There are, however, instances, in cases of less moment, wherein this immediate taste or sentiment produces our approbation. Wit, and a certain easy and disengag’d behaviour, are qualities immediately agreeable to others, and command their love and esteem. Some of these qualities produce satisfaction in others by particular original principles of human nature, which cannot be accounted for: Others may be resolv’d into principles, which are more general. This will best appear upon a particular enquiry.
As some qualities acquire their merit from their being immediately agreeable to others, without any tendency to public interest; so some are denominated virtuous from their being immediately agreeable to the person himself, who possesses them. Each of the passions and operations of the mind has a particular feeling, which must be either agreeable or disagreeable. The first is virtuous, the second vicious. This particular feeling constitutes the very nature of the passion; and therefore needs not be accounted for.
But however directly the distinction of vice and virtue may seem to flow from the immediate pleasure or uneasiness, which particular qualities cause to ourselves or others; ’tis easy to observe, that it has also a considerable dependence on the principle of sympathy so often insisted on. We approve of a person, who is possess’d of qualities immediately agreeable to those, with whom he has any commerce; tho’ perhaps we ourselves never reap’d any pleasure from them. We also approve of one, who is possess’d of qualities, that are immediately agreeable to himself; tho’ they be of no service to any mortal. To account for this we must have recourse to the foregoing principles.
Thus, to take a general review of the present hypothesis: Every quality of the mind is denominated virtuous, which gives pleasure by the mere survey; as every quality, which produces pain, is call’d vicious. This pleasure and this pain may arise from four different sources. For we reap a pleasure from the view of a character, which is naturally fitted to be useful to others, or to the person himself, or which is agreeable to others, or to the person himself. One may, perhaps, be surpriz’d, that amidst all these interests and pleasures, we shou’d forget our own, which touch us so nearly on every other occasion. But we shall easily satisfy ourselves on this head, when we consider, that every particular person’s pleasure and interest being different, ’tis impossible men cou’d ever agree in their sentiments and judgments, unless they chose some common point of view, from which they might survey their object, and which might cause it to appear the same to all of them. Now, in judging of characters, the only interest or pleasure, which appears the same to every spectator, is that of the person himself, whose character is examin’d; or that of persons, who have a connexion with him. And tho’ such interests and pleasures touch us more faintly than our own, yet being more constant and universal, they counter-ballance the latter even in practice, and are alone admitted in speculation as the standard of virtue and morality. They alone produce that particular feeling or sentiment, on which moral distinctions depend.
As to the good or ill desert of virtue or vice, ’tis an evident consequence of the sentiments of pleasure or uneasiness. These sentiments produce love or hatred; and love or hatred, by the original constitution of human passion, is attended with benevolence or anger; that is, with a desire of making happy the person we love, and miserable the person we hate. We have treated of this more fully on another occasion.
[1 ]Decentior equus cujus astricta sunt ilia; sed idem velocior. Pulcher aspectu sit athleta, cujus lacertos exercitatio expressit; idem certamini paratior. Nunquam vero species ab utilitate dividitur. Sed hoc quidem discernere, modici judicii est. Quinct. lib. 8.
8: 8. From the Essays: “Of the Standard of Taste”
David Hume, Essays Moral, Political, Literary, edited and with a Foreword, Notes, and Glossary by Eugene F. Miller, with an appendix of variant readings from the 1889 edition by T.H. Green and T.H. Grose, revised edition (Indianapolis: Liberty Fund 1987). Chapter: ESSAY XXIII: OF THE STANDARD OF TASTE
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ESSAY XXIII
OF THE STANDARD OF TASTE
The great variety of Taste, as well as of opinion, which prevails in the world, is too obvious not to have fallen under every one’s observation.1 Men of the most confined knowledge are able to remark° a difference of taste in the narrow circle of their acquaintance, even where the persons have been educated under the same government, and have early imbibed the same prejudices. But those, who can enlarge their view to contemplate distant nations and remote ages, are still more surprized at the great inconsistence and contrariety. We are apt to call barbarous whatever departs widely from our own taste and apprehension: But soon find the epithet of reproach retorted on us. And the highest arrogance and self-conceit is at last startled, on observing an equal assurance on all sides, and scruples,° amidst such a contest of sentiment, to pronounce positively in its own favour.
As this variety of taste is obvious to the most careless enquirer; so will it be found, on examination, to be still greater in reality than in appearance. The sentiments of men often differ with regard to beauty and deformity of all kinds, even while their general discourse is the same. There are certain terms in every language, which import blame, and others praise; and all men, who use the same tongue, must agree in their application of them. Every voice is united in applauding elegance, propriety, simplicity, spirit in writing; and in blaming fustian,° affectation, coldness, and a false brilliancy: But when critics come to particulars, this seeming unanimity vanishes; and it is found, that they had affixed a very different meaning to their expressions. In all matters of opinion and science, the case is opposite: The difference among men is there oftener found to lie in generals than in particulars; and to be less in reality than in appearance. An explanation of the terms commonly ends the controversy; and the disputants are surprized to find, that they had been quarrelling, while at bottom they agreed in their judgment.
Those who found morality on sentiment, more than on reason, are inclined to comprehend ethics under the former observation, and to maintain, that, in all questions, which regard conduct and manners, the difference among men is really greater than at first sight it appears. It is indeed obvious, that writers of all nations and all ages concur in applauding justice, humanity, magnanimity, prudence, veracity; and in blaming the opposite qualities. Even poets and other authors, whose compositions are chiefly calculated to please the imagination, are yet found from Homer down to Fenelon,2 to inculcate the same moral precepts, and to bestow their applause and blame on the same virtues and vices. This great unanimity is usually ascribed to the influence of plain reason; which, in all these cases, maintains similar sentiments in all men, and prevents those controversies, to which the abstract sciences are so much exposed. So far as the unanimity is real, this account may be admitted as satisfactory: But we must also allow that some part of the seeming harmony in morals may be accounted for from the very nature of language. The word virtue, with its equivalent in every tongue, implies praise; as that of vice does blame: And no one, without the most obvious and grossest impropriety, could affix reproach to a term, which in general acceptation is understood in a good sense; or bestow applause, where the idiom requires disapprobation. Homer’s general precepts, where he delivers any such, will never be controverted; but it is obvious, that, when he draws particular pictures of manners, and represents heroism in Achilles and prudence in Ulysses, he intermixes a much greater degree of ferocity in the former, and of cunning and fraud in the latter, than Fenelon would admit of. The sage Ulysses in the Greek poet seems to delight in lies and fictions, and often employs them without any necessity or even advantage: But his more scrupulous son, in the French epic writer, exposes himself to the most imminent perils, rather than depart from the most exact line of truth and veracity.
The admirers and followers of the Alcoran3 insist on the excellent moral precepts interspersed throughout that wild and absurd performance. But it is to be supposed, that the Arabic words, which correspond to the English, equity, justice, temperance, meekness, charity, were such as, from the constant use of that tongue, must always be taken in a good sense; and it would have argued the greatest ignorance, not of morals, but of language, to have mentioned them with any epithets, besides those of applause and approbation. But would we know, whether the pretended prophet had really attained a just sentiment of morals? Let us attend to his narration; and we shall soon find, that he bestows praise on such instances of treachery, inhumanity, cruelty, revenge, bigotry, as are utterly incompatible with civilized society. No steady rule of right seems there to be attended to; and every action is blamed or praised, so far only as it is beneficial or hurtful to the true believers.
The merit of delivering true general precepts in ethics is indeed very small. Whoever recommends any moral virtues, really does no more than is implied in the terms themselves. That people, who invented the word charity, and used it in a good sense, inculcated more clearly and much more efficaciously, the precept, be charitable, than any pretended legislator or prophet, who should insert such a maxim in his writings. Of all expressions, those, which, together with their other meaning, imply a degree either of blame or approbation, are the least liable to be perverted or mistaken.
It is natural for us to seek a Standard of Taste; a rule, by which the various sentiments of men may be reconciled; at least, a decision, afforded, confirming one sentiment, and condemning another.
