Shaftesbury's Characteristicks of Men, Manners, Opinions, Times is a collection of treatises on interconnected themes in moral philosophy, aesthetics, literature, and politics. It was immensely influential on eighteenth-century British taste and manners, literature, and thought, and also onthe Continental Enlightenment. The author was a Whig, a Stoic, and a theist, whose commitment to political liberty and civic virtue shaped all of his other concerns, from the role of the arts in a free state to the nature of the beautiful (...) and the good.This is the first new edition of Shaftesbury's Characteristicks as a coherent collection for almost a century. A substantial Introduction discusses Shaftesbury's works and ideas in the context of his times, and traces the reception and influence of his writings through the eighteenth century andbeyond. A full and scholarly commentary is provided, as well as a complete textual apparatus. The very thorough Index is Shaftesbury's own.The text is essentially that of the first edition of 1711, as marked up with changes by Shaftesbury himself in preparation for the posthumous second edition of 1714; and the striking emblematic engravings he commissioned especially for the second edition are incorporated. (shrink)

Shaftesbury's Characteristics of Men, Manners, Opinions, Times was published in 1711. It ranges widely over ethics, aesthetics, religion, the arts (painting, literature, architecture, gardening), and ancient and modern history, and aims at nothing less than a new ideal of the gentleman. Together with Locke's Essay Concerning Human Understanding and Addison and Steele's Spectator, it is a text of fundamental importance for understanding the thought and culture of Enlightenment Europe. This volume presents a new edition of the text together with (...) an introduction, explanatory notes and a guide to further reading. (shrink)

Between the two men there is perhaps little to choose on the point of principle, since Berkeley implicitly justifies the subordination of truth to supposed ...

Copyright ©2010–2015 all rights reserved. Jonathan Bennett [Brackets] enclose editorial explanations. Small ·dots· enclose material that has been added, but can be read as though it were part of the original text. Occasional •bullets, and also indenting of passages that are not quotations, are meant as aids to grasping the structure of a sentence or a thought. Every four-point ellipsis . . . . indicates the omission of a brief passage that seems to present more difficulty than it is worth. (...) Longer omissions are reported between brackets in normal-sized type.—All the quotations from Latin writers were given in the original in Latin.—The Lord Somers to whom this work is addressed was the Lord Chancellor of England, the most highly placed official in the legal system.—This work is the first of the five Treatises in Shaftesbury’s Characteristics of men, manners, opinions, and times. (shrink)

Shaftesbury's philosophy combined a powerfully teleological approach, according to which all things are part of a harmonious cosmic order, with sharp observations of human nature (see section 2 below). Shaftesbury is often credited with originating the moral sense theory, although his own views of virtue are a mixture of rationalism and sentimentalism (section 3). While he argued that virtue leads to happiness (section 4), Shaftesbury was a fierce opponent of psychological and ethical egoism (section 5) and of (...) the egoistic social contract theory of Hobbes (section 6). Shaftesbury advanced a view of aesthetic judgment that was non-egoistic and objectivist, in that he thought that correct aesthetic judgment was disinterested and reflected accurately the harmonious cosmic order (section 7). Shaftesbury's belief in an harmonious cosmic order also dominated his view of religion, which was based on the idea that the universe clearly exhibits signs of perfect divine design (section 8). According to Shaftesbury, the ultimate end of religion, as well as of virtue, beauty, and philosophical understanding (all of which are turn out to be one and the same thing), is to identify completely with the universal system of which one is a part. (shrink)

This chapter contains section titled: Rejecting Hedonism and the Reduction of Morality to Self‐Interest The Moral Sense, Harmony and Virtue.

