By placing Hume’s account of communication in the context of some less known seventeenth- and eighteenth-century French resources on rhetoric and language, this essay argues that Hume based his und...

The concept of “humanity” is integral to David Hume's Enquiry Concerning the Principles of Morals, but barely appears in his earlier Treatise. Many consider the later “humanity” theory superior, permitting a more “extensive” sympathy not limited by proximate associations. This paper argues for Hume's consistency on humanity by surveying The History of England. Hume's History discussions lend support to the associative, and thus limited, Treatise conception. Humanity is opposed to religious enthusiasm; its positive effects are local and particular. Moreover, Hume's (...) historiography involves a hesitation on the content of “humane” judgments, which cannot fulfill the cosmopolitan function envisioned by many present-day interpreters. (shrink)

Adam Smith’s Theory of Moral Sentiments has long been recognized as importantly influenced by, and in part responding to, David Hume’s earlier ethical theory. With regard to Smith’s account of the foundations of morals in particular, recent scholarly attention has focused on Smith’s differences with Hume over the question of sympathy. Whilst this is certainly important, disagreement over sympathy in fact represents only the starting point of Smith’s engagement with – and eventual attempted rejection of – Hume’s core moral theory. (...) We can see this by recognizing the TMS’s account of moral foundations as predicated upon a rejection of Hume’s distinction between the natural and artificial virtues. Smith is in turn revealed as generating a major break with Hume – a break which, if based on a superior theory of moral foundations has important consequences for how we treat Smith and Hume in both the history of philosophy and contemporary moral theory. (shrink)

In this article I argue that vanity, the desire for and delight in the favorable opinion of others, plays a fundamental role in Hume's account of moral motivation. Hume says that vanity and virtue are inseparable, though he does not explicitly say how or why this should be. I argue that Hume's account of sympathy can explain this alliance. In resting moral sentiment on sympathy, Hume gives a fundamental role to vanity as it becomes either a mediating motive to virtue (...) or else strengthens the otherwise weak motive of moral sentiment. (shrink)

Hume says that sympathy is the source of our moral feeling of approval for useful qualities. But does Hume give the same psychological explanation of our approval of immediately agreeable qualities as he does to our approval of useful qualities? Does he trace our moral approbation of immediately agreeable qualities to sympathy? Some commentators, including Rachel Cohon and Don Garrett, argue that he does not. Let us call this view the ‘narrow view’ of sympathy in contrast to the ‘wide view’ (...) of sympathy, which holds that sympathy is required for every moral sentiment. There is indeed some apparent textual evidence in Hume’s work that seems to support the narrow view. My aim in this paper is to examine that evidence and show how it is merely apparent, in particular by showing how a number of passages can be and are misread. I thus want to argue indirectly for the wide view. (shrink)

This paper attempts to give a complete and coherent account of how Hume’s moral psychology can explain the cultivation of moral character. I argue that the outcome of a fully formed moral character is an agent who strengthens her calm moral sentiments into settled principles of action. I then take up the question of how the process of strengthening moral sentiments might occur, rejecting the possibilities of sympathy, “reflection,” and “resolution” because either they are too weak or else they make (...) the passion violent, preventing the essential calm nature of moral sentiments. I next argue that custom and the non-moral motives of pride and the love of fame play the critical roles in character formation. Custom can be considered as both the process of education, whereby certain impressions are habitually and formally inculcated into us by educators, and the process of experience in society and conversation, whereby we learn to associate pleasure with the virtues and pain with the vices. In both these processes, Hume implicitly appeals to certain non-moral motives, especially pride and the love of fame, in order to launch the effects of custom. (shrink)

There is an ongoing debate as to whether there is a major difference between Hume's accounts of morality in the Treatise and the second Enquiry. This has tended to focus on the role of sympathy in each case, but more recently the greater emphasis on humanity in the Enquiry as compared with the Treatise has been used to support a non-reconciliation view of the relation between these accounts. So far as humanity's role in relation to the moral sentiments is concerned, (...) I question whether it can provide the moral point of view associated with moral approval and disapproval. Considered as a motive to action, I question whether humanity always results in the kinds of action which would meet with general approbation. I also stress the limitations of humanity when viewed from the impartial perspective associated with the moral point of view. I further attempt to show that there is no real contradiction between Hume's claim in the Treatise that sympathy is ‘the chief source of moral distinctions’ and his claim in the Enquiry that the sentiments dependent on humanity ‘are the origin of morals’. I therefore conclude in favour of a reconciliatory view of the two accounts. (shrink)