There is a species of philosophy, which cuts off all hopes of success in such an attempt, and represents the impossibility of ever attaining any standard of taste. The difference, it is said, is very wide between judgment and sentiment. All sentiment is right; because sentiment has a reference to nothing beyond itself, and is always real, wherever a man is conscious of it. But all determinations of the understanding are not right; because they have a reference to something beyond themselves, to wit, real matter of fact; and are not always conformable to that standard. Among a thousand different opinions which different men may entertain of the same subject, there is one, and but one, that is just and true; and the only difficulty is to fix and ascertain it. On the contrary, a thousand different sentiments, excited by the same object, are all right: Because no sentiment represents what is really in the object. It only marks a certain conformity or relation between the object and the organs or faculties of the mind; and if that conformity did not really exist, the sentiment could never possibly have being. Beauty is no quality in things themselves: It exists merely in the mind which contemplates them; and each mind perceives a different beauty. One person may even perceive deformity, where another is sensible of beauty; and every individual ought to acquiesce in his own sentiment, without pretending to regulate those of others. To seek the real beauty, or real deformity, is as fruitless an enquiry, as to pretend to ascertain the real sweet or real bitter. According to the disposition of the organs, the same object may be both sweet and bitter; and the proverb has justly determined it to be fruitless to dispute concerning tastes. It is very natural, and even quite necessary, to extend this axiom to mental, as well as bodily taste; and thus common sense, which is so often at variance with philosophy, especially with the sceptical kind, is found, in one instance at least, to agree in pronouncing the same decision.
But though this axiom, by passing into a proverb, seems to have attained the sanction of common sense; there is certainly a species of common sense which opposes it, at least serves to modify and restrain it. Whoever would assert an equality of genius and elegance between Ogilby4 and Milton, or Bunyan5 and Addison, would be thought to defend no less an extravagance, than if he had maintained a mole-hill to be as high as Teneriffe,6 or a pond as extensive as the ocean. Though there may be found persons, who give the preference to the former authors; no one pays attention to such a taste; and we pronounce without scruple the sentiment of these pretended critics to be absurd and ridiculous. The principle of the natural equality of tastes is then totally forgot, and while we admit it on some occasions, where the objects seem near an equality, it appears an extravagant paradox, or rather a palpable absurdity, where objects so disproportioned are compared together.
It is evident that none of the rules of composition are fixed by reasonings a priori, or can be esteemed abstract conclusions of the understanding, from comparing those habitudes° and relations of ideas, which are eternal and immutable. Their foundation is the same with that of all the practical sciences, experience; nor are they any thing but general observations, concerning what has been universally found to please in all countries and in all ages. Many of the beauties of poetry and even of eloquence are founded on falsehood and fiction, on hyperboles, metaphors, and an abuse or perversion of terms from their natural meaning. To check the sallies of the imagination, and to reduce every expression to geometrical truth and exactness, would be the most contrary to the laws of criticism; because it would produce a work, which, by universal experience, has been found the most insipid and disagreeable. But though poetry can never submit to exact truth, it must be confined by rules of art, discovered to the author either by genius or observation. If some negligent or irregular writers have pleased, they have not pleased by their transgressions of rule or order, but in spite of these transgressions: They have possessed other beauties, which were conformable to just criticism; and the force of these beauties has been able to overpower censure, and give the mind a satisfaction superior to the disgust arising from the blemishes. Ariosto pleases; but not by his monstrous and improbable fictions, by his bizarre mixture of the serious and comic styles, by the want of coherence in his stories, or by the continual interruptions of his narration. He charms by the force and clearness of his expression, by the readiness and variety of his inventions, and by his natural pictures of the passions, especially those of the gay and amorous kind: And however his faults may diminish our satisfaction, they are not able entirely to destroy it. Did our pleasure really arise from those parts of his poem, which we denominate faults, this would be no objection to criticism in general: It would only be an objection to those particular rules of criticism, which would establish such circumstances to be faults, and would represent them as universally blameable. If they are found to please, they cannot be faults; let the pleasure, which they produce, be ever so unexpected and unaccountable.
But though all the general rules of art are founded only on experience and on the observation of the common sentiments of human nature, we must not imagine, that, on every occasion, the feelings of men will be conformable to these rules. Those finer emotions of the mind are of a very tender and delicate nature, and require the concurrence of many favourable circumstances to make them play with facility and exactness, according to their general and established principles. The least exterior hindrance to such small springs, or the least internal disorder, disturbs their motion, and confounds the operation of the whole machine. When we would make an experiment of this nature, and would try the force of any beauty or deformity, we must choose with care a proper time and place, and bring the fancy to a suitable situation and disposition. A perfect serenity of mind, a recollection of thought, a due attention to the object; if any of these circumstances be wanting, our experiment will be fallacious, and we shall be unable to judge of the catholic and universal beauty. The relation, which nature has placed between the form and the sentiment, will at least be more obscure; and it will require greater accuracy to trace and discern it. We shall be able to ascertain its influence not so much from the operation of each particular beauty, as from the durable admiration, which attends those works, that have survived all the caprices of mode and fashion, all the mistakes of ignorance and envy.
The same Homer, who pleased at Athens and Rome two thousand years ago, is still admired at Paris and at London. All the changes of climate, government, religion, and language, have not been able to obscure his glory. Authority or prejudice may give a temporary vogue to a bad poet or orator; but his reputation will never be durable or general. When his compositions are examined by posterity or by foreigners, the enchantment is dissipated, and his faults appear in their true colours. On the contrary, a real genius, the longer his works endure, and the more wide they are spread, the more sincere is the admiration which he meets with. Envy and jealousy have too much place in a narrow circle; and even familiar acquaintance with his person may diminish the applause due to his performances: But when these obstructions are removed, the beauties, which are naturally fitted to excite agreeable sentiments, immediately display their energy; and while the world endures, they maintain their authority over the minds of men.
It appears then, that, amidst all the variety and caprice of taste, there are certain general principles of approbation or blame, whose influence a careful eye may trace in all operations of the mind. Some particular forms or qualities, from the original structure of the internal fabric, are calculated to please, and others to displease; and if they fail of their effect in any particular instance, it is from some apparent defect or imperfection in the organ. A man in a fever would not insist on his palate as able to decide concerning flavours; nor would one, affected with the jaundice, pretend to give a verdict with regard to colours. In each creature, there is a sound and a defective state; and the former alone can be supposed to afford us a true standard of taste and sentiment. If, in the sound state of the organ, there be an entire or a considerable uniformity of sentiment among men, we may thence derive an idea of the perfect beauty; in like manner as the appearance of objects in day-light, to the eye of a man in health, is denominated their true and real colour, even while colour is allowed to be merely a phantasm of the senses.
Many and frequent are the defects in the internal organs, which prevent or weaken the influence of those general principles, on which depends our sentiment of beauty or deformity. Though some objects, by the structure of the mind, be naturally calculated to give pleasure, it is not to be expected, that in every individual the pleasure will be equally felt. Particular incidents and situations occur, which either throw a false light on the objects, or hinder the true from conveying to the imagination the proper sentiment and perception.
One obvious cause, why many feel not the proper sentiment of beauty, is the want of that delicacy of imagination, which is requisite to convey a sensibility of those finer emotions. This delicacy every one pretends to: Every one talks of it; and would reduce every kind of taste or sentiment to its standard. But as our intention in this essay is to mingle some light of the understanding with the feelings of sentiment, it will be proper to give a more accurate definition of delicacy, than has hitherto been attempted. And not to draw our philosophy from too profound a source, we shall have recourse to a noted story in Don Quixote.7
It is with good reason, says Sancho to the squire with the great nose, that I pretend to have a judgment in wine: This is a quality hereditary in our family. Two of my kinsmen were once called to give their opinion of a hogshead, which was supposed to be excellent, being old and of a good vintage. One of them tastes it; considers it; and after mature reflection pronounces the wine to be good, were it not for a small taste of leather, which he perceived in it. The other, after using the same precautions, gives also his verdict in favour of the wine; but with the reserve of a taste of iron, which he could easily distinguish. You cannot imagine how much they were both ridiculed for their judgment. But who laughed in the end? On emptying the hogshead, there was found at the bottom, an old key with a leathern thong tied to it.