The Self is the first Polish translation of an excerpt from Shaftesbury’s notebooks entitled Askêmata. The text proves that these notebooks not only complement the contents of his Characteristics of Men, Manners, Opinions, Times, the three-volume set which made Shaftesbury a famous and influential philosopher but is to be seen mainly as a kind of moral exercises and soliloquies in which Shaftesbury comments the works of the stoics: Epictetus and Marcus Aurelius. In one of the previous issues (...) of „Folia Philosophica” three other excerpts from the same set were published: Character and Conduct, Attention and Relaxation, and Improvement; the present one is a continuation of the series. (shrink)

_Three Stoic Exercises _is the first Polish translation, done by Adam Grzeliński, of three excerpts from Shaftesbury’s notebooks: _Character and Conduct_, _Attention and Relaxation_, and _Improvement _being part included in the collection entitled _Askêmata_. These texts prove that these notebooks not only complement the contents of _Characteristics of Men, Manners, Opinions, and Times_, the three-volume set which made Shaftesbury a famous and influential philosopher, but they are to be seen mainly as a kind of moral exercises and soliloquies (...) in which Shaftesbury comments the works of the stoics: Epictetus and Marcus Aurelius. (shrink)

La publication de The Anatomy of Melancoly de Robert Burton en 1621 marque un tournant dans l’histoire de cette célèbre maladie, déjà analysée dans le Problème XXX du corpus aristotélicien. Burton, en effet, ne se contentait pas de construire une sorte d’encyclopédie du savoir philosophique et médical sur la mélancolie, qu’il considérait comme la quintessence de toutes les maladies ; il en proposait aussi de nouvelles interprétations, notamment en abordant la mélancolie sous l’angle de ses co..

Anthony Ashley Cooper, the Third Earl of Shaftesbury, was the grandson of the First Earl of Shaftesbury. The First Earl, along with John Locke, was a leader and founder of the Whig movement in Britain. Locke was the First Earl's secretary and also the tutor of the Third Earl. Both the First and Third Earls were members of parliament and supporters of Whig causes. Although both the First and Third Earls (...) were involved in politics, the Third Earl is better known for intellectual pursuits. Indeed, the Third Earl is second only to Locke in terms of influence during the eighteenth century. Yet if one takes into account effects upon literature, the arts, and manners, as well as upon philosophical trends and theories, Shaftesbury might be even more influential. Even if we restrict ourselves to philosophy, Shaftesbury's ideas were admired by thinkers as different as Leibniz and Montesquieu—something which could obviously not be said about Locke. Within ethics, Shaftesbury influenced Francis Hutcheson, David Hume, Samuel Butler, and Adam Smith and is credited with founding the “moral sense” school of thought. (shrink)

Anthony Ashley Cooper, the Third Earl of Shaftesbury, was the grandson of the First Earl of Shaftesbury. The First Earl, along with John Locke, was a leader and founder of the Whig movement in Britain. Locke was the First Earl's secretary and also the tutor of the Third Earl. Both the First and Third Earls were members of parliament and supporters of Whig causes. Although both the First and Third Earls (...) were involved in politics, the Third Earl is better known for intellectual pursuits. Indeed, the Third Earl is second only to Locke in terms of influence during the eighteenth century. Yet if one takes into account effects upon literature, the arts, and manners, as well as upon philosophical trends and theories, Shaftesbury might be even more influential. Even if we restrict ourselves to philosophy, Shaftesbury's ideas were admired by thinkers as different as Leibniz and Montesquieu—something which could obviously not be said about Locke. Within ethics, Shaftesbury influenced Francis Hutcheson, David Hume, Samuel Butler, and Adam Smith and is credited with founding the “moral sense” school of thought. (shrink)

Anthony Ashley Cooper, the Third Earl of Shaftesbury (1671-1713) was an English philosopher who profoundly influenced 18th century thought in Britain, France, and Germany, particularly in the areas of aesthetics, ethics, and religion.