This paper argues that Shaftesbury differs from other moral sentimentalists (Hutcheson, Hume, Smith) because he conceives of the moral sentiments as partial and first-personal, rather than impartial and spectatorial. This difference is grounded in Shaftesbury’s distinctive notion that moral self-governance consists in the self-examination of soliloquy. Breaking with his Stoic influences, Shaftesbury holds that the moral sentiments play the role of directing and guiding soliloquy. Because soliloquy is first-personal reflection that is directed to achieving happiness, claiming that the moral sentiments (...) direct soliloquy leads Shaftesbury to conceive of the moral sentiments as arising from the internal perspective of an agent focused on her own happiness. This provides Shaftesbury with a stronger framework for understanding moral sentiments, for it avoids the difficulty of explaining why the sentiments of others or those arising from an imagined spectator’s perspective are motivating or authoritative for us. (shrink)

At several key moments in his works, Hume draws our attention to the differences between two conceptions of philosophy. Deploying what were already then well‐worn metaphors, he calls these two “species” of philosophy “anatomy” and “painting.” Hume’s remarks about philosophical anatomy and painting have recently given rise to a number of scholarly debates. I focus here on just one of these debates: did Hume intend to combine anatomy and painting in some of his later works? Through an examination of the (...) evidence that has to date been adduced, I argue that we have at least one very good reason to think that such were Hume’s intentions, and no good reason to suppose otherwise. (shrink)

In this paper, we elucidate the moral psychology and what we might call the moral sociology of Mencius and of Hume, and we argue for three claims. First, we demonstrate that there are strong similarities between Mencius and Hume concerning some of the principal psychological sources of the virtue of humanity. Second, we show that there are strong similarities between the two concerning some of the principal social sources of the virtue of humanity. Third, we argue that there are related, (...) though weaker, similarities between Mencius and Hume concerning some of the principal cognitive sources of the virtue of humanity. We conclude by suggesting that the number and nature of these similarities demonstrate the need for future research on the conceptual connections between Confucian and Humean moral philosophy, especially on the psychological and social sources of benevolent moral development. (shrink)

I offer a novel two-stage reconstruction of Hume’s general-point-of-view account, modeled in part on his qualified-judges account in ‘Of the Standard of Taste.’ In particular, I argue that the general point of view needs to be jointly constructed by spectators who have sympathized with (at least some of) the agents in (at least some of) the actor’s circles of influence. The upshot of the account is two-fold. First, Hume’s later thought developed in such a way that it can rectify the (...) problems inherent in his Treatise account of the general point of view. Second, the proposed account provides the grounds for an adequate and well-motivated modest ideal observer theory of the standard of virtue. (shrink)

Although the implications of Hume's distinction between philosophical anatomy and painting have been the subject of lively scholarly debates, it is a puzzling fact that the details of the distinction itself have largely been a matter of interpretive presumption rather than debate. This would be unproblematic if Hume's views about these two species of philosophy were obvious, or if there were a rich standard interpretation of the distinction that we had little reason to doubt. But a careful review of the (...) literature shows neither to be the case. We are far from scholarly consensus about Hume's vision of philosophical anatomy and painting, and what unity there is rests on extremely unsteady ground and leaves important questions unanswered. In this article, my aim is three-fold: first, to show that the appearance of well-grounded scholarly unity about Humes distinction is illusory; second, to dispose of those misinterpretations of Hume's distinction that are sufficiently at odds with the text that they can be demonstrated to be false in this context; and third, to explore in sufficient detail the numerous questions one might raise about the content of Hume's distinction so that the stage might at last be properly set for a truly full account of Hume's distinction between philosophical anatomy and painting. (shrink)

Resumen: La esquematización que de Hume realiza Jhon Bricke, me condujo a plantear ciertas preguntas que encuentran un terreno fértil en el análisis que sobre la simpatía realiza Hume. Esta propuesta plantea como hipótesis fundamental que el deseo de ser apreciado es el rasgo fundamental del ser apa..