The great resemblance between mental and bodily taste will easily teach us to apply this story. Though it be certain, that beauty and deformity, more than sweet and bitter, are not qualities in objects, but belong entirely to the sentiment, internal or external; it must be allowed, that there are certain qualities in objects, which are fitted by nature to produce those particular feelings. Now as these qualities may be found in a small degree, or may be mixed and confounded with each other, it often happens, that the taste is not affected with such minute qualities, or is not able to distinguish all the particular flavours, amidst the disorder, in which they are presented. Where the organs are so fine, as to allow nothing to escape them; and at the same time so exact as to perceive every ingredient in the composition: This we call delicacy of taste, whether we employ these terms in the literal or metaphorical sense. Here then the general rules of beauty are of use; being drawn from established models, and from the observation of what pleases or displeases, when presented singly and in a high degree: And if the same qualities, in a continued composition and in a smaller degree, affect not the organs with a sensible delight or uneasiness, we exclude the person from all pretensions to this delicacy. To produce these general rules or avowed patterns of composition is like finding the key with the leathern thong; which justified the verdict of Sancho’s kinsmen, and confounded those pretended judges who had condemned them. Though the hogshead had never been emptied, the taste of the one was still equally delicate, and that of the other equally dull and languid: But it would have been more difficult to have proved the superiority of the former, to the conviction of every by-stander. In like manner, though the beauties of writing had never been methodized, or reduced to general principles; though no excellent models had ever been acknowledged; the different degrees of taste would still have subsisted, and the judgment of one man been preferable to that of another; but it would not have been so easy to silence the bad critic, who might always insist upon his particular sentiment, and refuse to submit to his antagonist. But when we show him an avowed principle of art; when we illustrate this principle by examples, whose operation, from his own particular taste, he acknowledges to be conformable to the principle; when we prove, that the same principle may be applied to the present case, where he did not perceive or feel its influence: He must conclude, upon the whole, that the fault lies in himself, and that he wants the delicacy, which is requisite to make him sensible of every beauty and every blemish, in any composition or discourse.
It is acknowledged to be the perfection of every sense or faculty, to perceive with exactness its most minute objects, and allow nothing to escape its notice and observation. The smaller the objects are, which become sensible to the eye, the finer is that organ, and the more elaborate its make and composition. A good palate is not tried by strong flavours; but by a mixture of small ingredients, where we are still sensible of each part, notwithstanding its minuteness and its confusion with the rest. In like manner, a quick and acute perception of beauty and deformity must be the perfection of our mental taste; nor can a man be satisfied with himself while he suspects, that any excellence or blemish in a discourse has passed him unobserved. In this case, the perfection of the man, and the perfection of the sense or feeling, are found to be united. A very delicate palate, on many occasions, may be a great inconvenience both to a man himself and to his friends: But a delicate taste of wit or beauty must always be a desirable quality; because it is the source of all the finest and most innocent enjoyments, of which human nature is susceptible. In this decision the sentiments of all mankind are agreed. Wherever you can ascertain a delicacy of taste, it is sure to meet with approbation; and the best way of ascertaining it is to appeal to those models and principles, which have been established by the uniform consent and experience of nations and ages.
But though there be naturally a wide difference in point of delicacy between one person and another, nothing tends further to encrease and improve this talent, than practice in a particular art, and the frequent survey or contemplation of a particular species of beauty. When objects of any kind are first presented to the eye or imagination, the sentiment, which attends them, is obscure and confused; and the mind is, in a great measure, incapable of pronouncing concerning their merits or defects. The taste cannot perceive the several excellencies of the performance; much less distinguish the particular character of each excellency, and ascertain its quality and degree. If it pronounce the whole in general to be beautiful or deformed, it is the utmost that can be expected; and even this judgment, a person, so unpractised, will be apt to deliver with great hesitation and reserve. But allow him to acquire experience in those objects, his feeling becomes more exact and nice: He not only perceives the beauties and defects of each part, but marks the distinguishing species of each quality, and assigns it suitable praise or blame. A clear and distinct sentiment attends him through the whole survey of the objects; and he discerns that very degree and kind of approbation or displeasure, which each part is naturally fitted to produce. The mist dissipates, which seemed formerly to hang over the object: The organ acquires greater perfection in its operations; and can pronounce, without danger of mistake, concerning the merits of every performance. In a word, the same address and dexterity, which practice gives to the execution of any work, is also acquired by the same means, in the judging of it.
So advantageous is practice to the discernment of beauty, that, before we can give judgment on any work of importance, it will even be requisite, that that very individual performance be more than once perused by us, and be surveyed in different lights with attention and deliberation. There is a flutter or hurry of thought which attends the first perusal of any piece, and which confounds the genuine sentiment of beauty. The relation of the parts is not discerned: The true characters of style are little distinguished: The several perfections and defects seem wrapped up in a species of confusion, and present themselves indistinctly to the imagination. Not to mention, that there is a species of beauty, which, as it is florid° and superficial, pleases at first; but being found incompatible with a just expression either of reason or passion, soon palls° upon the taste, and is then rejected with disdain, at least rated at a much lower value.
It is impossible to continue in the practice of contemplating any order of beauty, without being frequently obliged to form comparisons between the several species and degrees of excellence, and estimating their proportion to each other. A man, who has had no opportunity of comparing the different kinds of beauty, is indeed totally unqualified to pronounce an opinion with regard to any object presented to him. By comparison alone we fix the epithets of praise or blame, and learn how to assign the due degree of each. The coarsest daubing contains a certain lustre of colours and exactness of imitation, which are so far beauties, and would affect the mind of a peasant or Indian with the highest admiration. The most vulgar ballads are not entirely destitute of harmony or nature; and none but a person, familiarized to superior beauties, would pronounce their numbers harsh, or narration uninteresting. A great inferiority of beauty gives pain to a person conversant in the highest excellence of the kind, and is for that reason pronounced a deformity: As the most finished object, with which we are acquainted, is naturally supposed to have reached the pinnacle of perfection, and to be entitled to the highest applause. One accustomed to see, and examine, and weigh the several performances, admired in different ages and nations, can alone rate the merits of a work exhibited to his view, and assign its proper rank among the productions of genius.
But to enable a critic the more fully to execute this undertaking, he must preserve his mind free from all prejudice, and allow nothing to enter into his consideration, but the very object which is submitted to his examination. We may observe, that every work of art, in order to produce its due effect on the mind, must be surveyed in a certain point of view, and cannot be fully relished by persons, whose situation, real or imaginary, is not conformable to that which is required by the performance. An orator addresses himself to a particular audience, and must have a regard to their particular genius, interests, opinions, passions, and prejudices; otherwise he hopes in vain to govern their resolutions, and inflame their affections. Should they even have entertained some prepossessions against him, however unreasonable, he must not overlook this disadvantage; but, before he enters upon the subject, must endeavour to conciliate their affection, and acquire their good graces. A critic of a different age or nation, who should peruse this discourse, must have all these circumstances in his eye, and must place himself in the same situation as the audience, in order to form a true judgment of the oration. In like manner, when any work is addressed to the public, though I should have a friendship or enmity with the author, I must depart from this situation; and considering myself as a man in general, forget, if possible, my individual being and my peculiar circumstances. A person influenced by prejudice, complies not with this condition; but obstinately maintains his natural position, without placing himself in that point of view, which the performance supposes. If the work be addressed to persons of a different age or nation, he makes no allowance for their peculiar views and prejudices; but, full of the manners of his own age and country, rashly condemns what seemed admirable in the eyes of those for whom alone the discourse was calculated. If the work be executed for the public, he never sufficiently enlarges his comprehension, or forgets his interest as a friend or enemy, as a rival or commentator. By this means, his sentiments are perverted; nor have the same beauties and blemishes the same influence upon him, as if he had imposed a proper violence on his imagination, and had forgotten himself for a moment. So far his taste evidently departs from the true standard; and of consequence loses all credit and authority.
It is well known, that in all questions, submitted to the understanding, prejudice is destructive of sound judgment, and perverts all operations of the intellectual faculties: It is no less contrary to good taste; nor has it less influence to corrupt our sentiment of beauty. It belongs to good sense to check its influence in both cases; and in this respect, as well as in many others, reason, if not an essential part of taste, is at least requisite to the operations of this latter faculty. In all the nobler productions of genius, there is a mutual relation and correspondence of parts; nor can either the beauties or blemishes be perceived by him, whose thought is not capacious enough to comprehend all those parts, and compare them with each other, in order to perceive the consistence and uniformity of the whole. Every work of art has also a certain end or purpose, for which it is calculated; and is to be deemed more or less perfect, as it is more or less fitted to attain this end. The object of eloquence is to persuade, of history to instruct, of poetry to please by means of the passions and the imagination. These ends we must carry constantly in our view, when we peruse any performance; and we must be able to judge how far the means employed are adapted to their respective purposes. Besides, every kind of composition, even the most poetical, is nothing but a chain of propositions and reasonings; not always, indeed, the justest and most exact, but still plausible and specious,° however disguised by the colouring of the imagination. The persons introduced in tragedy and epic poetry, must be represented as reasoning, and thinking, and concluding, and acting, suitably to their character and circumstances; and without judgment, as well as taste and invention, a poet can never hope to succeed in so delicate an undertaking. Not to mention, that the same excellence of faculties which contributes to the improvement of reason, the same clearness of conception, the same exactness of distinction, the same vivacity of apprehension, are essential to the operations of true taste, and are its infallible concomitants. It seldom, or never happens, that a man of sense, who has experience in any art, cannot judge of its beauty; and it is no less rare to meet with a man who has a just taste without a sound understanding.