Many people today glorify wild nature. This attitude is diametrically opposed to the denigration of wild nature that was common in the seventeenth century. One of the most significant initiators of the modern revaluation of nature was Anthony Ashley Cooper, the third Earl of Shaftesbury. I elucidate here Shaftesbury’s pivotal view of nature. I show how that view emerged as Shaftesbury’s solution to a problem he took to be of the deepest philosophical and (...) personal importance: the problem of how worship of God can be both transportingly emotional and entirely rational. In section 1 I sketch the denigration of wild nature in two of Shaftesbury’s predecessors: Burnet and Locke. I next turn to Shaftesbury’s problem, describing in section 2 the love of God he aspired to and in section 3 his commitment to rational religion. I then explain Shaftesbury’s solution, describing in section 4 his view of beauty in general and in section 5 his view of the beauty of nature. (shrink)

The present article is an edition of the Pathologia (1706), a Latin manuscript on the passions by Anthony Ashley Cooper, the third Earl of Shaftesbury (1671-1713). There are two parts, i) an introduction with commentary (http://dx.doi.org/10.1080/01916599.2012.679795), and ii) an edition of the Latin text with an English translation (http://dx.doi.org/10.1080/01916599.2012.679796) . The Pathologia treats of a series of topics concerning moral psychology, ethics and philology, presenting a reconstruction of the Stoic theory of the emotions that is (...) closely modelled on Cicero and Diogenes Lærtius. It contains a most detailed typology of the passions and affections as well as an analysis of a series of psychological connections, for example between admiration and pride. On the basis of his reconstruction of Stoic moral psychology and ethics, Shaftesbury argues that in one of his phases, Horace should be interpreted as a Stoic rather than as an Epicurean. The translation and the commentary draw attention to the relations between the Pathologia and Shaftesbury's English writings, most importantly Miscellaneous Reflections and the Inquiry Concerning Virtue, or Merit, which sheds light on several features of Shaftesbury's relation to Stoicism. (shrink)

When Anthony Ashley-Cooper, third earl of Shaftesbury, read the Meditations of Marcus Aurelius at the beginning of the eighteenth century, the Roman emperor was a relatively new member of the Stoic tradition as it was seen through early modern eyes. This article discusses two books owned and annotated by Shaftesbury, one a translation of Marcus Aurelius into English, the other a version of the Greek text. These books are a record of his study of (...) earlier scholarship on the Meditations, primarily the edition and notes of Thomas Gataker. This article gives a sense of how a reader who was influential in the dissemination of Stoic thought, studied the scholarship of an earlier age. (shrink)