Thus, though the principles of taste be universal, and nearly, if not entirely the same in all men; yet few are qualified to give judgment on any work of art, or establish their own sentiment as the standard of beauty. The organs of internal sensation are seldom so perfect as to allow the general principles their full play, and produce a feeling correspondent to those principles. They either labour under some defect, or are vitiated by some disorder; and by that means, excite a sentiment, which may be pronounced erroneous. When the critic has no delicacy, he judges without any distinction, and is only affected by the grosser and more palpable qualities of the object: The finer touches pass unnoticed and disregarded. Where he is not aided by practice, his verdict is attended with confusion and hesitation. Where no comparison has been employed, the most frivolous beauties, such as rather merit the name of defects, are the object of his admiration. Where he lies under the influence of prejudice, all his natural sentiments are perverted. Where good sense is wanting, he is not qualified to discern the beauties of design and reasoning, which are the highest and most excellent. Under some or other of these imperfections, the generality of men labour; and hence a true judge in the finer arts is observed, even during the most polished ages, to be so rare a character: Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice, can alone entitle critics to this valuable character; and the joint verdict of such, wherever they are to be found, is the true standard of taste and beauty.
But where are such critics to be found? By what marks are they to be known? How distinguish them from pretenders? These questions are embarrassing; and seem to throw us back into the same uncertainty, from which, during the course of this essay, we have endeavoured to extricate ourselves.
But if we consider the matter aright, these are questions of fact, not of sentiment. Whether any particular person be endowed with good sense and a delicate imagination, free from prejudice, may often be the subject of dispute, and be liable to great discussion and enquiry: But that such a character is valuable and estimable will be agreed in by all mankind. Where these doubts occur, men can do no more than in other disputable questions, which are submitted to the understanding: They must produce the best arguments, that their invention suggests to them; they must acknowledge a true and decisive standard to exist somewhere, to wit, real existence and matter of fact; and they must have indulgence to such as differ from them in their appeals to this standard. It is sufficient for our present purpose, if we have proved, that the taste of all individuals is not upon an equal footing, and that some men in general, however difficult to be particularly pitched upon, will be acknowledged by universal sentiment to have a preference above others.
But in reality the difficulty of finding, even in particulars, the standard of taste, is not so great as it is represented. Though in speculation, we may readily avow a certain criterion in science and deny it in sentiment, the matter is found in practice to be much more hard to ascertain in the former case than in the latter. Theories of abstract philosophy, systems of profound theology, have prevailed during one age: In a successive period, these have been universally exploded: Their absurdity has been detected: Other theories and systems have supplied their place, which again gave place to their successors: And nothing has been experienced more liable to the revolutions of chance and fashion than these pretended decisions of science. The case is not the same with the beauties of eloquence and poetry. Just expressions of passion and nature are sure, after a little time, to gain public applause, which they maintain for ever. Aristotle,8 and Plato, and Epicurus,9 and Descartes, may successively yield to each other: But Terence and Virgil maintain an universal, undisputed empire over the minds of men. The abstract philosophy of Cicero has lost its credit: The vehemence of his oratory is still the object of our admiration.
Though men of delicate taste be rare, they are easily to be distinguished in society, by the soundness of their understanding and the superiority of their faculties above the rest of mankind. The ascendant, which they acquire, gives a prevalence to that lively approbation, with which they receive any productions of genius, and renders it generally predominant. Many men, when left to themselves, have but a faint and dubious perception of beauty, who yet are capable of relishing any fine stroke, which is pointed out to them. Every convert to the admiration of the real poet or orator is the cause of some new conversion. And though prejudices may prevail for a time, they never unite in celebrating any rival to the true genius, but yield at last to the force of nature and just sentiment. Thus, though a civilized nation may easily be mistaken in the choice of their admired philosopher, they never have been found long to err, in their affection for a favourite epic or tragic author.
But notwithstanding all our endeavours to fix a standard of taste, and reconcile the discordant apprehensions of men, there still remain two sources of variation, which are not sufficient indeed to confound all the boundaries of beauty and deformity, but will often serve to produce a difference in the degrees of our approbation or blame. The one is the different humours of particular men; the other, the particular manners and opinions of our age and country. The general principles of taste are uniform in human nature: Where men vary in their judgments, some defect or perversion in the faculties may commonly be remarked; proceeding either from prejudice, from want of practice, or want of delicacy; and there is just reason for approving one taste, and condemning another. But where there is such a diversity in the internal frame or external situation as is entirely blameless on both sides, and leaves no room to give one the preference above the other; in that case a certain degree of diversity in judgment is unavoidable, and we seek in vain for a standard, by which we can reconcile the contrary sentiments.
A young man, whose passions are warm, will be more sensibly touched with amorous and tender images, than a man more advanced in years, who takes pleasure in wise, philosophical reflections concerning the conduct of life and moderation of the passions. At twenty, Ovid may be the favourite author; Horace at forty; and perhaps Tacitus at fifty. Vainly would we, in such cases, endeavour to enter into the sentiments of others, and divest ourselves of those propensities, which are natural to us. We choose our favourite author as we do our friend, from a conformity of humour and disposition. Mirth or passion, sentiment or reflection; whichever of these most predominates in our temper, it gives us a peculiar sympathy with the writer who resembles us.
One person is more pleased with the sublime; another with the tender; a third with raillery. One has a strong sensibility to blemishes, and is extremely studious of correctness: Another has a more lively feeling of beauties, and pardons twenty absurdities and defects for one elevated or pathetic° stroke. The ear of this man is entirely turned towards conciseness and energy; that man is delighted with a copious, rich, and harmonious expression. Simplicity is affected by one; ornament by another. Comedy, tragedy, satire, odes, have each its partizans, who prefer that particular species of writing to all others. It is plainly an error in a critic, to confine his approbation to one species or style of writing, and condemn all the rest. But it is almost impossible not to feel a predilection for that which suits our particular turn and disposition. Such preferences are innocent and unavoidable, and can never reasonably be the object of dispute, because there is no standard, by which they can be decided.
For a like reason, we are more pleased, in the course of our reading, with pictures and characters, that resemble objects which are found in our own age or country, than with those which describe a different set of customs. It is not without some effort, that we reconcile ourselves to the simplicity of ancient manners, and behold princesses carrying water from the spring, and kings and heroes dressing their own victuals.° We may allow in general, that the representation of such manners is no fault in the author, nor deformity in the piece; but we are not so sensibly touched with them. For this reason, comedy is not easily transferred from one age or nation to another. A Frenchman or Englishman is not pleased with the Andria of Terence,10 or Clitia of Machiavel;11 where the fine lady, upon whom all the play turns, never once appears to the spectators, but is always kept behind the scenes, suitably to the reserved humour of the ancient Greeks and modern Italians. A man of learning and reflection can make allowance for these peculiarities of manners; but a common audience can never divest themselves so far of their usual ideas and sentiments, as to relish pictures which no wise resemble them.
But here there occurs a reflection, which may, perhaps, be useful in examining the celebrated controversy concerning ancient and modern learning; where we often find the one side excusing any seeming absurdity in the ancients from the manners of the age, and the other refusing to admit this excuse, or at least, admitting it only as an apology for the author, not for the performance. In my opinion, the proper boundaries in this subject have seldom been fixed between the contending parties. Where any innocent peculiarities of manners are represented, such as those above mentioned, they ought certainly to be admitted; and a man, who is shocked with them, gives an evident proof of false delicacy and refinement. The poet’s monument more durable than brass,12 must fall to the ground like common brick or clay, were men to make no allowance for the continual revolutions of manners and customs, and would admit of nothing but what was suitable to the prevailing fashion. Must we throw aside the pictures of our ancestors, because of their ruffs° and fardingales?° But where the ideas of morality and decency alter from one age to another, and where vicious manners are described, without being marked with the proper characters of blame and disapprobation; this must be allowed to disfigure the poem, and to be a real deformity. I cannot, nor is it proper I should, enter into such sentiments; and however I may excuse the poet, on account of the manners of his age, I never can relish the composition. The want of humanity and of decency, so conspicuous in the characters drawn by several of the ancient poets, even sometimes by Homer and the Greek tragedians, diminishes considerably the merit of their noble performances, and gives modern authors an advantage over them. We are not interested in the fortunes and sentiments of such rough heroes: We are displeased to find the limits of vice and virtue so much confounded: And whatever indulgence we may give to the writer on account of his prejudices, we cannot prevail on ourselves to enter into his sentiments, or bear an affection to characters, which we plainly discover to be blameable.
The case is not the same with moral principles, as with speculative opinions of any kind. These are in continual flux and revolution. The son embraces a different system from the father. Nay, there scarcely is any man, who can boast of great constancy and uniformity in this particular. Whatever speculative errors may be found in the polite writings of any age or country, they detract but little from the value of those compositions. There needs but a certain turn of thought or imagination to make us enter into all the opinions, which then prevailed, and relish the sentiments or conclusions derived from them. But a very violent effort is requisite to change our judgment of manners, and excite sentiments of approbation or blame, love or hatred, different from those to which the mind from long custom has been familiarized. And where a man is confident of the rectitude of that moral standard, by which he judges, he is justly jealous of it, and will not pervert the sentiments of his heart for a moment, in complaisance° to any writer whatsoever.
Of all speculative errors, those, which regard religion, are the most excusable in compositions of genius; nor is it ever permitted to judge of the civility or wisdom of any people, or even of single persons, by the grossness or refinement of their theological principles. The same good sense, that directs men in the ordinary occurrences of life, is not hearkened to in religious matters, which are supposed to be placed altogether above the cognizance of human reason. On this account, all the absurdities of the pagan system of theology must be overlooked by every critic, who would pretend to form a just notion of ancient poetry; and our posterity, in their turn, must have the same indulgence to their forefathers. No religious principles can ever be imputed as a fault to any poet, while they remain merely principles, and take not such strong possession of his heart, as to lay him under the imputation of bigotry or superstition. Where that happens, they confound the sentiments of morality, and alter the natural boundaries of vice and virtue. They are therefore eternal blemishes, according to the principle abovementioned; nor are the prejudices and false opinions of the age sufficient to justify them.
It is essential to the Roman catholic religion to inspire a violent hatred of every other worship, and to represent all pagans, mahometans, and heretics as the objects of divine wrath and vengeance. Such sentiments, though they are in reality very blameable, are considered as virtues by the zealots of that communion, and are represented in their tragedies and epic poems as a kind of divine heroism. This bigotry has disfigured two very fine tragedies of the French theatre, Polieucte and Athalia;13 where an intemperate zeal for particular modes of worship is set off with all the pomp imaginable, and forms the predominant character of the heroes. “What is this,” says the sublime Joad to Josabet, finding her in discourse with Mathan, the priest of Baal, “Does the daughter of David speak to this traitor? Are you not afraid, lest the earth should open and pour forth flames to devour you both? Or lest these holy walls should fall and crush you together? What is his purpose? Why comes that enemy of God hither to poison the air, which we breathe, with his horrid presence?” Such sentiments are received with great applause on the theatre of Paris; but at London the spectators would be full as much pleased to hear Achilles tell Agamemnon, that he was a dog in his forehead, and a deer in his heart, or Jupiter threaten Juno with a sound drubbing, if she will not be quiet.14
Religious principles are also a blemish in any polite composition, when they rise up to superstition, and intrude themselves into every sentiment, however remote from any connection with religion. It is no excuse for the poet, that the customs of his country had burthened life with so many religious ceremonies and observances, that no part of it was exempt from that yoke. It must for ever be ridiculous in Petrarch to compare his mistress, Laura, to Jesus Christ.15 Nor is it less ridiculous in that agreeable libertine, Boccace, very seriously to give thanks to God Almighty and the ladies, for their assistance in defending him against his enemies.16
ESSAYS,
MORAL, POLITICAL,
AND
LITERARY.
PART II*
PART II*
ESSAYS MORAL, POLITICAL, AND LITERARY
[1. ][Taste, according to Hume, is the source of our judgments of natural and of moral beauty. We rely on taste, and not on reason, when we judge a work of art to be beautiful or an action to be virtuous. Taste “gives the sentiments of beauty and deformity, vice and virtue” (Enquiry Concerning the Principles of Morals, App. 1). Taste is thus the foundation of both morals and criticism. Hume’s initial plan was to discuss moral taste and critical taste within the framework of the Treatise, but he abandoned the plan of the Treatise before this could be accomplished. His Enquiry Concerning Morals gives his fullest account of how moral taste or sentiment can serve as the foundation of the science of morals. The present essay is concerned mainly with critical taste, and it represents Hume’s primary contribution to what he calls “criticism.”]
[2. ][François de Salignac de la Mothe-Fénelon (1651–1715), Les Aventures de Télémaque, fils d’Ulysse (1699), translated as The Adventures of Telemachus the Son of Ulysses (1699–1700). Ulysses is the Latin name for Odysseus, the hero of Homer’s Odyssey.]
[3. ][Or the Koran, the holy book of Islam, which Muslims regard as the true word of God as it was revealed to the prophet Muhammad.]
[4. ][John Ogilby (1600–76) published verse translations of Homer and Virgil and of Aesop’s Fables.]
[5. ][John Bunyan (1628–88) was author of theological and devotional literature, including The Pilgrim’s Progress from this World to that which is to come (1678).]
[6. ][Tenerife, the principal of the Canary Islands, is a volcanic formation whose peak exceeds twelve thousand feet above sea level.]
[7. ][Cervantes, Don Quixote, pt. 2, chap. 13.]
[8. ][Aristotle (384–322 bc), a Greek philosopher, was the main source of medieval scholastic philosophy.]
[9. ][Epicurus (341–270 bc), a Greek moral philosopher, professed hedonism, or the view that pleasure is the good for man. See Hume’s essay entitled “The Epicurean.”]
[10. ][Terence, Andria (The lady of Andros). Glycerium, the young woman around whom the play revolves, is a muta persona; i.e., she says nothing on the stage.]
[11. ][In Machiavelli’s Clizia, which was staged in 1525, the young woman Clizia does not appear but is the center of the action.]
[12. ][Horace, Carmina (Odes) 3.30.1.]
[13. ][Polyeucte (1641–42), a tragedy by Corneille, is the story of an Armenian nobleman whose conversion to Christianity and martyrdom lead to the conversion of his wife, Pauline, and of his father-in-law, Felix, the Roman governor, who had sentenced Polyeucte to death for betraying the Roman gods. Athalie (1691), a tragedy by Racine, is based on the biblical account (2 Kings 11 and 2 Chronicles 22–23) of the victory of God’s priest over Athaliah, queen of Judah and a worshiper of Baal. The scene described below by Hume is from Athalie, act 3, sc. 5.]
[14. ][See Homer, Iliad 1.225, for Achilles’s insult to Agamemnon and 1.56–67 for Zeus’s (or Jupiter’s) threat to Hera (or Juno).]
[15. ][Hume probably refers to the collection of 366 poems by Francesco Petrarca (1304–74), which has no definite title but is known in Italian as Canzoniere or Rima. Most of the poems are about Petrarch’s love for Laura, which began when he first saw her in church in the year 1327 and continued after her death in 1348. It seems that Laura was beyond Petrarch’s reach and that he loved her from afar. In the poems, Petrarch’s love for Laura becomes a symbol for his own quest for salvation, and Laura herself, after her physical death, is resurrected as a sublime ideal with divine qualities.]
[16. ][See Boccaccio, Decameron, Introduction to “The Fourth Day.”]
[* ]Published in 1742.
[Remark:]to observe; to distinguish; to point out.
[Scruples:]doubts; hesitates.
[Fustian:]a high swelling kind of writing made up of heterogeneous parts, or of words and ideas ill associated; bombast.
[Habitudes:]states with regard to something else; relations.
[Florid:]embellished; brilliant with decorations.
[Palls:]makes insipid or vapid.
[Specious:]pleasing to the view; plausible.
[Pathetic:]affecting the passions; moving.
[Victuals:]provision of food; stores for the support of life.
[Ruffs:]puckered linen ornaments, formerly worn about the neck.
[Fardingales:]farthingales; hoops or padded rolls once worn about the hips to spread the petticoat to a wide circumference.
[Complaisance:]the act of yielding to the desire or demand of another; submission.