An engaging account of how Shaftesbury revolutionized Western philosophy At the turn of the eighteenth century, Anthony Ashley Cooper, the third Earl of Shaftesbury, developed the first comprehensive philosophy of beauty to be written in English. It revolutionized Western philosophy. In A Philosophy of Beauty, Michael Gill presents an engaging account of how Shaftesbury’s thought profoundly shaped modern ideas of nature, religion, morality, and art—and why, despite its long neglect, it remains compelling today. (...) Before Shaftesbury’s magnum opus, Charactersticks of Men, Manners, Opinions, Times, it was common to see wilderness as ugly, to associate religion with fear and morality with unpleasant restriction, and to dismiss art as trivial or even corrupting. But Shaftesbury argued that nature, religion, virtue, and art can all be truly beautiful, and that cherishing and cultivating beauty is what makes life worth living. And, as Gill shows, this view had a huge impact on the development of natural religion, moral sense theory, aesthetics, and environmentalism. Combining captivating historical details and flashes of humor, A Philosophy of Beauty not only rediscovers and illuminates a fascinating philosopher but also offers an inspiring reflection about the role beauty can play in our lives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 38.4 (2000) 529-548 [Access article in PDF] Shaftesbury's Two Accounts of the Reason to be Virtuous Michael B. Gill College of Charleston 1. Anthony Ashley Cooper, the third Earl of Shaftesbury (1671-1713), was the founder of the moral sense school, or the first British philosopher to develop the position that moral distinctions originate in sentiment and not (...) in reason alone. Shaftesbury thus struck the initial blow in the battle waged by sentimentalists such as Hutcheson and Hume against rationalists such as Cudworth and Clarke.Such is a common view of Shaftesbury's place in the history of moral philosophy.1 But while this common view is accurate in a very general sense, it also oversimplifies in a manner that threatens to misrepresent the development of modern ethical theory and obscure what is most interesting about Shaftesbury.2 The view suggests, in particular, that the most important distinction in early modern British moral philosophy was between sentimentalism and rationalism. There was, however, a distinction ontologically deeper than [End Page 529] that, which explains how Shaftesbury, even while developing his moral sense theory, could at times be much closer to his rationalist predecessors Cudworth and Clarke than to his sentimentalist followers Hutcheson and Hume.In this paper I will elucidate this deeper ontological distinction by examining two different accounts that Shaftesbury gives of the reason to be virtuous. Both of Shaftesbury's accounts are in a sense sentimentalist, but only the second of them constitutes a sharp break from his rationalist predecessors. Shaftesbury himself does not seem fully aware of the radical implications of his second account, but the implications are there nonetheless. And by exposing them we will gain a view not only of a crucial ambiguity in Shaftesbury's thought but also of a central faultline in the history of British moral philosophy. We will also come to see that while Shaftesbury does pave the way for a new ontology of morals, he does so more by accident than by design.3 2. Shaftesbury believes that to be virtuous is to have a benevolent character or a deep non-derivative commitment to promote the "publick Interest."4 He also believes that a person who has a benevolent character will always be happier than a person who does not, and that this constitutes a sufficient reason for each of us to "embrace" virtue (Inquiry 48).5 But of course some will deny that the benevolent person is always happiest and so Shaftesbury sets out to prove that there exists between benevolence and happiness a natural and necessary connection.How does Shaftesbury establish the connection between benevolence and happiness? In two different ways.6 The first way of establishing the connection [End Page 530] can be called the teleological account, and the second way can be called the mental enjoyment account. Let us first examine the teleological account.The initial claim of Shaftesbury's teleological account of the reason to embrace virtue is that benevolence is what is most natural for humans, or their proper end or telos.7 As he puts it just after explaining "whatVirtueis," It has been already shewn, that in the Passions and Affections of particular Creatures, there is a constant relation to the Interest of a Species, or common Nature. This has been demonstrated in the case of natural Affection, parental Kindness, Zeal for Posterity, Concern for the Propagation and Nurture of the Young, Love of Fellowship and Company, Compassion, mutual Succour, and the rest of this kind. Nor will any-one deny that this Affection of a Creature towards the Good of the Species or common Nature, is as proper and natural to him, as it is to any Organ, Part or Member of an Animal-Body, or mere Vegetable, to work in its known Course, and regular way of Growth. 'Tis not more natural for the Stomach to digest, the Lungs to breathe, the Glands to separate juices, or other Intrails to perform their several Offices; however they may by particular Impediments... (shrink)