9: 9. From the Essays: “Of Delicacy of Taste and Passion”
David Hume, Essays Moral, Political, Literary, edited and with a Foreword, Notes, and Glossary by Eugene F. Miller, with an appendix of variant readings from the 1889 edition by T.H. Green and T.H. Grose, revised edition (Indianapolis: Liberty Fund 1987). Chapter: ESSAY I: OF THE DELICACY OF TASTE AND PASSION
Accessed from oll.libertyfund.org/title/704/137478 on 2008-03-06
The copyright to this edition, in both print and electronic forms, is held by Liberty Fund, Inc.
ESSAY I
OF THE DELICACY OF TASTE AND PASSION*
Some People are subject to a certain delicacy of passion,1 which makes them extremely sensible to all the accidents of life, and gives them a lively joy upon every prosperous event, as well as a piercing grief, when they meet with misfortunes and adversity. Favours and good offices° easily engage their friendship; while the smallest injury provokes their resentment. Any honour or mark of distinction elevates them above measure; but they are as sensibly touched with contempt.° People of this character have, no doubt, more lively enjoyments, as well as more pungent° sorrows, than men of cool and sedate tempers: But, I believe, when every thing is balanced, there is no one, who would not rather be of the latter character, were he entirely master of his own disposition. Good or ill fortune is very little at our disposal: And when a person, that has this sensibility° of temper, meets with any misfortune, his sorrow or resentment takes entire possession of him, and deprives him of all relish in the common occurrences of life; the right enjoyment of which forms the chief part of our happiness. Great pleasures are much less frequent than great pains; so that a sensible temper must meet with fewer trials in the former way than in the latter. Not to mention, that men of such lively passions are apt to be transported beyond all bounds of prudence and discretion, and to take false steps in the conduct of life, which are often irretrievable.
There is a delicacy of taste observable in some men, which very much resembles this delicacy of passion, and produces the same sensibility to beauty and deformity of every kind, as that does to prosperity and adversity, obligations and injuries. When you present a poem or a picture to a man possessed of this talent, the delicacy of his feeling makes him be sensibly touched with every part of it; nor are the masterly strokes perceived with more exquisite relish and satisfaction, than the negligences or absurdities with disgust and uneasiness. A polite and judicious conversation affords him the highest entertainment; rudeness or impertinence is as great a punishment to him. In short, delicacy of taste has the same effect as delicacy of passion: It enlarges the sphere both of our happiness and misery, and makes us sensible to pains as well as pleasures, which escape the rest of mankind.
I believe, however, every one will agree with me, that, notwithstanding this resemblance, delicacy of taste is as much to be desired and cultivated as delicacy of passion is to be lamented, and to be remedied, if possible. The good or ill accidents of life are very little at our disposal; but we are pretty much masters what books we shall read, what diversions we shall partake of, and what company we shall keep. Philosophers have endeavoured to render happiness entirely independent of every thing external. That degree of perfection is impossible to be attained: But every wise man will endeavour to place his happiness on such objects chiefly as depend upon himself: and that is not to be attained so much by any other means as by this delicacy of sentiment.2 When a man is possessed of that talent, he is more happy by what pleases his taste, than by what gratifies his appetites, and receives more enjoyment from a poem or a piece of reasoning than the most expensive luxury can afford.a
Whatever connection there may be originally3 between these two species of delicacy, I am persuaded, that nothing is so proper to cure us of this delicacy of passion, as the cultivating of that higher and more refined taste, which enables us to judge of the characters of men, of compositions of genius, and of the productions of the nobler arts.° A greater or less relish for those obvious beauties, which strike the senses, depends entirely upon the greater or less sensibility of the temper: But with regard to the sciences and liberal arts, a fine taste is, in some measure, the same with strong sense, or at least depends so much upon it, that they are inseparable. In order to judge aright of a composition of genius, there are so many views to be taken in, so many circumstances to be compared, and such a knowledge of human nature requisite, that no man, who is not possessed of the soundest judgment, will ever make a tolerable critic in such performances. And this is a new reason for cultivating a relish° in the liberal arts. Our judgment will strengthen by this exercise: We shall form juster notions of life: Many things, which please or afflict others, will appear to us too frivolous to engage our attention: And we shall lose by degrees that sensibility and delicacy of passion, which is so incommodious.°
But perhaps I have gone too far in saying, that a cultivated taste for the polite arts extinguishes the passions, and renders us indifferent to those objects, which are so fondly pursued by the rest of mankind. On farther reflection, I find, that it rather improves our sensibility for all the tender and agreeable passions; at the same time that it renders the mind incapable of the rougher and more boisterous emotions.
- Ingenuas didicisse fideliter artes,
- Emollit mores, nec sinit esse feros.4
For this, I think there may be assigned two very natural reasons. In the first place, nothing is so improving to the temper as the study of the beauties, either of poetry, eloquence, music, or painting. They give a certain elegance of sentiment to which the rest of mankind are strangers. The emotions which they excite are soft and tender. They draw off the mind from the hurry of business and interest; cherish reflection; dispose to tranquillity; and produce an agreeable melancholy,° which, of all dispositions of the mind, is the best suited to love and friendship.
In the second place, a delicacy of taste is favourable to love and friendship, by confining our choice to few people, and making us indifferent to the company and conversation of the greater part of men. You will seldom find, that mere men of the world, whatever strong sense they may be endowed with, are very nice° in distinguishing characters, or in marking those insensible differences and gradations, which make one man preferable to another. Any one, that has competent sense, is sufficient for their entertainment: They talk to him, of their pleasure and affairs, with the same frankness that they would to another; and finding many, who are fit to supply his place, they never feel any vacancy° or want° in his absence. But to make use of the allusion of a celebrated French5 author, the judgment6 may be compared to a clock or watch, where the most ordinary machine is sufficient to tell the hours; but the most elaborate alone can point out the minutes and seconds, and distinguish the smallest differences of time. One that has well digested his knowledge both of books and men, has little enjoyment but in the company of a few select companions. He feels too sensibly,° how much all the rest of mankind fall short of the notions which he has entertained. And, his affections being thus confined within a narrow circle, no wonder he carries them further, than if they were more general and undistinguished. The gaiety and frolic of a bottle companion° improves with him into a solid friendship: And the ardours of a youthful appetite become an elegant passion.
[1. ][In the Treatise of Human Nature, Hume divides the perceptions of the mind into impressions and ideas. Impressions are divided into sensations and passions. Hume speaks of passions as secondary impressions, inasmuch as they usually arise from some preceding sensation or idea. He divides the passions into the calm and the violent. On occasion the term passion is used narrowly, as in the present essay, to designate only the more violent passions, such as love and hatred, grief and joy, or pride and humility. When Hume speaks here of a “delicacy of passion,” he means a disposition to be affected strongly by the violent passions in the face of prosperity or misfortune, favors or injuries, honors or slights, and other accidents of life that lie beyond our control. What he here calls “taste”—the sense of beauty and deformity in actions or objects—is also a passion, broadly speaking, but normally a calm one. A delicacy of taste is a keen sensitivity to beauty and deformity in actions, books, works of art, companions, and such. This quality of mind is discussed at considerable length by Hume in Essay XXIII, “Of the Standard of Taste.”]
[2. ][Hume sometimes uses the term sentiment broadly to mean passion or feeling as such, but at other times, as in this passage, he uses it synonymously with taste to refer to a special feeling of approbation or disapprobation that arises from the contemplation of objects, characters, or actions. Taste, or sentiment in this latter sense, underlies judgments of beauty and moral worth. In the Enquiry Concerning Human Understanding, Hume argues that “morals and criticism are not so properly objects of the understanding as of taste and sentiment. Beauty, whether moral or natural, is felt, more properly than perceived” (sec. xii, pt. 3).]
[3. ][An “original” connection is one in human nature itself. Hume is alluding here to the fact that “taste” is itself a passion and has more in common with the other passions than this essay might suggest. The connection of the various passions is discussed by Hume in Book II of the Treatise (“Of the Passions”) and in a later recasting of Book II entitled “A Dissertation on the Passions.”]
[4. ][Ovid (43 bc–ad 18?), Epistulae ex Ponto (Letters from Pontus) 2.9.47–48: “A faithful study of the liberal arts humanizes character and permits it not to be cruel” (Loeb translation by A. L. Wheeler).]
[5. ]Mons.Fontenelle, Pluralité des Mondes. Soir. 6. [Bernard le Bovier de Fontenelle (1657–1757), French academician, poet, and popularizer of modern science, whose “Conversations on the Plurality of Worlds” was published in 1686.]
[6. ][“The judgment” is referred to by Hume in the Treatise as that operation of mind by which we make inferences from sense impressions, as in judgments of cause and effect. Feelings of moral sentiment are also treated on occasion, but not consistently, as judgments.]
[a]This Note was added in Ed. M, 1758.
[a]How far delicacy of taste, and that of passion, are connected together in the original frame of the mind, it is hard to determine. To me there appears a very considerable connexion between them. For we may observe that women, who have more delicate passions than men, have also a more delicate taste of the ornaments of life, of dress, equipage, and the ordinary decencies of behavior. Any excellency in these hits their taste much sooner than ours; and when you please their taste, you soon engage their affections.—Editions A to Q; the latter omits the last sentence.
[Good offices:]acts of good, voluntarily tendered.
[Touched with contempt:]affected by another’s undervaluing or scorn.
[Pungent:]piercing, sharp.
[Sensibility:]quickness of perception; a disposition to being easily or strongly affected; delicacy.
[Nobler arts:]the liberal arts or sciences. “Arts that respect the mind were ever reputed nobler than those that serve the body”—Ben Jonson (quoted in Samuel Johnson’s Dictionary, under “Art”).
[Relish:]taste; delight in; power of perceiving excellence.
[Incommodious:]inconvenient; vexatious.
[Melancholy:]pensiveness; quietly serious thoughtfulness, sadness, or longing.
[Nice:]accurate in judgment to minute exactness; superfluously exact.
[Vacancy:]emptiness; sense of longing.
[Want:]need; deficiency.
[Sensibly:]quickly; keenly.
[Bottle companion:]drinking friend.
10: 10. From the Essays: “Of Tragedy”
David Hume, Essays Moral, Political, Literary, edited and with a Foreword, Notes, and Glossary by Eugene F. Miller, with an appendix of variant readings from the 1889 edition by T.H. Green and T.H. Grose, revised edition (Indianapolis: Liberty Fund 1987). Chapter: ESSAY XXII: OF TRAGEDY
Accessed from oll.libertyfund.org/title/704/137520 on 2008-03-06
The copyright to this edition, in both print and electronic forms, is held by Liberty Fund, Inc.
ESSAY XXII
OF TRAGEDY
It seems an unaccountable pleasure, which the spectators of a well-written tragedy receive from sorrow, terror, anxiety, and other passions, that are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle; and as soon as the uneasy passions cease to operate, the piece is at an end. One scene of full joy and contentment and security is the utmost, that any composition of this kind can bear; and it is sure always to be the concluding one. If, in the texture of the piece, there be interwoven any scenes of satisfaction, they afford only faint gleams of pleasure, which are thrown in by way of variety, and in order to plunge the actors into deeper distress, by means of that contrast and disappointment. The whole art of the poet is employed, in rouzing and supporting the compassion and indignation, the anxiety and resentment of his audience. They are pleased in proportion as they are afflicted, and never are so happy as when they employ tears, sobs, and cries to give vent to their sorrow, and relieve their heart, swoln with the tenderest sympathy and compassion.
The few critics who have had some tincture of philosophy, have remarked this singular phænomenon, and have endeavoured to account for it.
L’Abbe Dubos, in his reflections on poetry and painting, asserts, that nothing is in general so disagreeable to the mind as the languid, listless state of indolence, into which it falls upon the removal of all passion and occupation. To get rid of this painful situation, it seeks every amusement and pursuit; business, gaming, shews, executions; whatever will rouze the passions, and take its attention from itself. No matter what the passion is: Let it be disagreeable, afflicting, melancholy, disordered; it is still better than that insipid languor, which arises from perfect tranquillity and repose.1
It is impossible not to admit this account, as being, at least in part, satisfactory. You may observe, when there are several tables of gaming, that all the company run to those, where the deepest play is, even though they find not there the best players. The view, or, at least, imagination of high passions, arising from great loss or gain, affects the spectator by sympathy, gives him some touches of the same passions, and serves him for a momentary entertainment. It makes the time pass the easier with him, and is some relief to that oppression, under which men commonly labour, when left entirely to their own thoughts and meditations.
We find that common liars always magnify, in their narrations, all kinds of danger, pain, distress, sickness, deaths, murders, and cruelties; as well as joy, beauty, mirth, and magnificence. It is an absurd secret, which they have for pleasing their company, fixing their attention, and attaching them to such marvellous relations, by the passions and emotions, which they excite.
There is, however, a difficulty in applying to the present subject, in its full extent, this solution, however ingenious and satisfactory it may appear. It is certain, that the same object of distress, which pleases in a tragedy, were it really set before us, would give the most unfeigned uneasiness; though it be then the most effectual cure to languor and indolence. Monsieur Fontenelle seems to have been sensible of this difficulty; and accordingly attempts another solution of the phænomenon; at least makes some addition to the theory above mentioned.2
“Pleasure and pain,” says he, “which are two sentiments so different in themselves, differ not so much in their cause. From the instance of tickling, it appears, that the movement of pleasure, pushed a little too far, becomes pain; and that the movement of pain, a little moderated, becomes pleasure. Hence it proceeds, that there is such a thing as a sorrow, soft and agreeable: It is a pain weakened and diminished. The heart likes naturally to be moved and affected. Melancholy objects suit it, and even disastrous and sorrowful, provided they are softened by some circumstance. It is certain, that, on the theatre, the representation has almost the effect of reality; yet it has not altogether that effect. However we may be hurried away by the spectacle; whatever dominion the senses and imagination may usurp over the reason, there still lurks at the bottom a certain idea of falsehood in the whole of what we see. This idea, though weak and disguised, suffices to diminish the pain which we suffer from the misfortunes of those whom we love, and to reduce that affliction to such a pitch as converts it into a pleasure. We weep for the misfortune of a hero, to whom we are attached. In the same instant we comfort ourselves, by reflecting, that it is nothing but a fiction: And it is precisely that mixture of sentiments, which composes an agreeable sorrow, and tears that delight us. But as that affliction, which is caused by exterior and sensible objects, is stronger than the consolation which arises from an internal reflection, they are the effects and symptoms of sorrow, that ought to predominate in the composition.”
This solution seems just and convincing; but perhaps it wants still some new addition, in order to make it answer fully the phænomenon, which we here examine. All the passions, excited by eloquence, are agreeable in the highest degree, as well as those which are moved by painting and the theatre. The epilogues of Cicero are, on this account chiefly, the delight of every reader of taste; and it is difficult to read some of them without the deepest sympathy and sorrow. His merit as an orator, no doubt, depends much on his success in this particular. When he had raised tears in his judges and all his audience, they were then the most highly delighted, and expressed the greatest satisfaction with the pleader. The pathetic description of the butchery, made by Verres of the Sicilian captains,3 is a masterpiece of this kind: But I believe none will affirm, that the being present at a melancholy scene of that nature would afford any entertainment. Neither is the sorrow here softened by fiction: For the audience were convinced of the reality of every circumstance. What is it then, which in this case raises a pleasure from the bosom of uneasiness, so to speak; and a pleasure, which still retains all the features and outward symptoms of distress and sorrow?
I answer: This extraordinary effect proceeds from that very eloquence, with which the melancholy scene is represented. The genius required to paint objects in a lively manner, the art employed in collecting all the pathetic circumstances, the judgment displayed in disposing them: the exercise, I say, of these noble talents, together with the force of expression, and beauty of oratorial numbers,° diffuse the highest satisfaction on the audience, and excite the most delightful movements. By this means, the uneasiness of the melancholy passions is not only overpowered and effaced by something stronger of an opposite kind; but the whole impulse of those passions is converted into pleasure, and swells the delight which the eloquence raises in us. The same force of oratory, employed on an uninteresting subject, would not please half so much, or rather would appear altogether ridiculous; and the mind, being left in absolute calmness and indifference, would relish none of those beauties of imagination or expression, which, if joined to passion, give it such exquisite entertainment. The impulse or vehemence, arising from sorrow, compassion, indignation, receives a new direction from the sentiments of beauty. The latter, being the predominant emotion, seize the whole mind, and convert the former into themselves, at least tincture them so strongly as totally to alter their nature. And the soul, being, at the same time, rouzed by passion, and charmed by eloquence, feels on the whole a strong movement, which is altogether delightful.
The same principle takes place in tragedy; with this addition, that tragedy is an imitation; and imitation is always of itself agreeable. This circumstance serves still farther to smooth the motions of passion, and convert the whole feeling into one uniform and strong enjoyment. Objects of the greatest terror and distress please in painting, and please more than the most beautiful objects, that appear calm and indifferent.4 The affection, rouzing the mind, excites a large stock of spirit and vehemence; which is all transformed into pleasure by the force of the prevailing movement. It is thus the fiction of tragedy softens the passion, by an infusion of a new feeling, not merely by weakening or diminishing the sorrow. You may by degrees weaken a real sorrow, till it totally disappears; yet in none of its gradations will it ever give pleasure; except, perhaps, by accident, to a man sunk under lethargic indolence, whom it rouzes from that languid state.