The paper examines the “prehistory” in the 18th century of the theory of Bildung. Pedagogical historiography commonly traces the theory back to the influence of Anthony Ashley Cooper, third Earl of Shaftesbury, who is held to be the founder of the concept of “innere Bildung; on the grounds that Shaftesbury’s concept of “inward form” was translated into German as Bildung. The study focuses on the reception of Shaftesbury’s writings in the German-speaking realm in (...) the 17th century in order to discover the contexts of discourse in which this reception took place and to find out what significance the various discourses had for the formulation of a German “theory of Bildung.” What is revealed are varied influences of a religious, literary theory, and aesthetics nature that give indications as to why the construct of Bildung has remained diffuse and excessive in the German tradition up to the very present. It is also shown that the concept, in comparison to other discourses, found its way into the pedagogical discourse relatively late, which may be another reason for the difficulties that the German theory of Bildung continues to present to the science of pedagogy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"MURTHER, BY A SPECIOUS NAME": ABSALOMAND ACHITOPHEVS POETICS OF SACRIFICIAL SURROGACY Gary Ernst Roger's State University d;,uring the late 1670's and early '80s, English political satirists 'participated in the endeavors of the rival factions, Dissenter or Whig and Royalist or Tory, to effect judicial violence. While juries condemned and the hangman executed Catholics as traitors during the Popish Plot persecution, John Oldham suggests in the "Prologue' to his Satires (...) upon the Jesuits that he writes to stoke the mass hatred fueling the slayings (2: 19-22). Such animosity powered this initial Dissenter effort to exclude Charles II's Catholic brother, James Stuart, Duke ofYork, from the throne, and left more than two hundred dead.' And Dryden's vituperative response to the striking of a medal to celebrate the grand jury's dismissal of high treason charges against Anthony Ashley Cooper, Earl of Shaftesbury, The Medall (pointedly subtitledA Satire againstSedition) seems to have a clear purpose of inciting Royalists to redouble their efforts to dispatch the opposition leadertothe gallows.2 Judicial slayings ofthis kind are perhaps not surprising in these years ofcrisis and fear. Dissenters like Oldham believed that English Catholics plotted to assassinate Charles, put James on the throne, martyr Protestants with the help of foreign Catholic armies, and destroy both the Protestantfaith and English culture itself; Royalists, on the other hand, saw as ever-looming Dissenter insurrection and another catastrophic civil war to take away their property, power, and perhaps the ' For studies ofthe Plot in this political context, see Miller 169-82; Jones 197-217; Greaves 5-32, and Kenyon's complete volume. 2 Harth studies The Medall as an example of Tory propaganda against the Whigs and supportive of Royal efforts to deliver the earl to the gallows (161-9). 62Gary Ernst life ofthe king.3 Duringthe bloodshed ushering in the two party system, the fatal goals ofsatirists seem quite realistic—and indeed may have been so. Thejudicial persecution ofCatholics consumed victims until the fervorthat Oldham labors to feed burnt out; and, in November 1682, eight months after The Medall found its first audience, Shaftesbury, accused by the crown of new treasons, went into hiding soon to flee England in mortal terror of successful Royalist prosecution. The greatest political satire of this turbulent period, Absalom and Achitophel, responds directly to the recent efforts of Charles's beloved, eldest natural son, the Protestant James Scott, Duke of Monmouth—now "Fir'd with near possession of a Crown " (684)—to displace York in the line of succession. The satire revolves around a depiction ofMonmouth's "War in Masquerade," his recenttour through the west ofEngland to gauge and gain support (682-725). Despite the factthatthe satire clearly posits the threat of national catastrophe, it hardly seems at first as intent upon the death ofthis target as either The Medall or Oldham's Satires seem oftheirs. But, to be sure, it is, although Dryden—committed firstly to York and secondly to king4—carefully conceals both his methods and his intentions against Charles's son. For the purpose ofleading his audience to imitate his attack and carry it from the printed page into the world of action and the courts, he conceives apoetics ofsacrifice that screens his hostilities toward Monmouth from the eyes ofthe very persons he undertakes to mobilized. By appropriating for his satire the cultural phenomenon defined by René Girard as the "scapegoat" or "sacrificial mechanism,"5 Dryden arouses and 3 According to Kenyon, in late 1678, the Commons' inflammatory speeches and addresses to the king gave the impression in the House of Lords that the members of the Commons "seemed intent on fighting the Civil Wars all over again" (129) 4 For a fuller discussion ofDryden's commitmentto York, see McFadden 91, 111 -202; Winn 243-75, and Erskine-Hill 22-5. Daly argues that Mac Flecknoe, written some three years before the beginning ofthe Exclusion Crisis of 1679-81, is an oblique but sustained attack upon Monmouth, a result ofthe laureate's concerns about the king's bestowals ofpower upon Monmouth and the possibility ofthe bastard's eventual succession (655-76). For another discussion that focuses upon Dryden's targeting ofMonmouth m Absalom and Achitophel... (shrink)