To confirm this theory, it will be sufficient to produce other instances, where the subordinate movement is converted into the predominant, and gives force to it, though of a different, and even sometimes though of a contrary nature.
Novelty naturally rouzes the mind, and attracts our attention; and the movements, which it causes, are always converted into any passion, belonging to the object, and join their force to it. Whether an event excite joy or sorrow, pride or shame, anger or good-will, it is sure to produce a stronger affection, when new or unusual. And though novelty of itself be agreeable, it fortifies the painful, as well as agreeable passions.
Had you any intention to move a person extremely by the narration of any event, the best method of encreasing its effect would be artfully to delay informing him of it, and first to excite his curiosity and impatience before you let him into the secret. This is the artifice practised by Iago in the famous scene of Shakespeare; and every spectator is sensible, that Othello’s jealousy acquires additional force from his preceding impatience, and that the subordinate passion is here readily transformed into the predominant one.5
Difficulties encrease passions of every kind; and by rouzing our attention, and exciting our active powers, they produce an emotion, which nourishes the prevailing affection.
Parents commonly love that child most, whose sickly infirm frame of body has occasioned them the greatest pains, trouble, and anxiety in rearing him. The agreeable sentiment of affection here acquires force from sentiments of uneasiness.
Nothing endears so much a friend as sorrow for his death. The pleasure of his company has not so powerful an influence.
Jealousy is a painful passion; yet without some share of it, the agreeable affection of love has difficulty to subsist in its full force and violence. Absence is also a great source of complaint among lovers, and gives them the greatest uneasiness: Yet nothing is more favourable to their mutual passion than short intervals of that kind. And if long intervals often prove fatal, it is only because, through time, men are accustomed to them, and they cease to give uneasiness. Jealousy and absence in love compose the dolce peccante° of the Italians, which they suppose so essential to all pleasure.
There is a fine observation of the elder Pliny, which illustrates the principle here insisted on. It is very remarkable, says he, that the last works of celebrated artists, which they left imperfect, are always the most prized, such as theIrisofAristides, theTyndaridesofNicomachus, theMedeaofTimomachus, and theVenusofApelles. These are valued even above their finished productions: The broken lineaments of the piece, and the half-formed idea of the painter are carefully studied; and our very grief for that curious hand, which had been stopped by death, is an additional encrease to our pleasure.6
These instances (and many more might be collected) are sufficient to afford us some insight into the analogy of nature, and to show us, that the pleasure, which poets, orators, and musicians give us, by exciting grief, sorrow, indignation, compassion, is not so extraordinary or paradoxical, as it may at first sight appear. The force of imagination, the energy of expression, the power of numbers, the charms of imitation; all these are naturally, of themselves, delightful to the mind: And when the object presented lays also hold of some affection, the pleasure still rises upon us, by the conversion of this subordinate movement into that which is predominant. The passion, though, perhaps, naturally, and when excited by the simple appearance of a real object, it may be painful; yet is so smoothed, and softened, and mollified, when raised by the finer arts, that it affords the highest entertainment.
To confirm this reasoning, we may observe, that if the movements of the imagination be not predominant above those of the passion, a contrary effect follows; and the former, being now subordinate, is converted into the latter, and still farther encreases the pain and affliction of the sufferer.
Who could ever think of it as a good expedient for comforting an afflicted parent, to exaggerate, with all the force of elocution, the irreparable loss, which he has met with by the death of a favourite child? The more power of imagination and expression you here employ, the more you encrease his despair and affliction.
The shame, confusion, and terror of Verres, no doubt, rose in proportion to the noble eloquence and vehemence of Cicero: So also did his pain and uneasiness. These former passions were too strong for the pleasure arising from the beauties of elocution; and operated, though from the same principle, yet in a contrary manner, to the sympathy, compassion, and indignation of the audience.
Lord Clarendon, when he approaches towards the catastrophe of the royal party, supposes, that his narration must then become infinitely disagreeable; and he hurries over the king’s death, without giving us one circumstance of it.7 He considers it as too horrid a scene to be contemplated with any satisfaction, or even without the utmost pain and aversion. He himself, as well as the readers of that age, were too deeply concerned in the events, and felt a pain from subjects, which an historian and a reader of another age would regard as the most pathetic and most interesting, and, by consequence, the most agreeable.
An action, represented in tragedy, may be too bloody and atrocious. It may excite such movements of horror as will not soften into pleasure; and the greatest energy of expression, bestowed on descriptions of that nature, serves only to augment our uneasiness. Such is that action represented in the Ambitious Stepmother,8 where a venerable old man, raised to the height of fury and despair, rushes against a pillar, and striking his head upon it, besmears it all over with mingled brains and gore. The English theatre abounds too much with such shocking images.
Even the common sentiments of compassion require to be softened by some agreeable affection, in order to give a thorough satisfaction to the audience. The mere suffering of plaintive virtue, under the triumphant tyranny and oppression of vice, forms a disagreeable spectacle, and is carefully avoided by all masters of the drama. In order to dismiss the audience with entire satisfaction and contentment, the virtue must either convert itself into a noble courageous despair, or the vice receive its proper punishment.
Most painters appear in this light to have been very unhappy in their subjects. As they wrought° much for churches and convents, they have chiefly represented such horrible subjects as crucifixions and martyrdoms, where nothing appears but tortures, wounds, executions, and passive suffering, without any action or affection. When they turned their pencil from this ghastly mythology, they had commonly recourse to Ovid, whose fictions, though passionate and agreeable, are scarcely natural or probable enough for painting.
The same inversion of that principle, which is here insisted on, displays itself in common life, as in the effects of oratory and poetry. Raise so the subordinate passion that it becomes the predominant, it swallows up that affection which it before nourished and encreased. Too much jealousy extinguishes love: Too much difficulty renders us indifferent: Too much sickness and infirmity disgusts a selfish and unkind parent.
What so disagreeable as the dismal, gloomy, disastrous stories, with which melancholy people entertain their companions? The uneasy passion being there raised alone, unaccompanied with any spirit, genius, or eloquence, conveys a pure uneasiness, and is attended with nothing that can soften it into pleasure or satisfaction.
[1. ][Jean-Baptiste Dubos (1670–1742), Réflexions critiques sur la poésie et la peinture (1719–33), translated as Critical Reflections on Poetry, Painting and Music (1748), pt. 1, chap. 1.]
[2. ]Reflexions sur la poetique, § 36. [Fontenelle, “Reflections on the Poetic,” sec. 36, which is contained in his Oeuvres, 3:34.]
[3. ][Cicero, Actionis Secundae in C. Verrem (The second speech against Gaius Verres) 5.118–38).]
[4. ]Painters make no scruple of representing distress and sorrow as well as any other passion: But they seem not to dwell so much on these melancholy affections as the poets, who, though they copy every motion of the human breast, yet pass quickly over the agreeable sentiments. A painter represents only one instant; and if that be passionate enough, it is sure to affect and delight the spectator: But nothing can furnish to the poet a variety of scenes and incidents and sentiments, except distress, terror, or anxiety. Compleat joy and satisfaction is attended with security, and leaves no farther room for action.
[5. ][Shakespeare, Othello, act 3, sc. 3.]
[6. ]Illud vero perquam rarum ac memoria dignum, etiam suprema opera artificum, imperfectasque tabulas, sicut, Irin Aristidis, Tyndaridas Nicomachi, Medeam Timomachi, & quam diximus Venerem Apellis, in majori admiratione esse quam perfecta. Quippe in iis lineamenta reliqua, ipsæque cogitationes artificum spectantur, atque in lenocinio commendationis dolor est manus, cum id ageret, extinctæ. Lib. xxxv. cap. 11. [Natural History, bk. 35, chap. 40, in the Loeb edition.]
[7. ][Edward Hyde, First Earl of Clarendon (1609–74), The True Historical Narrative of the Rebellion and Civil Wars in England (1702–04). See Clarendon’s description of the events of 1649.]
[8. ][A tragedy by Nicholas Rowe (1674–1718), which was performed and printed in 1700.]
[Numbers:]verses; poetry.
[Dolce peccante:]sweet sinning.
[Wrought:]produced; worked.