Skeptische Philosophie versteht sich seit ihren Anfängen in der Antike mehr als kritische Denkmethode denn als dogmatisches System. Aus dieser genuin philosophischen Einsicht leitet der englische Philosoph Anthony Ashley Cooper, Third Earl of Shaftesbury (1671-1713), ein Skepsiskonzept im dialogisch-toleranten Sinne ab und rehabilitiert die skeptische Methode als kritisches und progressives Moment von Aufklärung. Diese Studie ist eine umfassende Analyse der Schriften Shaftesburys, wobei der Begriff einer dialogischen Skepsis im Vordergrund steht. Der Skepsisbegriff des englischen Philosophen (...) wird aus der sokratischen Tradition abgeleitet, begriffsgeschichtlich als konstitutives Element in die Theorie von Aufklärung eingebunden und im Hinblick auf die Weiterentwicklung zum Kritizismus und Ethikkonzept Kants analysiert. (shrink)

Like Anthony Ashley Cooper, Third Earl of Shaftesbury, his subject, Michael Gill is concerned with his readers’ preconceptions. He comments on the fiction of an Ethiopian suddenly displaced from hi...

Anthony Ashley Cooper, 3rd Earl of Shaftesbury was an English philosopher and author. Originally published in 1914, this book presents the edited text of the sequel to Cooper's major work, Characteristics. An editorial introduction and detailed notes are included. This book will be of value to anyone with an interest in Cooper's writings and philosophy.

The study focuses on the debates on self-love in early 18th - century British moral philosophy. It examines the intricate relations of these debates with questions concerning human nature and morality in five central authors : Anthony Ashley Cooper the 3rd Earl of Shaftesbury, Bernard Mandeville, Francis Hutcheson, Joseph Butler and Archibald Campbell. One of the central claims of this study is that a distinction between five different concepts of self-love is necessary to achieve a (...) clear understanding of the debates on self-love. Thus, egoistic self-love, self-love as love of praise, self-love as self-esteem, self-love as excessive pride and self-love as self-respect are distinguished. The role of these different concepts is analysed in the mentioned authors ’ theories of human nature and morality, and the relations between the concepts of self-love and other essential concepts of moral philosophy such as benevolence, pity and virtue are examined. This study highlights the importance of the widely discussed claim that self-love is the only motive for human agents and shows that the moral rehabilitation of self-love becomes an important issue for the period. Commentators generally agree on the importance of the notion of self-love for the period’s moral philosophy, yet little attention has been paid to the different concepts of self-love. Present-day philosophy’s tendency to equate self-love with egoism is too simplistic, and the insufficient recognition of the vagueness of the notion of self-love is shown to be an impediment to an appropriate reconstruction of important arguments in the debates on self-love. The framework suggested in this study thus enables a better comprehension of the different accounts of self-love in the selected authors ’ moral psychologies, and of their views of the moral value of self-love. This facilitates the shedding of light on central aspects of moral philosophy at the beginning of the 18th century. (shrink)

The present article is an edition of the Pathologia (1706), a Latin manuscript on the passions by Anthony Ashley Cooper, the third Earl of Shaftesbury (1671–1713). There are two parts, i) an introduction with commentary (http://dx.doi.org/10.1080/01916599.2012.679795), and ii) an edition of the Latin text with an English translation (http://dx.doi.org/10.1080/01916599.2012.679796) . The Pathologia treats of a series of topics concerning moral psychology, ethics and philology, presenting a reconstruction of the Stoic theory of the emotions that is (...) closely modelled on Cicero and Diogenes Lærtius. It contains a most detailed typology of the passions and affections as well as an analysis of a series of psychological connections, for example between admiration and pride. On the basis of his reconstruction of Stoic moral psychology and ethics, Shaftesbury argues that in one of his phases, Horace should be interpreted as a Stoic rather than as an Epicurean. The translation and the commentary draw attention to the relations between the Pathologia and Shaftesbury's English writings, most importantly Miscellaneous Reflections and the Inquiry Concerning Virtue, or Merit, which sheds light on several features of Shaftesbury's relation to Stoicism. (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns of (...) inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)